danceypants
Brooklyn, NY
Female, 25
I am a professional NYC contemporary/modern dancer. I work freelance, dancing in various projects around NYC. It ranges from performance art, flash mobs, and various styles of modern/contemporary dance. It's tough, I hustle everyday. I also bartend to pay the bills and work at a dance studio for discounted classes. It's a struggle, between auditions, classes, and maintaining artistic integrity. But I love my life.
Um, I really make sure I choose gigs that I truly want to do. When I check listings for auditions, I make sure to cyber-stalk the company or choreographer first. Most dance makers have videos on the internet, so I watch them and read their website about the artistic directors history. As a trained dancer, I can smell BS from a mile away. (dancers are just like everyone else, they embellish their resume, but it's harder to get away with when another dancer does some digging) I love gigs that I believe in. I once had an old dance professor tell me that as a dancer you ideally want three things out of work; 1. to love your fellow dancers 2. to believe in the integrity of the work 3. to love your choreographer/artistic director. 1 out of 3 is good. 2 out of three is lucky, 3 out of 3 is rare. My favorite gigs toe the line of performance art and modern dance. I love structured improv, I like the risk and nervous energy of not knowing what will come out of your body naturally. The best is when you do contact improv with a partner, sometimes the coolest things are created. I also like work where I'm not just the choreographers pawn. I like to have some artistic input. I'd say my least favorite gigs are flash mobs. They pay good money. I did one for a bank a while back in Times Square. I made $500 for 3 rehearsals and 2 performances. I also got a free stuff after. Cool right? I guess, I liked the woman who was choreographing it, I take her class frequently. But there were 60 dancers hired, it was insanity. Rehearsals were a nightmare, people were disrespectful and and rude. Talking throughout, coming in late, openly mocking fellow dancers. But then again, I did another for a make up company and people were sweet. It's all jut a gamble.
Stores, banks, make-companies, and video-games. Most have been held in heavily populated areas like Herald Square, Times Square, or Bloomingdales.
I wouldn't check out craigslist for auditions. They can be sketchy. I had a friend who went to an "audition" she read about on craigslist, and it ended up being at some woman's house in farfaraway, Queens. She was the only one there. And even though she offered payments for performances. The performances ended up being "belly dancing" topless at some guys party. So craigslist=no bueno. Haha Check out dancenyc.org. They have legit audition listings. They also list performances, arts administion jobs, internships, volunteer opportunities. Etc. Also when you take class (generally if it's a large professional studio space like DNA, Peridance, steps, BDC) they have postings for paid auditions on the wall.
Haha. I used to teach, I've taught a various levels of dance since I was a freshman in college. It's funny, I used to teach little babies ages 2.5-4. You can definitely tell how naturally coordinated and intelligent a child is through dance class. When they are that small, they can only mimic for the most part. Some kids could take direction really easily, others were distracted by their own foot. I remember one little girl I had in my 4 year old class, she was an attentive listener, she caught on really fast to movement phrases, and executed them amazingly, (well, for a 4 year old) Then I had other 4 year olds who weren't coordinated at all. They tried their little hearts out, but it just wasn't working. I think honestly that comes from DNA. I've also taught adults and yes, I believe that some people are just hopelessly uncoordinated. It's kind of like their awkward teenage body never grew up. They learn the combination (movement phrase) but the connectivity between their brain and body just isn't there. I feel bad for them, because most of the time, older kids and adults want to be in class, dancing. They bust their butts, and they do improve gradually, but they will never have the natural "musicality" or "flow" that is required of a dancer.
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Uh, well I don't really watch the show, but from what I've seen they are really good. But like I said in my description of my job, I am a modern/contemporary dancer. It's a completely different world than ballroom dance. Honestly I know nothing about ballroom. I've never done the cha cha or anything in that category. I think though you have to have a pretty face to be a dancer on tv. I've had friends audition for So You Think You Can Dance and Nigel told them they were really good, really talented. But they weren't pretty enough for television.
Wow. There are a lot of people that have changed the world of modern dance. I remember when I was in college sitting in dance history class and learning about all the major influences in the dance world. Modern dance itself, at its inception was a game changer because no one had done anything like that before. Dancing in loose, flowing clothing; barefoot nonetheless, was unheard of. I'd say currently, someone who is changing the face of the dance world is ohad naharin. He is the artistic director of batsheva dance company based out of Tel Aviv, Israel. He created an improvisational movement vocabulary called gaga. It's the idea of moving your body from the inside out. The teacher gives you cues that you visualize. for example the teacher will say, "imagine the air in the room becoming thick, how would you move?" while in class there are no mirrors, and once it begins you cannot stop moving and no one can leave or enter when class begins. From my own personal experience, studying gaga and watching other dancers who study it intensely, it changes how you move. As a person, as a dancer. You become more kinesthetically aware of your body itself and your body in space.
I don't wear shoes. It's contemporary modern dance, so I dance barefoot. Sometimes I wear socks though.
My dream opportunity is to not be freelance anymore! haha I would love to sign a contract with a company and do a tour. I want to travel and it's the best way, you get paid, you get a per diem, and you have all your housing and travel expenses covered. But sadly, right now a lot of the people I want to dance for aren't hiring. Or they are hiring, but just people they already know. Most big name companies (Martha Graham, Paul Taylor, Mark Morris) only hire people they know, i.e. follow them and take their classes wherever it may be held, everyday. But, I don't know if I would even end up liking going on a tour. I was offered a tour and a contract when I lived in North Carolina and I turned it down to move back to NYC (I went to college here) I have friends who have been on tours for 4-8 months. Some love it, some hate it. Living out of a suitcase, being away from family, friends, spouses. As a freelancer, work is inconsistent, the best job you can get is something that offers you some consistency, for example, paid rehearsals 4 times a week, 2 paid performances a year. Maybe a Summer break then back to it. But that isn't ideally a freelancers schedule. You rehearse for a project for 6 months, perform. Then If the choreographer needs you again, they will call.
While I was studying at a dance festival, the group of people I was working with, was asked to do an underwater/dance photo shoot with a fairly famous photographer from LA. She wanted us to be naked. After rehearsals though, the project fell through. But let me make this clear. I only do projects with nudity IF and only if there is a purpose and a direct correlation between the nudity and the integrity of the dance work. Many choreographers now have nudity in their work for shock value, to be "artistic". I'm sorry, but walking out on the stage naked and reading from a book while you eat an apple isn't dance.
no, not that I can recollect. Most of the stuff on tv is commerical dance, which is cool, but not what I do. I think a lot of choreography is lacking in award shows.
I have a larger chest, so I have had wardrobe malfunctions. But one hasn't happened since high school. Nothing too crazy, Generally I had on an undergarment so it wasn't very scandalous. I have seen a girls strap break on stage, she handled it well, she kept going and fixed it when she exited. Rule of thumb is never stop dancing. I've been in work with nudity, so nothing really fazes me.
Most of us have side gigs. Unless you have signed a contract with a big name company that is bringing in a lot of revenue, chances are you are a dancer/bartender/server/etc
absolutely not.
None
I have never fallen, tripped, or face planted. THANK GOODNESS. But, one time I had to make a cross over. (I exited stage right and had to re-enter stage left) So I had to run down this narrow hallway between the scrim (back drop) and the wall. Apparently, a stage hand had left a metal chair or something sharp back there because as I was running down the little hallway, I ran into it and cut my shin. First off, it hurt....really badly (shins don't provide much meaty cushion) secondly I was wearing pink tights and blood was running down my shin. I didn't have time to do anything so I kept dancing, grit my teeth and finished the piece. Unfortunately I didn't have any more exits. Another time, I was in this piece that had us spinning onto the stage from the wings. The music was complicated, and I always screwed up my entrance. Lo and behold, I entered on the wrong count. Thankfully I didn't crash into anyone. I just realized pretty quickly and kept spinning in the opposite direction and made an exit. My parents said they didn't notice. haha
The cops usually don't break them up. The people putting kn the flash mobs usually have to get a special permit from the city, I'm sure they also have permission from the nypd.
It depends. The dance community is very large. But very small. When I go to auditions sometimes I run into the same girls time and time again. I think that the younger the dancer, the more immature they are. Generally the catty ones are younger dancers who just graduated college, were the star of their department and moved to NYC thinking they could keep their diva status. Nothing knocks you harder off your pedestal than auditioning in NYC. There's always someone better than you. I don't notice the cattiness, I also avoid those kind of situations. Most dancers look out for each other I think. We kind of band together and create a unit. I used to be a camp counselor at a performing arts camp for teens, the dancers stuck together and didn't really get involved in the drama like the acting kids or the musical theater kids.
I have a few. Kendra Portier, Kate Weare, Monica Bill Barnes, Korhan Basaran, Shannon Gillen, Andrea MIller, Sidra Bell.
I don't really understand this question, but I will do my best. I'm assuming you are having trouble moving your hips because they are tight? Stretch. Stretch. Stretch! Since it would be difficult for me to explain stretches in detail here. Go online and search for stretches for your Iliopsoas (front of the hip crease) and your Iliotibial bands.
Um...no...I don't look for auditions on craigslist.
I have no idea. I don't know how to answer that, perhaps a geneticist has a jobstr page and you can ask them. I know plenty of white people who can dance...so...
Hi Jennifer, First let me start by saying I love that you are dancing! And also, I have a question for you. Are you training right now? By 17 and expressing the desire to be a professional back up dancer, you should be taking not only a lot of hip hop, jazz, and broadway style dance (for back up dancing) but also ballet, modern, and tap. You never know when you may need to pull some tricks out of that magical dancing bag. If you are not taking any dance class as of now, you should get in gear girl! Make sure your teachers have worked as professional dancers....Dance team in college doesn't count. Cheerleading does not count. A good teacher has a proper dance education from a college that provides a BA, BFA, or masters in dance performance or dance education. Also, does your teacher have professional performance experience? The reason I ask is, many 'dance teachers' open up studios in towns because they like dancing, they danced at some dolly dinkle (crappy) studio in high school and did some sort of kick line dance team in college. THIS DOES NOT EQUAL A COLLEGE DANCE DEGREE! I beg you..parents, kids, DO NOT go to these studios, these people claiming to be dance educators are destroying girls and boys bodies, training them incorrectly and setting them up for future disappointment and possible recurring injuries. Jennifer, if you are in fact, taking dance classes multiple times a week and getting good, strong, professional training...then you're on the right track. Go to a summer intensive that will refine your technique and will also let you get into some hip hop classes. I don't know about about hip hop, because I am a modern dancer, but I know that's what you need to master to get into back up dancing. Honestly I don't know about back up dancing auditions, that you will need to research. Not to be all tough love on you, but you may work really hard, and not get anywhere..that's the nature of the dance world. I have worked really hard multiple times...to not get that job, or not even get a second call back in an audition. It's the way of the world. But keep trying, you never know what the future holds. I have a friend who only did break dancing with his friends in high school. then when he turned 18 he decided he wanted to become a modern dancer and he busted his ass to get trained and eventually got into a college dance program. and Now he is a dancer here in NYC.
Hi Maddie,
I'm going to be honest with you, one ballet class a week isn't enough for you to be strong enough for pointe work. Nine years old is also very young...I know it's probably your dream to be a ballerina en pointe, every little girl wants to be an elegant ballerina. But your body isn't quite ready yet.
I would suggest that you start taking as many ballet classes as your family can afford and as many as your teacher allows. I was taking three regular ballet classes a week, for 3 years before I was put in pointe shoes. I also had gone through puberty. Which is VERY important, because that's when your hips and muscles are beginning to develop into an adult body.
If you begin pointe too early (It's very rigorous on your body) you can stunt your bodily development. You also have to be VERY strong to do pointe, not just you legs and feet, but your whole body. Make sure you have a VERY well educated ballet teacher that has a dance degree and professional dancing experience. I suggest asking you parents to buy you a foam roller, a foot roller, and a thera-band. Then ask your teacher to teach you (or look it up online) some strenghtening and stretching exercises for your feet and ankles so in a few years you will be strong and ready for pointe!
Good Luck Maddie!
Is this a serious question? Well, I'll tell you one thing, when out dancing in a club, I'm pretty sure girls don't turn to each other and say, "OMG look at that sexy dude over there, he is such a good dancer, I bet he's good at fellatio and/or thrusting."
I'll go ask all of my male dancer friends if they have recieved any sort of positive or negative feedback from their sexcapades and I'll let you know.
No, I dont think you have to take dance classes to be a good dancer. But I think that it depends on what style of dance you are concentrating on. I have a friend that did break dancing and hip hop all through high school, but he never actually recieved any formal training (ballet, jazz, and modern) until college. If you are teaching yourself at home, you are not getting the proper technique that a true dance professional could give you. You are not learning about proper alignment of your bone structure or how to work correctly or efficiently. Honestly, if you are looking at any sort of college or university that requires an audition for admission, your chances are low that without proper training, you will be accepted. Could you take a proper ballet or modern class, and know exactly what the teacher was talking about throughout the class? Auditions for schools often require an abridged version of those classes and if you make it through that round, you show a solo piece. My advice is, get into the dance studio and start taking classes, as much as possible.
Your dance steps go wrong when you have too long arms? I don't know what that means...what I can sort of defer from this question is that you have very flexible arms...practice control. Do some strengthening exercises. Again, I reccomend Pilates, it's pretty transformative and life changing.
find a floor barre class. Classical Pilates is also really great.
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