Yes, It Is Possible to Work Full Time and Be A Professional Dancer
Few dancers are able to make a comfortable living from their creative pursuits alone. Many rely on non-dance freelance work or multiple part-time gigs, fearing that a full-time job would take too much time away from their dancing. However, plenty of artists manage to balance full-time day jobs with fulfilling dance careers, opting for the security, benefits and opportunity to learn new skills.
McMullan works at an engineering firm and performs with two companies. Photo by Stephen Delas Heras, courtesy McMullan
Her dance gigs: This fourth-generation Isadora Duncan dancer performs with Dances by Isadora and Dance Visions NY.
Her day job: McMullan works at a large structural engineering firm in Manhattan. She oversees the company's research and development initiatives, handles internal marketing and communications, and plans large-scale events. She works roughly 40 hours per week and receives benefits, including health insurance and a 401(k).
How she makes it work: She rehearses mostly on the weekends, and if she needs to leave work early on occasion to go to a performance or rehearsal, she's able to communicate with her colleagues to make it work. "I've been super-honest with my boss and company. They all know I'm a dancer, and they're supportive of that," she says.
Pros and cons: "The biggest sacrifice is missing out on intensives or going to technique classes in the middle of the day," McMullan says. On the other hand, the job has allowed her to travel within the U.S. and abroad, and gives her the security of knowing she will always be able to pay her rent.
Dealing with doubters: "I have had a lot of people criticize me for having a 9-to-5. They call my dance career a hobby," she says. "That stereotype irks me. You learn so much from dance that you can implement in other places. And dancers shouldn't shy away from doing that."
Schreier rehearsing Contra with Ballet Hispánico's Dandara Veiga and Chris Bloom. Photo by Dmitry Beryozkin, courtesy Schreier
Her dance gigs: Schreier is a contemporary ballet choreographer whose upcoming projects include commissions from Dance Theatre of Harlem and the ABT Studio Company.
Her day job: She worked at Alvin Ailey American Dance Theater for seven years as a marketing assistant and later as manager of editorial content. Her responsibilities included social media content creation, advertising and branding strategy; editorial and creative direction; and contributing to two website redesigns.
Worlds colliding: "For over six years, no one at my job knew I was choreographing," Schreier says. That changed when she won the Breaking Glass Project's choreography competition in 2014. The prize was an evening-length performance at the Ailey Citigroup Theater. "I took a week of vacation to rehearse, but I was still renting studio space in the building. I would walk in, say hi to my co-workers, and then go to the studio instead of the office," she says.
Saying good-bye: By the end of Schreier's time at Ailey in 2017, she was using all of her vacation days for dance. She left to enter a semester-long, full-time fellowship at the Center for Ballet and Arts at NYU. Schreier has been paying the bills with choreography and the support of donors ever since.
Her advice: Use skills from your full-time gig to enrich your dance career. Working for Ailey taught Schreier how to manage the business of being a choreographer. "I don't think I would be where I am without that experience," she says.
Rogovoy took a full-time gig after finding that the freelance life didn't work for her. Photo by Kathryn Butler, courtesy Rogovoy
Her dance gigs: Rogovoy is a choreographer and freelance performer. Most recently, she performed a solo two years in the making at New Dance Alliance's Performance Mix Festival, and she will appear in a new work by Mina Nishimura in December at Gibney.
Her day job: She manages an independent toy shop in Brooklyn, working roughly 35 hours per week, Tuesday through Saturday. The job does not include benefits, but it does have some flexibility. She comes in late twice per week, using the free mornings to take class, and usually schedules rehearsals on her days off from the store.
Why dance admin jobs didn't work: Rogovoy used to do part-time or project-based work in arts administration and company management, but found she either wasn't making much money or was going on lengthy, demanding tours. "Those long days were often in a theater, close to dance, but very much on the sidelines in a way that I ultimately found frustrating," she says.
Why she went full-time: "It took me a long time to accept that the freelance hustle doesn't work for me," she says. "I wasn't able to be the person and artist I wanted to be while I was scrambling from gig to gig."
Lessons learned: Rogovoy still uses the skills she learned as a dance company manager. "I haven't completely left that kind of work," she says. "I've just made myself my main client."
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.
This is huge news, so we'll get straight to it:
We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.
It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.
But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.
"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."