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18 Things I’ve Learned About Being A Professional Dancer

November 4, 2014 by 4dancers

Alessa Rogers, photo by Rick McCullough
Alessa Rogers, photo by Rick McCullough

Dance, like any other career, has a learning curve. With time and experience, you find ways to navigate your daily life in this art form–and piece by piece you learn what works best for you in terms of a career path. It isn’t always easy–especially in the beginning–but over time, most dancers find their own way.

Our new series features posts from professional dancers from companies across the nation. They’ll be writing about a variety of different topics, sharing a behind-the-scenes look at what this career looks like up close…each from their own individual perspective.

Today we’ll be hearing from our new contributing writer Alessa Rogers. A dancer at Atlanta Ballet, she has graciously pulled together some of the most valuable things she has learned over the course of her career to share with you here–including a piece of advice from Twyla Tharp! Look for more posts from Alessa and other professional dancers in the coming months.

We hope you are enjoying this new series!        –Catherine


dancer doing a grand jete
Alessa Rogers rehearsing Possokhov’s Classical Symphony, photo by Charlie McCullers

 by Alessa Rogers

There is no formula for being a professional ballet dancer. There are some obvious requirements like having a good work ethic, a good teacher, a fair amount of luck–and a lot of Advil. But there are some other tips that I’ve picked up over the course of the past couple decades that I have found useful in my career.

1) Don’t quit. This may seem like a no-brainer but sometimes I feel like the reason that I managed to become a professional dancer over some of the girls I trained with is simply that I stuck with it and they didn’t.

2) Be nice. By criticizing others you take energy away from improving yourself. Gossip will not make you a better dancer and it will definitely make you a less desirable person to be around. Remember that the dance world is incredibly small. You will run into the same people again. Make it so that when you do run into those people they are happy to see you. You never know when it will pay off to have been kind.

Even when you are doing a solo, don’t forget about the countless people who helped you get to where you are today–your parents, teachers, the artistic staff, even the production crew. These people don’t get a curtain call or spotlight. Be grateful to those people in your life and when you get a chance, pass it on.

3) Love your body, worship it, treat it well. As a dancer, your body is the only instrument you have. Listen to it when it hurts and needs special care. Kiss your feet before a show. Say thank you to your body after a long week. Ballet gives us nothing to hold, so care for your body like a museum would care for a masterpiece.

4) Learn from others. Watch dance voraciously. Watching the people in your class is the easiest way to do that but these days you can watch almost anything online. If possible go see professional dance live. Ask professional dancers questions. Learn from them. But learn from your friends too. A correction for them is also a correction for you. Which brings us to:

5) Corrections are good things. Don’t feel ashamed or take it too personally if you get a correction. Feel grateful that you have a chance to improve. Strive to hear a correction only once.

As soon as I am given a correction I repeat it in my head a few times to help it stick. Later I might write it down. Be patient with yourself if it does take some time to apply. Bodies respond differently everyday and habits are hard to change but make no excuses when something doesn’t work. Mistakes happen, even when you are a professional dancer. Learn from them and then let them go.

Alessa Rogers, photo by Rick McCullough
Alessa Rogers, photo by Rick McCullough

6) There will always be someone better than you. The sooner you realize this the sooner you will be able to be proud of where you are right now and how far you’ve come. Having people who are better than you should give you inspiration–not depression. Be gentle with yourself. A dancer has to work hard enough, don’t put yourself down while you are doing it. Trust me, other people will do that for you. Be patient with yourself and ignore the naysayers, especially if the naysayer is you. You are almost certainly better than you think you are.

7) You have to find the right company for you. It might take a few before you find a good fit. Having a dream company is good for motivation, but realize there are so many factors that go into hiring dancers. If that dream company passes you up because they need a brunette this season that shouldn’t crush your dreams of being a dancer in general.

Find a company that will appreciate you and also push you to be the best dancer you can be. When you do get a job don’t be afraid to have respectful conversations with your director about issues that concern you. Also, cattle call auditions are rarely the best way to be seen.

8) Work smart. A ballet career is so short. You have to work hard to make use of the time you have. This does not always mean physically (but do that too). You can save a lot of time and energy if you use your brain as well.

Instead of throwing yourself into doing something poorly over and over again pause and think about how you could approach it differently. You’ll find you have more control over your body and improve more rapidly. Decide before each combination what you are going to focus on in that combination. It might be your port de bras or playing with the musicality or spotting a different place. Thinking about an intention before each combination or visualizing the choreography in your head before you actually take a single step will help enormously.

Also, do your homework at night. Go over your part, research your roles and take care of your body so you are prepared for the next day. [Read more…]

Filed Under: Editorial Tagged With: advice for dancers, alessa rogers, atlanta ballet, ballet company, dance company, professional ballet dancer, professional dancer

Helen Pickett: Atlanta Ballet’s New Resident Choreographer

November 19, 2012 by 4dancers

Helen Pickett
Atlanta Ballet’s new resident choreographer Helen Pickett

Helen Pickett started dancing at the age of eight after her mother called in and won tickets to see Nutcracker in a contest on the radio. Now, she will be taking on the title of resident choreographer at Atlanta Ballet–a three-year commitment that includes new works and an annual workshop. In-between, her life has been quite a journey.

Helen performed with William Forsythe’s Ballett Frankfurt for more than a decade and she has choreographed for companies such as Boston Ballet, Ballet X, Ballet West, Dance Theatre of Harlem and Smuin Ballet. These are just a few of the accomplishments she has garnered over the course of her career thus far.

4dancers.org asked Helen some questions via e-mail to learn more about her background and what her thoughts are in terms of signing on with Atlanta Ballet…

What is your background in dance?

At 14 started training with San Francisco Ballet School. At 19, I met William Forsythe while he was creating New Sleep for SFB. I flew to Frankfurt to see the company and take class. I started Ballett Frankfurt the next season. I moved to NYC in 1999 to start acting with the theater company, Wooster Group, director, Elizabeth LeCompte. Also in 1999, I started teaching at The Ailey School, under the direction of Denise Jefferson.

How did your dance career wind up evolving into choreography?

In 2005 I received a call from Mikko Nissinen, director at Boston Ballet, asking me if I would like to choreograph for the company. I said yes. The wind up was urgent. Meaning I knew I must say yes now. Prior to this call, I had choreographed solos for students at The Ailey School, Purchase College and Julliard. I need to be in a dance studio.

Did your time with William Forsythe have an impact on your choreographic style? Why or why not?

Bill sees/saw/will always see possibility in life. Tapping into one’s curiosity creates possibility. Forsythe and many others, inside and outside of dance, have influenced my lifestyle. The sum of our lives impacts all decisions we come to.

How would you describe your style and process? [Read more…]

Filed Under: 4dancers, Editorial, Making Dances Tagged With: atlanta ballet, ballet x, ballett frankfurt, boston ballet, choreographer, helen pickett, san francisco ballet, william forsythe

Choreography: Transforming Personal Poisons Into Beauty?

May 14, 2012 by 4dancers

Atlanta Ballet’s New Choreographic Voices is exactly what it sounds like–a showcase for talented emerging choreographers. This year, the company presents three pieces–two world premieres and one Atlanta premiere. The choreographers include Christopher Wheeldon, Helen Pickett and Atlanta Ballet’s own company member Tara Lee.

Tara Lee, Photo by Charlie McCullers

Lee is a principal dancer in her sixteenth season with the Atlanta Ballet, and her choreography has also been performed by New Orleans Ballet Theatre and Emory Dance Company. Here she shares some of the ideas that inspired her latest piece, as well as what it was like to collaborate with a composer…

How did you first begin choreographing for Atlanta Ballet?

The ballet held a choreographers’ workshop years ago, where those of us who were interested could create a piece on the company and then show our work to a small audience in our studios. I presented an unfinished piece for the workshop, and (Artistic Director) John McFall invited me do a completed version for the company’s following season. “Sixteen String” was my first professional work; it premiered at the Ferst Centre in 2003.

How many works have you choreographed so far?

About 6…”Pavo” will be my third work for the Atlanta Ballet.

What was your process like when you created this piece?

The process of creating “Pavo” has been unique, because we commissioned an original score (a first for me) from Dr. Nickitas Demos, professor at Georgia State. It has been quite an experience, to create something that is in constant flux from all ends. Thankfully, Nick is a wonderful artist and collaborator.

As for the choreography, it ended up being a mixture of prepared material and spontaneous creation in the studio with the dancers. I might teach a body of material, and then ask the dancers to insert their language into those sequences. Then we would continue to adapt that new information further.

Working on "Pavo", Photo by Charlie McCullers

Jesse Tyler (my assistant choreographer) and I might improvise some partnering work in the studio, end up teaching it to the cast, and then evolving it with the dancers’ input. We would usually put the music into the mix after the choreography was already shaped and find the dancers’ natural timing to synchronize all the elements.

Can you tell us a bit more about the inspiration behind your new work?

Initially, Nick and I had a couple of meetings to see if things clicked, and we quickly came up with a couple of themes we were interested in exploring: cycles and continuum. After deciding on instrumentation, length of movements, and general dynamics of each section, Nick began to send me pieces of the score.

I was at a bit of a loss at first. The music was dynamic, but I didn’t know what to do with it, choreographically or thematically. Then I found an article about the peacock. It resonated with me instantly, and it became clear that I wanted to base the ballet on the spiritual symbolism of the bird. “Pavo” is the Latin word for peacock.

Photo by Charlie McCullers

When I learned that the peacock can digest poisonous snakes, and therefore represents the transmuting of one’s personal poisons, I recognized one of Nick’s sections to be “the digestion of poisons”.  Some riffs even sounded like snake charmer music. I read further and discovered that peacocks dance restlessly before rainstorms; this presented the inspiration for the musical section I was worried about–it’s a very complex, feverish 3 minutes, and it made sense that it would be the storm section.

Nick had also sent me a lovely adagio for the featured duet, and when I read that peacocks also represent fidelity and faithfulness, I thought it was another great match. It was exciting to see our once broad themes become more focused and inspired. We had talked about cycles at our first meeting, and the metaphor of the peacock represented a breaking out of a cycle—a negative one. Awesome.

What do you enjoy the most about choreographing a piece?

I love walking out of a rehearsal being completely surprised at what we all just created.

New Choreographic Voices will run May 18th – May 20th on The Alliance Stage at the Woodruff Arts Center.

Watch an interview with Tara Lee:

Filed Under: 4dancers, Making Dances Tagged With: atlanta ballet, choreographer, choreography, christopher Wheeldon, helen pickett, john mcfall, new choreographic voices, pavo, tara lee

Dancer Spotlight: Pedro Gamino

February 27, 2012 by 4dancers

We’re back again with a “Dancer Spotlight”! Today we are featuring Pedro Gamino from Atlanta Ballet:

Pedro Gamino, photo courtesy of Atlanta Ballet

How did you become involved with dance?

My parents. They wanted my sister and I to have experiences they never had growing up. So they put us in dance and sports.

What is the best advice you have ever received from a teacher or mentor regarding dance?

When performing it is never the same show twice so give it all for yourself and the audience.

What has been your greatest challenge?

Dancing in sync with another dancer through some very difficult choreography. Being correct on the counts is one thing but to be together and feel their timing and energy takes you to another level.

Do you have any advice for dancers who want to go on to a professional career?

Keep open to all different styles of dance. The style you are least comfortable with–go after that one first. So many young dancers try to limit themselves to just ballet or jazz or Hip-Hop. The more well rounded you are the more exciting of a dancer you will become.

What do you enjoy most about your life in dance?

I’m getting a chance to do what I love to do. Especially now being in the same company as my new wife (Faye Abigail Tan-Gamino). We got hired at Atlanta Ballet together and stuck by each other through each experience/challenge and now we’re happily married.

What is next for you?

I would like become a PT either for dancers or for professional sports. Preferably football. Football is my guilty pleasure. Go Niners!!!!

BIO: A San Francisco native, began his training at age 13 with the San Francisco Academy of Ballet and later studied at the San Francisco School of the Arts High School and the School of American Ballet in New York City. Pedro returned to San Francisco to begin his professional career with the Smuin Ballet, where he worked with noted choreographers Michael Smuin, Amy Seiwert and Shannon Hurlburt, and also enjoyed a stint at Dayton Ballet where he worked with choreographers Septime Webre, Dermot Burke and Steven Mills. Eager to get back to the east coast, he accepted an opportunity to dance with American Repertory Ballet (ARB) in New Jersey. There he danced ballets and world premieres by Val Caniparoli, Lisa de Ribere, Twyla Tharp, Susan Shields and Graham Lustig among others.  Pedro joins Atlanta Ballet with friends and former ARB company mates Abigail and Jared Tan. In addition to ballet, Pedro is a skilled Mexican folk and tap dancer, a former soccer and baseball player, and an avid bowler. Pedro is very happy to be a part of the Atlanta Ballet family and looks forward to a great season.

Filed Under: Dancer Spotlight Tagged With: atlanta ballet, Ballet, interviews with dancers, pedro gamino

10 Questions With…Nadia Mara

February 20, 2012 by 4dancers

Our “10 Questions With…” today is with Nadia Mara from Atlanta Ballet…

Nadia Mara

1. How did you become involved with dance?

When I was 3 years old my mother took me to my first ballet class and since then I’ve been in love with the art of dancing.

2. What are you currently doing in the field?

Rehearsing Twyla Tharp’s world premiere The P,rincess and the Goblin.

3. Would you share a special moment from your career with readers?

Performing Giselle was very special to me. It was my first full length ballet and It was very challenging! I did a lot of research on the role during the previous months, watched many different versions, spent hours in the studios trying to make it as perfect as I could. After the show my parents were very proud and gave me a big hug and a beautiful bouquet of flowers. I still keep one between a book’s pages.

4. What is the best advice you have ever received from a teacher or mentor regarding dance? [Read more…]

Filed Under: 10 Questions With... Tagged With: atlanta ballet, giselle, nadia mara, princess and the goblin, romeo and juliet, twyla tharp

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