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.