Career – Page 3

Trey McIntyre On The #DancerResource Project

March 31, 2015 by 4dancers

Preparing yourself for life as a professional dancer can be a daunting task. Worse yet, it is often difficult to find solid advice about how to navigate through the transition from student to professional–and what is expected of you can vary a great deal from company to company.

Enter Trey McIntyre and the #DancerResource project.

Trey McIntyre is a well-known figure in the dance world, and he is also the creator and curator of an amazing resource for dancers that taps professionals in the field to share their expertise and knowledge. We reached out to Trey to learn more about how this all got started and who is involved, and he shared some information about this exciting new resource with us in the interview below…

Enjoy! And please do share this series with any young dancers you know.

What exactly is the #DancerResource project?

The #DancerResource project is a collection of essays, letters, and videos from Artistic Directors, Choreographers, and dancers responding to the questions from young dancers about how to best be preparing themselves to both get into the company that they want to be in and how to navigate the transition in becoming a professional dancer.

Can you talk a bit about where the idea for this series came from?

I taught a class at the University of North Carolina School of the Arts in December during their Intensive Arts session about the transition of becoming a professional. I was struck by how much fear and lack of knowledge surrounded the process of approaching a company. Every Artistic Director is different and the students felt like they had one shot at getting it right, but felt at a disadvantage with a lack of specific information. One of the students had a question about how to go to New York and freelance, so I reached out to one of my former dancers, Chanel DaSilva, who is doing that very thing. She responded with a thorough, insightful, and loving letter to the dancers that they were thrilled to get. This gave me the idea that I should just reach out to directors and ask the questions that these students wanted to know the answers to.

Who are some of the people that have participated in this project thus far?

We began with David Hallberg. I have known David since creating a work on him at American Ballet Theatre and have always found him to be a person of great character–and even though he maintains a position of great prestige, he operates with such dignity and humility. I thought that would be a great perspective to include and I was right. His entry is beautiful. I’ve tried to make the responses as varied as possible. Large and small companies. Contemporary to classical companies. People at different stages in their career. Sidra Bell just contributed a great video. Lar Lubovitch, San Francisco Ballet, The Bad Boys of Dance.

How did you decide who you were going to reach out to, and how has the response been?

I’ve mostly reached out to people that I know personally, but made some cold calls too, especially to people that students from my UNCSA class wanted to hear from. Almost everyone has been thrilled to be a part of it and agrees that there is a need for this information.

Why do you think this type of information is valuable, and who is the series geared toward?

The series is geared toward students who are looking toward a professional career. I’ve often been struck by how few schools, dance or otherwise, provide real-world training in the nitty-gritty. They may give excellent technical training, but how do you actually adapt your thinking to the professional world to have a successful career? My hope is that these candid perspectives add some information to make that more possible.

How long do you envision continuing this project?

For as long as there are people who have things to say.

Where can people find the previous installments, and how often do you post them?

All of the installments are on the TMP Facebook page and we release a new one every Wednesday. Sometimes we do more and especially now that we are in audition season. (Editor’s note: You can also find the series archived on the Trey McIntyre Project’s website.)

Who do you have in the upcoming lineup?

Entries coming up include River North Dance Chicago, Jonathan Jordan from The Washington Ballet, and a primer on freelance work in NY from dancer Tobin Del Coure.

Trey McIntyre was born in Wichita, Kansas, and trained at North Carolina School of the Arts and Houston Ballet Academy. At Houston Ballet, he was appointed Choreographic Apprentice in 1989 and then, in 1995, he became the company’s Choreographic Associate. He has created more than 100 works for companies such as New York City Ballet, American Ballet Theatre, Stuttgart Ballet, Hubbard Street Dance Chicago, and Pennsylvania Ballet and founded his own company, Trey McIntyre Project, in 2005. McIntyre’s work has been featured in The New York Times, Dance Magazine, PBS NewsHour, People Magazine, Los Angeles Times, Chicago Tribune, The Boston Globe, and many others. He is also a filmmaker and photographer, currently working on a documentary and collection of photos, while continuing to work with companies all over the world.

Finding The Right Dance Company For You

October 20, 2014 by 4dancers

dancers arms — Emily Kate Long, photo by Kimberlyn Aust, www.maduroarts.com

by Emily Kate Long

When I landed my first job in a small professional ballet company, I had no idea what would happen. How long was it supposed to last? How long did I want it to last? I remember being acutely aware of a hierarchy in the dance world at large, and I wanted badly to get as close to the top as I could. I visualized my career as a vertical climb, and I was singularly focused on bigger things. Little did I know the challenges and satisfaction I would find by staying put. Gradually, my own career focus shifted to depth rather than height.

I hardly need to say that the perfectionist, achievement-oriented mentality is part of what makes dancers successful. It can also cloud our focus from opportunities right in front of us. The broad role of dance as an art form is to inform, inspire, and challenge our audience, and there is a real immediacy to that in dancing with a small company. It’s great fun to be a cultural pioneer in the Midwest. It’s also very fulfilling to know that the whole company dances in every single show—like many smaller companies, we’re unranked and therefore always pushing ourselves and one another to be better.

For me, the right fit has meant tons of challenging performance opportunities, plus getting close to many other aspects of being part of an arts organization. The dancers are the community outreach team, the teachers in our affiliated school, and formal and informal public ambassadors. For smaller shows, we are even our own stage crew. It makes me proud to have a wide-ranging and always-deepening skill set.

So, what size environment is the right one? Every dancer’s response to that is different, and it could take a few job changes to figure out the answer. What satisfies me about dancing for a small company is the richness of experience—in classrooms, onstage, in the community. It’s a gift to be able to open people’s eyes to dance in a place where many people don’t yet know they have a ballet company.

For more perspectives on the “What size is right for me?” question, check out these articles from Dance Magazine and Pointe Magazine. If you’re looking for the right fit, big or small, Dance/USA maintains this roster of US dance companies.

dancer doing arabesque — Emily Kate Long, Photo by Avory Pierce

Assistant Editor Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice, and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. She has spent summers studying at Ballet Chicago, Pittsburgh Youth Ballet, Pittsburgh Ballet Theatre School, Miami City Ballet, and Saratoga Summer Dance Intensive/Vail Valley Dance Intensive, where she served as Program Assistant. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007.

Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed principal roles in Courtney Lyon’s Sleeping Beauty, The Nutcracker, and Cinderella. She is also on the faculty of Ballet Quad Cities School of Dance, where she teaches ballet, pointe, and repertoire classes.

Transitioning And Growing In This Dance Life

October 8, 2014 by 4dancers

ballet dancer as swan with feathers — Nicole Teague by Rachel Malehorn

by Rachel Malehorn

When I feel the fall’s first chilly breeze, I know that change is in the air. Nature’s cycle strips leaves from trees, puts scarves on necks, and ripens pumpkins in their patches. Fall also finds the dancers of Milwaukee Ballet back in our studio, home after a long summer lay-off to prepare for our first production, Don Quixote. The process of getting back into the rhythm of daily class and rehearsal has made me reflect on the nature of transition. Some people thrive on change while others balk. In the flow of life, change is inevitable. What interests me is how we as people, and we specifically as dancers, can take advantage of these transitions – to seize any opportunity to grow.

dancer with blue — Susan Gartell by Rachel Malehorn

Student to Professional

Of the many transitions I went through moving from student to professional dancer, one of the most challenging and least anticipated was navigating my first summer lay-off. As a student, I had spent my summers attending summer intensive programs, which prepare a young dancer for a professional career. But once I had finally landed my dream job, and had just finished my first year with the Company, how should I spend the summer months?

My first lay-off was very confusing for me: on the one hand, I had freedom! I could do whatever I wanted – I was cut loose from the rigid discipline binding me during the season. But after only a few weeks of this wide-open schedule, I realized that I was basically addicted to routine, and felt disoriented, rudderless, and in need of some kind of structure. Also, 21 weeks is a long time to subsist without income, and without regular ballet classes, getting back in shape was extremely difficult. Ever since that first summer, I have dedicated myself to answering the question: what does a dancer do when she’s not dancing full time?

This can be a difficult question to answer for people who have spent the majority of their childhoods in single-minded dedication to their art form. When I made the transition from student to professional, it became apparent that only I could determine my life outside the studio. I began asking my colleagues what they did during the summer and received many different suggestions. Eventually, I was able to craft my summer into a time for college courses at a local university, summer dance projects like Terpsicorps in Asheville, North Carolina, traveling, yoga, camping, and adding to my photographic portfolio.

Recently, I asked three of my fellow dancers from Milwaukee Ballet what they did this summer, and got some great answers. [Read more…]

HELP! It’s My First Fringe Show As A Choreographer! What Do I Need To Know?

July 31, 2014 by Katie Sopoci Drake

If you have ever wanted to be a part of a fringe festival, this piece is for you. Get some of the details before you sign on to make the process easier, and hopefully, more enjoyable!

by Katie C. Sopoci Drake

1. Read the fine print

Fringe shows have a lot of rules and fine print. A lot. Some require you to have a website, some require you to have their branding on your advertisement, and all have a lot of very specific deadlines. Read it all and make a checklist. You don’t want to show up at the theater the day of your tech to find out that not only did you have to provide your own lighting designer, but the space is 20×16 and there are no wings.

2. Snazzy Postcards

Everyone has a postcard and you need one too. Here’s the catch, you must make yours stand out without breaking the bank. Funky sizes, color and gloss do this, but they all cost extra. First, figure out what image will instantly scream, “This is the vital essence of my show!” and then pick one of the “extras” that will make your postcard stand out from the others and enhance the message of your advertisement. You will be handing these out like candy, so skip the D.I.Y., “Each of these cards are like a special flower” treatment because people WILL grab them, fold them, shove them in a pocket, or throw them in the trash in front of your eyes.

3. Edit your show description for a non-dance crowd

You know what your piece is about, your dancers get it, but the bad news is that unless you write your title and description to scream, “This is a dance, it is about ____, it the general feel is ____, and it appeals to the ____ crowd!”, then no one but your family and those 3 local die-hard dance fans will come. Stay away from vague and florid language. Keep it short and spell out what the audience will see in as few words as possible.

Here’s a sweet little guide to writing a good Fringe description: http://vicfringeartists.webs.com/apps/blog/entries/show/10703899-fringe-tutorial-1-crafting-a-good-show-description

4. Edit your show for a Fringe audience

Fringe shows are a beast of their own. Fringe audiences are a fun crowd for a reason. They expect a little bit of disaster (intentional or not) with their show-going experience. Because the list of Fringe shows is a mile long, many of your fellow artists will put out their most experimental, bawdy, or hilarious material to get noticed. You will see shows that just don’t fly in a traditional setting here because part of the fun is seeing shows that don’t fit neatly into a regular season. Clowning, one-man/woman shows, and brash political/social commentary all have a welcome home at the Fringe. Knowing what your show will be surrounded by might help you either choose a theme, or a piece from your repertoire that will feel at home too. Comb through show descriptions and reviews from years past to get an idea of what to expect.

5. Shows have 1 or 2 performers for a reason

You read the fine print. Unless you write your own material, dance it yourself, make your own costumes, etc., you will not be able to recoup the price of your rehearsal space rentals in ticket sales. You can’t afford to pay multiple dancers, designers, and rights for text or music. You cannot. So keep it simple, everyone else is too.

Side note: if you are traveling, most Fringe performers stay with friends or local artists near their venue and go grocery shopping for their food. Keep those costs down and get some good friend-time in, but warn your hosts that Fringe-ing will mean late nights and sleeping in.

6. Time your show down to the minute and practice your load in and load out

[Read more…]

Help! My Choreography Doesn’t Fit The Dancers!

June 5, 2014 by Katie Sopoci Drake

by Katie Sopoci Drake

Oh! What to do when you’ve been hired to set a piece on a company, school, department, etc. and when you show up, BAM! It hits you like a ton of bricks. You realize, “These dancers are going to F. A. I. L. if I proceed as planned with my choreography.” Whatever the reason (too little technique, the wrong technique, stubborn, etc.) you cannot allow this to happen because it is your job as choreographer to…

Make your dancers look good. Which will, in turn…
Make your choreography look good. Which will ensure that you…
Make your self look good by making the whole process a success. Because you want to be called again to set more work. Perhaps this time for a piece that is more appropriate for the dancers.

It’s a sticky situation that is mostly avoided by directors doing their homework about a choreographer and choreographers doing their homework about companies/schools/etc. But let’s be real; sometimes directors just need someone to fill the spot and sometimes you just need to get a choreography gig. I know all of this too well because, baby, sometimes Momma just needs a new pair of shoes… or to pay the utility bill. How do we turn this around? Here are a couple of lessons I’ve learned from all sorts of gooey, hot, messes:

It’s time to Pivot when: the dancers are trained in a completely different technique from yours and there is no time to teach them enough of the one you’re using in your piece. Yes, “Pivot” is horrible business jargon, but it’s also a fabulous dance move that we all can relate to. To pivot is to efficiently turn in a new direction, which is what you’re going to have to do, and quick, if you’re going to finish the dance in the limited number of rehearsals given. Think, “Is there a way to use their technique to accomplish my dance?”, “Is there another piece in my repertory that might suit them better?”, or, “Is there a more suitable piece in my repertory that I can pull material from to patch rough spots in this one?”. You’ll have to have a conversation with the director about what you’re seeing in the studio and how to proceed.

Going back to the origin of the movement is essential if you decide to forge ahead with the current piece. You’re going to need to adapt it to the dancers in front of you and reacquainting yourself with the roots of your dance is going to help you do it. If your piece has long lines, but the dancers do not, think about why you put those long lines there in the first place. Was it an architectural choice? Was it an emotional choice? Was it about the strengths of the original dancers? Work from the origins of the movement to find an adaptation that will be successful on the dancers you have in front of you.

When I recently reset a piece on a new dancer, I went back to the root of why the phrase/gesture/movement showed up in the first place. One of the repeating motifs was a twisted and tilted arabesque that elongated to create tension, but I knew that wouldn’t work for this soloist. I told the dancer that I needed something that stretched from two ends until it about snapped. Then I sat back and watched her work it out on her body until the new movement jumped out at me within a minute. I said, “that’s it!” and we were free to move on to the next puzzle. No muss, no fuss. Dancers are quick thinkers when you give them freedom to work it out on their own bodies. The part looks completely different now, but as long as the dancer is accomplishing the goal of the movement, that is a sign of success in my book.

Get Help! If the current piece is unsalvageable, you have the time to build something new, but are hitting a wall with the dancers, then in the words of Doris Humphrey, “Listen to qualified advice; don’t be arrogant.” Pull in the director and peers to look at the stages of the dance. Work that hasn’t had time to be performance-tested needs another eye and the dancers are often more willing to try something new if they know the director is involved in the process.

Lastly, Work with what you’re given. Trust in your own ability to create a compelling structure, and only build phrases with material that looks strong on the dancers. Whether you’re someone who has the dancers create the phrases, or if you create each phrase and feed it to the dancers, trust your instincts. You will see what is working and what is not. Be honest with yourself and cut out what is not being accomplished to your highest standards and, above all, “kill your darlings”. Just because you loved it in your previous pieces doesn’t mean it works this time. In the end, this usually means that you are working with less material, but there are plenty of masterworks in every genre that are startling arrangements of simple movements. Repetition will be your friend here.

Now, get out there and make those dancers look fabulous!

Contributor Katie C. Sopoci Drake, MFA, GL-CMA, is a Washington D.C. based professional dancer, choreographer and teacher specializing in Laban-based contemporary dance. Holding an MFA in Dance from the University of Wisconsin-Milwaukee, a Graduate Certification in Laban Movement Analysis from Columbia College – Chicago, and a BA in Theatre/Dance with a minor in Vocal Performance from Luther College, Sopoci Drake continues to take classes in as many techniques and practices as she can handle to inform her work and life as a curious mover.

Katie Sopoci Drake Photo by Scott Pakudaitis — Katie Sopoci Drake
Photo by Scott Pakudaitis

Katie has been on faculty at The University of Wisconsin-Milwaukee, Nova Southeastern University, Miami Dade College-Wolfson, Miami Dade College-Kendall, Carthage College, and Lawrence University. She currently guest teaches and gives masterclasses around the D.C. area and wherever her travels take her.

As a performer, Sopoci is described as a “sinuous, animal presence of great power; watching her dance is a visceral experience.” (Third Coast Digest). Company credits include Mordine and Company Dance Theater of Chicago, Momentum Dance Company of Miami, Wild Space Dance Company of Milwaukee, and Rosy Simas Danse of Minneapolis. Katie has also made appearances an an independent artist with many companies including Brazz Dance, Your Mother Dances, The Florentine Opera, and The Minnesota Opera.

Katie’s choreography, described as “a beautiful marriage between choreography, music and poetry” (On Milwaukee), arises from her fascination with the idiosyncrasies of daily life, and the flights of fancy that arise from ordinary inspirations. Her work has been performed by numerous companies, colleges and studios across the country and her latest collaboration, Telephone Dance Project, will take her to states up and down the East Coast while investigating long-distance creation and connecting far-flung dance communities.