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My Top 3 Challenges As A Dancer

April 6, 2016 by 4dancers

Joffrey Ballet dancer Cara Marie Gary in Jiří Kylián's Forgotten Land.
Joffrey Ballet dancer Cara Marie Gary in Jiří Kylián’s Forgotten Land. Photo by Cheryl Mann.

by Cara Marie Gary

As a young ballet student or aspiring professional dancer, some big challenges in life usually center around getting into a top summer program, performing well in a competition, or landing that first contract with a professional company. These were certainly part of my experience, but now as a professional dancer with some seasoning and experience, the challenges that I face on a daily basis are different, but just as important.

Pain Management

One of the top challenges in my life as a dancer is dealing with and learning to appropriately manage pain. Fortunately, I haven’t had any major injuries while dancing professionally, but aches in my body are a daily struggle, as an average five-day rehearsal week consists of approximately 38 hours of dancing. Each morning I wake up refreshed, but often with minor aches and pains, and over the years, I’ve found some helpful remedies for this challenge. I often consult with my physical therapists about the pain I’m experiencing and they always offer specific strengthening exercises for weak areas that could be linked to the source of pain.

It’s simply part of my daily routine for my joints to snap, crackle, and pop, especially in the morning, and even though I’m used to these noises, I try to make monthly appointments with a chiropractor for proper treatment. 
I’ve also learned to explore and experiment with alternative techniques and have discovered a lot about what works for my body. For example, I tend to hold a lot of tension and stress in my upper back and neck. I’ve found that the best remedy for this area of pain is a technique called “cupping”. It’s an ancient form of alternative medicine that uses cups and heat to create a suction that pulls the fascia tissue towards the cup, ultimately mobilizing blood flow to promote healing. The cups are normally left on for about fifteen minutes, and once they are removed I feel an immediate release of tension and have a noticeable increased range of motion in my upper back and neck areas. This technique creates dark circles where the cups where placed, and often times my co-workers joke that it looks like I got attacked by an octopus, but I don’t mind, because cupping works miracles for me!

Photo courtesy of Cara Marie Gary.
Myself after cupping. (Photo courtesy of Cara Marie Gary.)

When my calves or hamstrings are hurting, I’ve undergone a technique
called “dry needling”. This is a process similar to acupuncture, but a little more invasive, because the needle is inserted into the skin and muscle. Sometimes, the sensation of the needle hitting a trigger point makes me almost jump off the table, but the certified physical therapists are quick and efficient. At times I’ll be a little sore the next day, but the overall result pays off with lasting relief in the areas that have been targeted.

Photo courtesy of Cara Marie Gary.
Ice bucket. (Photo courtesy of Cara Marie Gary.)

My favorite treatment, of course, is a massage – but not one of those gentle, relaxing, soft-music-playing-in-the-background kinds. I find that deep tissue massage is the best to help release knots and improve circulation. In contrast, my least favorite treatment is the ice bucket. Although it is effective, I tend to hold off on using this treatment until I can no longer stuff my swollen feet into my pointe shoes (Nutcracker season is often the culprit). Everyone has a different pain tolerance, but it’s important to not just push through the pain. Instead of continuing to torture my body, I’ve learned how important it is to deal with pain intentionally, and to find specific and effective ways to care for myself.

Personal vs Professional Life

Another challenge I face as a dancer is separating my work from my personal life. Although I’m passionate about dancing, I’m normally in the studio eight hours a day, five days a week, and I feel it’s important to focus on other interests and activities once work is completed for the day. To tackle this challenge, my roommate (also a dancer with The Joffrey Ballet) and I came up with some “house rules”.

First, we are intentional about limiting talk about work when we’re at home, and we also make sure to leave “work duties” at work – that means no bringing pointe shoes home to sew! Instead, we focus our attention on other aspects of our lives. For example, we try new recipes and often cook together, and instead of watching dance-related videos, we might turn to Netflix for a less-connected escape from reality.

Amber Neumann (my roommate) and I having brunch. Photo courtesy of Cara Marie Gary.
Amber Neumann (my roommate) and I having brunch. (Photo courtesy of Cara Marie Gary.)

We both enjoy art in other forms and have unashamedly bought into the growing phenomenon of the therapeutic adult coloring books, and I sometimes paint while my roommate designs and sews clothing for herself and others. I also enjoy crocheting, (I usually have a project or two going at a time), and on weekends I like to add brunch or a Bikram yoga class to the mix. As dancers, it’s important to recognize that we work in a very unique artistic bubble, and I’ve found that it’s healthy (and fun!) to develop boundaries and a balance between my work and my personal life.

Adapting To Change

A final challenge I face as a dancer is learning to adapt to change. I’ve found that it’s necessary to be versatile in all aspects of what my job demands. The beautiful thing about our art form is that it is constantly evolving, and dancers often have to learn to adapt to new choreography and styles as ballet and dance continue to push boundaries. It’s important to not be timid and learn to be bold when exploring new styles of movement. l try to watch and learn from fellow artists and apply corrections from ballet masters and choreographers, and I’ve found it always goes a long way to be polite and respectful to the people surrounding you as you learn together.

Dancers also have to adapt to occasional disappointments at work. Like any other job, there will be good days and bad days. Sometimes you show up to work and feel great when you’re completely on your leg and feel like you’ve had some really productive rehearsals or successful performances. Other days you might deal with situations like dealing with a painful ache, experiencing unwanted casting changes, or not seeing your name next to a desired role. I think it’s important to avoid focusing on the drama or negative feelings on those bad days. Instead, it’s important to open up your horizons to inspiration not only in the workplace, but also outside of that “ballet bubble”. That could be through studying something new, getting involved in organizations about an issue or community that matters to you, or simply getting out in your city and appreciating what makes the world around you unique.

As humans, we’re often creatures of habit and resist change, but I’ve come to realize that change is the only constant in life. Accepting this fact and learning to move forward has been an ongoing task, and I find that I deal with this challenge most successfully by choosing to adapt and learn from each experience.

Though the challenges that I now face as a professional dancer are different than my days as a young student, pursuing this career has certainly always kept me pushing myself to learn and improve in new settings and environments. Since the opportunity to dance as a career has become my daily reality, I’ve learned that challenges will always keep coming, but life is too short to not enjoy each moment. I challenge aspiring dancers to not be discouraged by the challenges they face, but to find something positive in every day, and use that determined perspective to keep moving toward their goals.


Cara Marie Gary
Joffrey Ballet dancer Cara Marie Gary

Contributor Cara Marie Gary is a native of Belton, South Carolina. She joined The Joffrey Ballet in July 2012. Prior to joining The Joffrey Ballet, Ms. Gary danced with American Ballet Theatre’s ABTII and was an apprentice with Orlando Ballet. Ms. Gary began her formal ballet training at International Ballet Academy in Greer, South Carolina, under Hennadii Bespechnyi and Vlada Kvsselova. Ms. Gary received additional training at summer intensives with American Ballet Theatre, Brianskv Saratoga Ballet Center, Ukrainian Academy of Dance South Carolina Governors School, Ballet Spartanburg, and Chautauqua Institution. Ms. Gary graduated with honors from Belton-Honea Path High School and is currently pursuing a Business Administration degree online through North Greenville University.

In 2010, Ms. Gary was a competitor in the IX USA International Ballet Competition held in Jackson, Mississippi. She was a top twelve finalist in the Youth America Grand Prix National Finals in 2008 and 2009. She also received the overall Grand Prix Award in the 2009 YAGP regional semi-finals. In 2006, she was awarded a Diploma of Laureate at the VI Serge Lifar International Ballet Competition held in Kiev, Ukraine.

Ms. Gary has had the opportunity to tour throughout the United States and Europe. Ms. Gary has performed the title role in classical ballets such as The Nutcracker, La Sylphide, Don Quixote, Paquita, Markitanka pas de six, and Coppelia. Her repertoire with ABT II includes roles in the Flame of Paris pas de deux, Jerome Robbins’ Interplay, Antony Tudor’s Continuo, George Balanchine’s Allegro Brillante and Stars and Stripes pas de deux, Jessica Lang’s Vivace Motifs, Roger Vanfleteren’s Pavlovsk, Jodi Gate’s A Taste of Sweet Velvet, Aszure Barton’s Barbara, and Edward Liang’s Ballo Per Sei. Ms. Gary has performed roles in new choreography by Robert Hill. Her repertoire with Orlando Ballet also consists of Sleeping Beauty, The Nutcracker, and Swan Lake.

Filed Under: 4dancers, Career Tagged With: advice for dancers, ballet student, cara marie gary, dance career, dance challenges, joffrey ballet, professional dancer, The Joffey Ballet, young dancer

Two Decades At Colorado Ballet

December 17, 2015 by 4dancers

Sharon Wehner
Colorado Ballet’s Sharon Wehner. Photo by Allen Birnbach.

by Sharon Wehner

“What does it mean to you to be celebrating your 20th season with the Colorado Ballet?”

This is a question I have been asked over and over again since our season started this past July—a question asked by my colleagues, by board members, by our marketing department, and by numerous members of the media. I have spent hours pondering it, and each time I am asked, it seems I have a different answer.

It is a big question, and quite honestly, I dread it, because it sends me spinning into a myriad of memories and growth periods—both beautiful ones, and those that were, well, more challenging. My first response is to say that it feels like any milestone birthday. On the one hand, it’s could be viewed as just another number. From a pessimistic perspective, it could be seen as the inevitable passing of time—one year closer to the end. Dancers love to bemoan how old they are getting and how old their bodies feel, a tendency that starts about the age of puberty. But from another perspective, a milestone birthday could be an opportunity to feel blessed—one more year to be able to be and do what I love.

What does it mean to dance for twenty years in the same company? As every dancer knows, choosing this as one’s profession means accepting some unique parameters:

  • Dancing is a career with a limited lifespan—retirement does not mean turning 65.5 and collecting a pension. Longevity in one company may earn a small amount of seniority, but nothing like the retirement benefits of a company in the corporate world.
  • Being a professional dancer requires a particular lifestyle commitment. Because our body is our bread and butter, what we do outside the “office” affects our ability to be at the top of our game. Simple things like food, sleep, rest, exercise, and play are all intimately connected to our performance. And as the years pass, maintenance on the body becomes an increasingly refined and conscientious balance of these elements.
  • Dancing can be a very transient kind of lifestyle. Those who freelance must weave together a patchwork of gigs, supplemented by other kinds of work to pay the bills. They must be able to adapt quickly to new bosses, colleagues, an environments. Even those dancers who want the stability of a company, will often switch companies several times during the span of their careers, for a number of reasons.

Given all of these tendencies, why would someone commit the bulk of their dance career to one ballet company for 20-plus years? When I ask myself this question, there are a multitude of answers, which brings up the question “What are the advantages of such a commitment?” [Read more…]

Filed Under: 4dancers, Career Tagged With: ballet career, colorado ballet, dance career, giselle, Koichi Kubo, nutcracker, professional dancer, Sharon Wehner, sugar plum fairy

Trey McIntyre On The #DancerResource Project

March 31, 2015 by 4dancers

 

Trey McIntyre
Trey McIntyre

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.

Filed Under: Career Tagged With: #dancerresource, american ballet theatre, Chanel DaSilva, choreographers, dance career, Dancer Resource, David Hallberg, Johnathan Jordan, Lar Lubovitch, river north dance chicago, san francisco ballet, Sidra Bell, The Bad Boys of Dance, the washington ballet, Tobin Del Coure, Trey McIntyre, trey mcintyre project, university of north caroline school of the arts

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.

 

Filed Under: Career Tagged With: career advice, dance career, dance company, emily kate long, professional ballet company, small dance company

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.  

Surprise! No Cross-Overs!

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.

Keep it simple!
Keep it simple!

 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…]

Filed Under: Career Tagged With: dance career, fringe festivals, fringe shows, minnesota fringe

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