Hey peeps! I’ve got some exciting updates on upcoming events I’m involved in (dancing, choreographing, or facilitating):

From the Horse’s Mouth
March 15 – 18 at the 14th St Y
Next weekend, I’ll be dancing alongside an amazing cast of speakers, movers, and musicians in this dance and storytelling event celebrating the work of Egyptian ballerina and dance scholar Dr. Magda Saleh. 

Labor of Love? A Long Table
Tuesday, April 17 6:30pm at Gibney 280
The Dance/NYC Junior Committee is hosting discussion around labor, artistic love, and monetary and social value in the dance field. Kim Savarino and I will be co-facilitating this event, with the presence of core participants Brinae Ali, Caroline Fermin, and Alexander Thomson.

Artists By Any Other Name: Her Favorite
April 21at South Oxford Space
I’m excited to begin working with the musician/dance collaborative Artists By Any Other Name. With director Aimee Niemann and co-choreographer Traci Finch, I’ll be choreographing a modern/feminist take on baroque court dance. Stay tuned for updates and additional performance times!


Things I Learned As a Post-Grad Dancer (Part 2)

Continued from Part 1. Not real advice, just the best conclusions I can come up with so far.

I need to see more performances.

In a city with tons of incredible performances of all sorts, enough of them inexpensive and convenient, why am I not seeing them? Because I’m tired, dammit.

But I would really like to prioritize getting myself in the audience this year. Because I’m a hypocrite asking people to watch me without watching them. Because I need to learn and be inspired. Because I’m sick regretfully reading reviews of things I missed.

Maybe none of us were really prepared for this.

Having attended a liberal arts dance program that exposed us to some amazing faculty and guest choreographers, but did not emphasize producing professional dancers, I expected to be behind conservatory-grads in terms of training and career preparation.

However, it sounds like most conservatories are still preparing their students to enter full-time modern repertory companies, which is rare right now. So we’re all kind of floundering as we figure out how to keep dancing and hustling and navigating the freelance scene.

Given that this is the case, part of me still wishes I had the opportunity to really hone my skills in a distraction-free dance-bubble, before real life kicked in. On the other hand, my college experience offered practice in creating my own training schedule, fitting dance into my life around responsibilities, and creating and marketing my own work, all skills that have made it easier to build dance into my life post-grad.

Professionalism is about being able to work in non-ideal circumstances.

You didn’t have time to warm up. You’re tired from working a morning shift job before. The studio is small. The performance space is smaller than the studio you rehearsed in. The performance space is a concrete staircase and your knee hurts. etc. These are all real problems and bad excuses if you are being paid to perform. I’m finding that the most consistently-working artists have found ways to work safely, intelligently, and creatively around any physical or situational limitations.

And I’m challenging myself to use any given circumstance as an opportunity to practice creative problem-solving. Recently, little things like improv videos on my apartment staircase or coffee shop logbook poetry have helped maintain a thread of creativity in my life when I don’t have dedicated time and space to create.

The artist “lifestyle poverty” (which is to some extent a choice) is different from actual lifetime poverty (which is overwhelmingly not).

This is not exactly a new insight, but it does seem especially apparent and under-acknowledged among the “starving artist” class, as we gentrify working-class neighborhoods and dominate the better-payed service jobs. Expect a length post on this later.

I can’t take myself too seriously.

The world might be a an angry button-press away from annihilation, and I’m in a studio figuring out different ways to spin on my butt. And I would not be doing it if I didn’t deeply and wholeheartedly love finding different ways to spin on my butt. But how is that not hilariously absurd?

Besides, taking myself too seriously has never made me better at anything.

Things I’ve Learned as a Post-Grad Dancer (Part One)

Since I’ve been doing the post-grad shuffle for about 6 months now–dancing, freelancing, hustling, and a bit of adulting, as the kids these days say–I thought I would share some lessons I’ve learned so far about being a freelance dancer in New York. This is definitely not how-to-guide or expert advice–there are people much more qualified for that–but rather, some honest observations from my personal experience.

The dance field is less like a pyramid and more like a landscape.

Sure there are some positions higher than others, and plenty of climbing involved, but it’s certainly not a single hierarchy based on one standard of being “the best.” There is incredible diversity in what a successful performer, company, or career looks like, and being a professional is not necessarily about “having what it takes to make it to the top” so much as finding the right niche to carve out a sustainable career. That journey might involve moving around the field horizontally, as well as moving up.

Pickiness is not for me (yet).

There is value in only considering projects that you are truly interested in, particularly if you’ve been working for a while. But right now, I am learning a lot from showing up at classes and auditions that–at least from the description–are “not really my thing.”

Because sometimes the actual experience differs from how it appears on (virtual) paper. Sometimes I reconsider what “my thing” really is. Sometimes going into unfamiliar territory reveals some weaknesses that I would like to work on (one of my goals is to take hip hop classes next year).

And sometimes I just don’t like something. Learning more about what I don’t like and why is also artistically valuable right now.

Some of the most valuable networking* is lateral.

A lot of us have the impression that professional networking is about trying to shmooze with the person at the front of the room. It can be, but it can also mean turning to one of the very talented and creative person who got cut with you at an audition and deciding to hang out and make a piece together.

*(The word “networking” still makes me vomit a little inside.)

Personal administration for freelancers takes time and labor–so budget for it.

Once you add it up, the time it spends to coordinate schedules, respond to emails, and search for new opportunities is not negligible. And it takes extra mental bandwidth to keep track of multiple jobs/projects/clients, as opposed to focusing on one thing. If you don’t specifically budget time for this type of work, you  can either end up slacking on some important logistics or just over-exhausted.

Most of being an adult is sitting on different types of transportation.

And it’s always going to take more time to get there than expected. I had a tough time accepting that I can’t just pack my days full minute-to-minute like I did in college. Planning in more buffer time can feel wasteful or inefficient, but it’s really just responsible (and I’m taking podcast suggestions).

Affordable class options exist if you look around.

When I finished my work-study program in September, I was worried that I would be unable–or at least very de-incentivized–to keep up regular training with the cost of dance classes in NYC (up to $22!). However, while I do sometimes fork over the full-sticker price for class at big studios, I have also found several less expensive options to fill in my schedule.

Personally, I have attended The Playground ($5, usually improv-based classes), Access 8 Classes at Gibney ($8 with rotating contemporary choreographers), $5 Community Ballet, $5 Ballet and Contemporary Classes at Brooklyn Studios for Dance, Broadway Donation Classes (Theater Dance/Ballet/Hip Hop), donation classes With Allison Cook Beaty Dance (Modern/Rep/Conditioning), and complimentary classes at the Merce Cunningham Trust attached to (free) workshop participation. The Broke Dancer Calendar is also a great resource for finding $10 and under classes.

These classes may not have the hype or schedule convenience of larger studios, but they do offer equal quality instruction (sometimes literally the same instructors) and oftentimes, smaller class sizes. If you keep your eyes open on social media and ask around, there’s a lot out there.

Stay tuned for part 2 where I share my current thoughts on defining professionalism, college vs. conservatories, artist poverty vs. actual poverty, and seriousness.

Me and My Life (Profesh and Unprofesh)

It is profoundly weird and disorienting having summer end and no set structure to go back to. On the other hand, I’m starting to piece together a structure for my post-grad life, and I’m pretty thrilled with some of the pieces! Here’s what’s up with me:

(As usual, you can check the news page of my website for details and a constant supply of self-promotion.)

The internets:

  • First off, I finally gave in and got an Instagram (@nadiainherownworld) after years of avoiding it for no particular reason! I look forward to expanding my skill set by wasting time in ways other than Facebook. I mean networking.


  • I’m really excited to be a part of Gotham Dance Theater, and we’ve recently begun rehearsals for the fall season!
  • In other performance news, I will be dancing in a piece by Joe Monteleone as part of Amalgamate Dance Company’s Guest Artist Showcase! The performance, which also includes work by Douglas Gillespie, Tiffany Mills, and Joya Powell, will be September 17.
  • It still feels way too warm to be hearing snow music, but we’ve begun rehearsals for Giada Ferrone’s Nutcracker NYC: A Contemporary Ballet. Performances December 8 and 9!
  • I recently joined Artery, a platform for hosting/performing at/finding pop-up showcases, and it has been one of my favorite things ever. Basically, I have been improvising solos at various rooftop showcases alongside amazing singers, musicians, dancers, and visual artists, and getting to know some wonderful, supportive people.
    • Stay tuned: my roommates and I are looking to organize an all improv showcase before it gets too cold: all improv, any genre (music, dance, theater, comedy, etc.)

But also…

  • I’m a tutor, office assistant, hopefully soon-to-be dance teaching assistant, and barista-in-training.
  • At the moment, I am also a deeply congested  and foggy person.
  • Yesterday, I got on a train in the wrong direction, spaced out, and drifted to Queens. Clearly, my brain is killing it.
  • I tried trimming my hair with a comb-thing which, from the Amazon reviews, seems to be mostly used by people with long-haired cats. Although I am not exactly the same as as a long-haired cat, I figured that we have enough similarities. It worked pretty well.

Dancing on Roofs to Radiolab

I’ve been spending most of the past week or so at City Center Studios learning and rehearsing Merce Cunningham repertory, which by the way, is a physical tongue twister and an equation and a calve killer and a dance history lesson all at the same time (one might even say we are im-Merce-d *knee slap*). I’m really excited to show what we’ve been working on at the showing on Friday (there will be a live stream too, so check the Cunningham Trust streaming page at 4:30pm!)

But last Friday night, I took my dancing back downtown for a different sort of performance experience, improvising at a rooftop showcase organized by Artery, alongside three other captivating musicians and dancers.

When planning for this show, I was in the process of moving apartments and didn’t have the wifi access to do my usual music search. I considered just dancing to whatever was on my phone–and then realized that mostly included a bunch of NPR Radiolab episodes (I’ve been commuting a lot lately).

My friends immediately told me to go with it, and I did–smashing a few episodes together and throwing in some Gwen Stefani and some of my own sound effects.

Here’s what resulted: let’s call it a little study on curiosity, words, and fear.

A Straightforward Update Post: Nadia Does Things

I’ve recently crossed the post-grad threshold between “nothing is happening” and “why is everything happening at the same time?” and thought I was due for a standard life update blog post. This feels much more straightforward and somewhat more self-promotional than what I normally do here, but hey, I promise I’ll be back with the rambly feel-pieces you know and tolerate soon enough.

As usual, the news page on my website will have all the self-promotional deets.

Right now:

  • I’m in my last weekend of performances of “Genesis 22” with the Woolgatherers Theater Group on Governor’s Island. It’s an immersive piece with six directors showing their various re-interpretations (theater, dance, funny, serious, and everything in-between) of a biblical story. I’m a dancey version of Isaac who finds myself some crazy partnering and ends up with audience members covering me in candles.

Photo by Nathan Luttrull and Jan Paulo Musni. Choreography by Caedra Scott-Flaherty.

One of the most challenging things about immersive theater, I’m realizing, is repetition. We repeat our 20 minute piece four times during each performance, as audience members explore and cycle through the different rooms. Not only is this physically demanding, but it also requires that we bring a similar focus and energy to each run–whether it happens to be in a near-empty room or filled with vocal group of 8-year-olds from a summer camp on the island. However, it’s also a chance to really dig into one piece of material and discover new things each time.

More Dancey Things Coming Up That Have Me Pumped:

  • The day after our last show on the island, I’m jumping right in to a performance workshop with the Merce Cunningham Trust. We’ll be training in Cunningham technique and re-staging Cunningham’s 1973 work “Changing Steps” for a performance on August 11.
  • The week after that, on August 18 I’ll be performing in a piece with Trainor Dance at the Battery Dance Festival.

New things starting up:

  • I recently joined Dance/NYC’s Junior Committee, a group of young professionals with various roles in the dance field who come together to discuss relevant social and economic issues. I’m one of the communications coordinators, and we’re looking for ways to use our blog and social media to expand give these discussions a public platform and wider visibility.

Particularly as I am primarily pursuing performance right now, I want to reject the expectation that performers are just silent, voiceless bodies to be used. I’m clearly too opinionated for that, so I’m excited to have a space where I can have a voice and create platforms for more voices in the dance community to be heard.

  • I’m just starting writing for Reductress.com, my favorite source of ironically faux-feminist satire! I always thought that puns and sarcasm would end up being my marketable skills.

Stuff that keeps going:

  • I continue to be a dance class junky and love meeting other dance class junkies of various persuasions, so I’m having a great time taking class in a variety of styles through Mark Morris Dance Center’s work-study program.
  • Generating income is hard. I’m looking for tutoring demand to start picking up as kiddos head back to school.

Between the profesh stuff…

  • As you may have noticed from the previous picture, I have significantly less hair now, and I love it!


  • My sister popped in last weekend to go to a Mashrou’ Leila concert with me (if you don’t know them, they are a socially-concious Lebanese alt-rock group with dope music videos that you should check out). It was both amazing and perhaps the gayrab-est thing I have been to. I tried really hard to get them to sign my shoe and barely failed.

So close though.

  • I’m trying to move apartments at the end of this month! Fortunately, I don’t have that much stuff (it’s not “minimalism,” it’s just not having much stuff).

On my personal project back-burner: 

  • A dance film called “Neutral Pelvis” (Can pelvises really be neutral though, ya know?)
  • A sorta-historical essay about the role of White Jesus in legal race construction


So What Am I Actually Doing?

If you follow me on this blog and not in real life, you probably have picked up on the fact that I am no longer in college. You know that I continue to have feelings and thoughts and jokes which I post on the internet. But perhaps you are wondering: what is this Nadia person actually doing with her life?

Well I am starting have some answers!

I’m incredibly pumped to have some performances lined up in the near future! You can check out the “News” page on my website for full descriptions, locations, and times.

In slightly less performative news, I am also tutoring, doing the work/study program at Mark Morris Dance Center, working as an office assistant for a psychotherapist, and continuing to write stuff (hopefully some of which will get published).