By Tara Sheena.

As dancers, most of our earliest memories are in the rehearsal studio or onstage. Those bright moments where we felt completely alive and knew we had to continue on this disciplined, yet rewarding track. For Matthew Powell it started at ten years of age in his local library in West Virginia. He recalls watching a video of the famed Russian ballerina, Natalia Makarova, dancing in The Nutcracker because “it was the only dance video they had.” From there he was hooked. The allure and beauty of the performance made him realize his potential and he remembers that moment as the one where he decided to start working hard to get there.

Fast forward twenty-three years and it seems his hard work has paid off. He trained at the Manhattan-based School of American Ballet (SAB) for the last two years of his high school career, a move that almost did not happen because of financial burdens on him and his family. After placing an ad in his local newspaper, he was able to raise enough funds to travel to the summer program before being accepted year-round on scholarship at age sixteen.  Soon after graduation, he moved to Seattle, Washington to dance for the Pacific Northwest Ballet. After four years there, he signed with the Kansas City Ballet where he remained until 2008. During these years he recalls the pure joy in bringing to life characters like “Oh, Johnny, Oh” in Paul Taylor’s Company B and the Shy Boy in Jerome Robbins’ The Concert. However, making the move back to New York was a natural choice in order for Powell to take the next steps in his career.

“It got to the point where I could look at the season ahead and see what parts I was going to be doing,” he explains. “I was like ‘this is great, but there’s a lot more I could be doing as well’.” Around this time Powell’s sister-in-law developed terminal colon cancer, a disease that sadly took her life. He remembers that being somewhat of a wake-up call for him, saying, “I need[ed] to live a little and push myself and live my life.”

Matthew Powell. Photos by Brian Jamie.

Living his life meant moving back to the city he had known and loved throughout his time as a teenager at SAB. However, his return did not last long. Shortly after moving back he answered a Craigslist ad that turned out to be an audition for the first international tour of West Side Story. Having very little singing and acting experience, Powell went to the audition with little expectation. His stress-free approach worked and he toured the world as “A-Rab”, one of the Jet characters in the famed musical. Despite getting to improve his singing and acting skills, as well as performing the legendary Jerome Robbins’ choreography, Powell admits, “I didn’t move to New York to do musical theatre, but I am glad I got the opportunity.”

Despite his undeniable success as a performer, it is evident that Powell thrives most with being a teacher. He has a boyish charm and calm demeanor that provides a very welcoming feeling for anyone who takes his class. And luckily it is very easy to catch a class of his in NYC. With a full teaching schedule that includes six classes a week at Broadway Dance Center, and gigs lined up at Cedar Lake Ballet, as well as the Brooklyn Ballet, Powell has forged a successful (and full) teaching career for himself in the past two years.

In the midst of his busy teaching schedule, he somehow found time to complete his degree as a part of the Liberal Education for Arts Professionals, or LEAP, program this past spring—with a 4.0 GPA nonetheless. With a focus in dance, as well as a minor in business, Powell was free to explore elective classes through the program. Through that he found the Alexander Technique, an education process that aims to lessen tension in people’s bodies. These principles have found their way into Powell’s classes. He explains, “My approach is all about creating an environment that promotes growth.” Powell cites his study of Alexander Technique as a big lesson in really being “in the moment” when teaching a full schedule of different classes.

What’s more, Powell understands the busy life of a dancer because he’s been there. Bouncing from audition to audition, taking on freelance jobs, and the lack of steady income are things he has experience himself. He chooses to combat the stress and anxiety brought on by this lifestyle in his ballet classes. Powell knows that a dancer may drop into his class having just “botched” three auditions, and he feels it is necessary to respond to that within his teaching style. “It’s just me there wanting them to do the best that they possibly can,” he says with sincerity.

It’s clear that Powell has cultivated this encouraging approach through his years of professional training and forging a career as an educator and director, and there’s no slowing down any time soon for this enthusiastic balletomane. Upcoming projects include his fourth photo shoot as a director for Bloch dancewear as well as an assistant director role in a production for the Ft. Worth Opera. It’s no secret Powell does a lot but, what’s more, he does it with a sense of calm and maturity many dancers would benefit from. He simply feels it’s all about “finding a balance.” Powell states, “You have to have a good network of support around you…if you don’t, people will see that and it’ll show in your work too.” Clearly he has followed his own advice.

Catch Matthew Powell’s ballet classes at Broadway Dance Center in NYC. Go to www.broadwaydancecenter.com/faculty/bios/powell_matthew.shtml for more information.

By Kristy Johnson.

They’re considered the best in the business, are often imitated but never equalled, and know how to work a crowd on the football field. Among 500 other gorgeous and talented girls, Aussie Angela Nicotera set out to audition for the most renowned cheer squad on the other side of the world, in Dallas, Texas. Having studied dance throughout her childhood and being a loyal cheerleader for Australia’s National Rugby League, Angela was determined to use her training and experience to earn the instantly recognizable blue and white uniform.

Now in her second season as a veteran for the squad, Dance Informa catches up with Angela to learn what it exactly takes to become a professional cheerleader.

How intense was the audition process?

The audition process is not only intense, but it’s long, strenuous, physically demanding and emotionally draining. The complete audition process takes twelve weeks. It’s like a version of Survivor for dancers!

What was involved in the audition during the preliminary stage?

During preliminaries you need to make an impression by dancing freestyle for 60 seconds, in groups of five. I was trying to forget there was a panel of fifteen judges, television cameras filming the reality show Dallas Cowboys Cheerleaders: Making the Team, and that I was auditioning at Cowboys Stadium, on the other side of the world. I was auditioning for the most renowned cheer squad! With 500 gorgeous girls striving for one of the coveted spots as a Dallas Cowboys Cheerleader and a multitude of rhinestones blinding sight, I started to doubt myself.

How hard was it to remain positive?

Somehow I made it to semi-finals, but it was still difficult to remain positive. Learning choreography and the world famous kick-line in one hour was tough. Then I had 45 minutes to not only redeem my appearance, disguising any signs of strenuous activity, but also perfect the choreography and perform in front of the judges.

What was involved in the final round of auditions?

They invite 60 new candidates to finals to join the re-auditioning veterans the following week. You have a 90 second solo and then perform the choreography and kick-line with veterans so they can compare your style of dance and flexibility to those with experience in the uniform. For the solo portion of the audition it’s important to portray individuality and present something the judges will remember.

From the 60 new candidates and the 25 re-auditioning veterans, 45 were invited to a training camp. It was a ten-week process of learning 30 new routines, adapting to different styles of choreography, photo shoots, five-hour rehearsals, fighting fatigue, high kicks and pushing through injury, all whilst keeping a smile on my face and performing.

How did you feel when you made the squad?

The 2011-2012 squad was announced on the very last night of training camp. When the squad was announced, the exhaustion and fatigue were all of a sudden overtaken by emotions of excitement and accomplishment. The punishing, rigorous hours invested had paid off.

What’s involved in training when you’re preparing for a game?

There are many hours of practice that contribute to performing at a game. Our performance is a part of the Cowboys game day experience. We perform the traditional pre-game routine to AC/DC Thunderstruck at every game, as well as four routines throughout the game. Rehearsals leading up to a game will typically last anywhere between three to five hours, five nights a week. The Dallas Cowboys Cheerleaders are well known for precision and perfect timing. The long rehearsals ensure that we not only know the routines and our spacing, but also perform with confidence to the crowd, television cameras and photographers, to maintain the high standards of the Director Kelli Finglass and Choreographer Judy Trammell.

How much dance training is expected if you want to be an NFL cheerleader?

Dance training is not essential for cheerleading, but without a dance background there is no way I would have made it through the audition process. The dance and cheerleading industry is very competitive so I would definitely recommend maintaining your dance technique and performance experience.

How important is flexibility?

Flexibility is a key component of the technique expectations from the Dallas Cowboys Cheerleaders. It doesn’t have to be the best, but it must be workable. The DCC are one of the only professional cheerleading squads that still perform their world famous kick-line and jump split at every pre-game performance. It is phenomenal and the crowd love it. If you have never seen it, I encourage you to look up videos on youtube.com

How important is good diet and exercise when you’re a cheerleader?

A good diet and exercise are integral to cheerleading. Our uniform is very unforgiving and shows even the slightest fluctuation in weight loss or weight gain. We have such a busy schedule so it is difficult to eat regular meals, but after a year, I have adapted my habits to ensure I always consume sufficient carbohydrates and protein. Stamina and nutrition play an important role in your performance on and off the field. It is easy to burn out, or lose energy after two hours of practicing the same routine, and we dance for four hours at a game.

Besides dancing, what other forms of exercise do you do to ensure you’re in peak condition?

In addition to our rehearsals every night, I squeeze three to five sessions of weight training or boxing into my workout regime. Boxing is by far my favourite way to burn calories whilst having fun and punching out any frustration or stress.

What’s the best thing about being a Dallas Cowboys Cheerleader?

The best thing about being a Dallas Cowboys Cheerleader is earning the uniform. It is a recognisable icon and a part of history and tradition. Through the hours invested in the intense audition process, and the long rehearsal hours, I just remember the feeling of the first time I tried on the uniform. Words cannot describe how incredible it is. I still get goosebumps every time I tie my top, buckle my belt and put on my white Lucchese cowboy boots. I have been so blessed with this opportunity to carry the tradition as one of America’s Sweethearts: ‘The Often Imitated, Never Equalled, Internationally Acclaimed, Dallas Cowboys Cheerleaders’

You can follow Angela on Twitter @DCC_Angela

Photos of  Angela Nicotera courtesy of the Dallas Cowboys Cheerleaders

By Stephanie Wolf.

Thoughts of ‘making it’ as a dancer can conjure up images of scenes from the 1970s Broadway hit A Chorus Line, with leotard-clad dancers singing, “I hope I get it!” Jump to more than 40 years later and, while the sentiments have not changed, the audition scene is a very different game. As part of its intimate Artists Talk Series, Steps Beyond, the performance and special event division of Steps on Broadway, addresses the concerns of finding employment in the dance field. Panel discussion “Getting the Job”, featured guest panelists Joshua Bergasse (Choreographer for NBC’s Smash), Ruthlyn Salomons (Resident Dance Supervisor for The Lion King), Lucille DiCampli (Director at MSA Talent Agency), and Tiffany Little Canfield (CSA, Telsey & Co).

Auditioning is a necessary evil in the dance profession and it’s crucial for dancers to be prepared and open for opportunities at all times. The good news; according to MSA’s Lucille DiCampli who has worked in every avenue of dance, is that there has never been more dance work available. Dance is in high demand across multiple entertainment mediums and, as it mainstreams, there is more employment and compensation to be had. However, this dance explosion also means fiercer competition. Directors and choreographers’ expectations are higher than ever and company dancers are now jumping on the bandwagon, wanting to be a part of dance’s integration into pop culture.

Steps’ panel of dance experts all had an opinion on the ever-evolving dance profession and how to hit the audition scene running. “One of the things you have to think about as an artist in general is staying current, connecting to what is happening right now,” DiCampli says. Now, dancers need different tools and the panel was unanimous in pointing out that dancers need to be Jacks or Janes-of-all-trades. “There isn’t anything they don’t expect you to do,” says DiCampli. From all styles of dance, to singing, to acrobatics, partnering, and improvising, dancers need to show up to auditions with their full bag of tricks in tow; the modern day dancer is a multi-faceted artist.

With all of this in mind, how does one prepare for an audition? From years of experience in casting, Tiffany Little Canfield insists that having a resume, photographs/head shot, and a well edited reel—all of which are accurate and “show how special you are”—are important in getting a job.  DiCampli adds, “Do your research. Walk into an audition and book it because you understand what they are looking for.”

Both Salomons and Bergasse chime in, explaining that personality is just as important, if not more, than technique. “[The dance studio is] a very sacred place,” says Bergasse. The choreographer likes to “fill the studio” with positivity and strong work ethic, allowing the freedom to create. “[Choreographers] hate being in the studio with jerks,” he laughs. But all joking aside, a dancer needs to show that he or she is a good fit for a position on all levels. In a long-running Broadway show like The Lion King, a new dancer needs to mesh well with an already established “family” of dancers, actors, and singers. When considering new hires, Salomons and the rest of the show’s creative team evaluates whether or not a dancer can put an optimistic spin on the audition process, learn quickly under pressure, and execute the steps well despite nervous energy.

Additionally, physical fitness should always be at the forefront of a dancer’s mind. Salomons comments on the rigors of performing eight shows a week, stating that cross-training and taking class is essential to surviving the strenuous costumes, props, and repetitive movement. Little Canfield agrees, “It is insanely physical on Broadway right now.” She stresses that dance is not merely a paycheck, it’s a lifestyle. To have a successful dance career, a dancer must eat well, get enough sleep, and stay in shape. A dancer must invest in his or her body.

Ultimately, the thing to remember is that the creative team is actually on the dancer’s side. Every audition is a chance to network and be seen by someone important in the industry. It’s impossible to plan out a career, but sometimes the stars align and the right person sees a dancer in the right setting. “You don’t even realize the people you are standing next to,” DiCampli says with an upbeat tone. Additionally, patience will take an individual a long way in this profession because no one actually becomes a star overnight. “Life is not a reality show,” says Bergasse. “You got to put your time in…and build your career.” Look good, feel good, and give off good vibes. There’s no exact recipe to getting a job, but it takes much more than walking into the audition room and saying, “Here I am!”

Be sure to check out Steps on Broadway’s upcoming panels.

Step’s Artists Talk Series facilitates a safe environment for both student and professional dancers to engage in conversation, network, and expand their knowledge about the vast dance community around them. For more information on Steps’ Artists Talk Series or to learn about other Steps Beyond programs, visit them at www.StepsNYC.com.

We always hear about the importance of what you eat, but could when you eat be just as important?

By Emily C. Harrison MS, RD, LD.

What’s the secret for dancing stronger, improving body composition, building muscle, having more endurance, and improving performance? Energy Balance.  Backed by sound science, the concept of energy balance is all about timing healthy meals and snacks to work for you.  Managing your energy balance can even play an important role in injury prevention.

What is Energy Balance?

Energy Balance is eating exactly the right amount of fuel for the activity you are about to do.   It is meeting and adjusting your body’s energy (calorie) needs as they change throughout the day depending on how hard you are working.   Let’s say you are going on a road trip….
Which option would you choose?

1. Ok car, I’m not going to give you any fuel now, but when we get there I’ll give you all the fuel you need?
2. Ok, car, I’m going to give you all the fuel you need for the trip now, but you have to figure out where to store it?
3. Or…Ok car, I’ll fuel you up now for the next 2-3 hours and then I’ll stop and fuel you up again when you need it?

Obviously, we should choose option 3, but all too often dancers choose option 1 or 2.  Providing enough calories from healthy foods at carefully planned intervals when dancing gives the body the fuel it needs to perform its best.  When athletes have enough fuel, preferably from carbohydrates, they have been shown to have higher jumps and more endurance. Also, when dancers eat regular healthy snacks they tend to not overeat later.   If a dancer gets extremely hungry because he or she hasn’t eaten in a while, he or she tends to overeat more than needed within a certain time frame and those extra calories get stored.  Some is stored as a much needed type of fuel called glycogen which is easy to access when dancing the next day, but some is converted to body fat.  This is why eating smaller more frequent meals not only leads to better performance but also to more muscle and less fat.   We all know that working in an aesthetic art form means that we have to be judicious about what we eat, but planning meals and snacks wisely throughout the day can actually lead to better, stronger muscles and lower body fat percentage.

Whether someone dances two hours a day or ten, in order to perform their best they have to provide exactly the right amount of fuel to their system at the right time.  Going for too long without eating can backfire by forcing the body to come up with fuel from somewhere. When running on empty, the body breaks down muscle tissue and converts it into a type of fuel that the muscles and brain can use.

There are several problems with the all too common dancer strategy of not eating before and during classes/rehearsals/shows and waiting until later to eat: The body lowers your metabolic rate to adjust, the body burns muscle for fuel and thus makes you weaker and more prone to injury.  The brain has a harder time concentrating with no fuel, so choreography is harder to pick up and ultimately you end up with a higher body fat percentage and less muscle. Eating a small snack would have been a much more efficient source of fuel.

Here are my top 10 energy balance tips.

1. Eat breakfast!
2. Have a 100-250 calorie morning snack especially if you have rehearsals
3. Provide some calories every 2-3 hours during your day
4. Eat smaller more frequent meals
5. Plan a 100-250 calorie afternoon snack around 3:00-4:00pm to stave off hunger
6. Eat a reasonable dinner with carbohydrate, protein, and some healthy fats
7. Do eat after dancing, but don’t overdo nighttime snacking
8. Hydrate, hydrate, hydrate all day
9. Sip on a sports drink if dancing for a long time and eating isn’t possible
10. Focus on fruits, veggies, and whole grains when meal/ snack planning – these carbs are good!

Pack a snack in your dance bag like a granola bar, banana, dried fruit, nuts, and whole grain crackers and peanut butter or make a wrap with hummus, veggies and rice. Make some pasta salad with whole grain pasta, black beans, tomatoes, corn, and red peppers – yum!  Planning is the key to making healthy food convenient.

Want to know more?
Here is some additional info:
Working muscles require calories in order to provide enough readily available energy in the form of adenosine triphosphate (ATP) and creatine phosphate (CP) particularly for the short, high intensity bursts of activity that we dancers do in class and in performance.  Longer bouts of exercise (Swan Lake for example) require the use of stored glycogen and fats. The body adjusts what it uses for energy based on the intensity of work and level of training. Providing calories before exercising preferably from carbohydrates, results in better performance and helps preserve muscle mass.  For longer shows, sipping on a sports drink or having a granola bar during intermission will help dancers finish strongly.

According to the American College of Sports Medicine, “Inadequate energy intakes can result in loss of muscle mass, menstrual dysfunction, loss or failure to gain bone density, an increased rate of fatigue, injury, and illness”.  Injuries or illness can greatly affect a dancer’s training.  Dancers can have fewer injuries and illnesses by managing their energy balance.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Top photo: © Ivan Mikhaylov | Dreamstime.com

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Emily Yewell Volin.

DanceWorks Chicago is a contemporary dance company committed to working in a “culture centered around a generosity of spirit and building community,” says Artistic Director and Co-founder, Julie Nakagawa.  The company is currently celebrating its 5^th anniversary season of working within the model of bringing together people with a “wide range of skills, approaches, and experience”, shares Nakagawa. “I think that many dance companies select dancers based on who would be good for them, who is best able to serve the repertoire.  For us the conversation also goes the other way.  How can we at DanceWorks Chicago serve these dancers?”

DanceWorks Chicago’s commitment to service pervades every aspect of their work.  From audiences being invited into the audition process, to the reciprocal mentorship of dancers and choreographers within the company, DWC is all about “illuminating the work of art”, Nakagawa explains.  “We are about investing in the future.  So many of us individually and collectively are really focused on today, because if we don’t have a good today we’re not going to have a good tomorrow.  And, I totally get that.  But if you’re lucky enough to have a tomorrow, what’s it going to look like if you don’t think about it today?  I’m going to be optimistic and work towards having a tomorrow.  You might as well think about the future and invest in a positive future for everybody.  For us it’s beyond DWC.  We promote personal responsibility within our dancer contingent but we also feel as an organization that we need to have a responsibility to the bigger picture and our art form.  We try to lead by example.  We work to create an atmosphere conducive to young artists doing their best work by listening, challenging, stimulating, supporting, and encouraging them to own their time here.”

DWC presents 'Beat in the Box'. Photo by Cheryl Mann

DanceWorks Chicago artists come from all different kinds of backgrounds. “They look different, they approach dance differently, they have different goals in terms of dance and different ways they want to fit into the dance community. They are learning about those ways as they go through their journey, of which DWC is just going to be a small part”, says Nakagawa. “The opportunity to gather together diverse individual artists makes us richer and stronger as a group. With lots of different voices in the studio and on stage, DanceWorks Chicago has so many points of view, and energy to catalyze vibrant art-making and connections with the audience.”

DWC alumni present a convincing track record for the viability of training within this model.  The company is proud to have 15 DanceWorks Chicago alumni out in the world in places ranging from Alvin Ailey American Dance Theater, The Lion King on Broadway, the national tour of The Color Purple, Chicago’s Luna Negra Dance Theater, Los Angeles Ballet, the freelance dance scene and cruise ships to even Chicago Public Schools.

One shining example of DWC’s commitment to gathering individuals is its Dance Chance event.  This event, which DWC hosts in partnership with the Ruth Page Center, attracts and supports the work of Chicago-area choreographers.  “It’s meant to be the start of a conversation”, says Nakagawa. Dance Chance presents three choreographers a month. Following the event, names of self nominated choreographers are randomly drawn from a fishbowl to present work, in the order drawn, during the next Dance Chance event.  “Each person has 15 minutes to show work or talk about work”, adds Nakagawa.  The event is totally non-curated though there is a guest moderator to catalyze connections between the artists and the audience.  Dance Chance attracts both those who already have a relationship with dance and those for whom dance may be a new curiosity.

DWC presents 'Nocturnal Sense' by James Gregg. Dancers: Peabody, Horton & Jackson. Photo by Vin.

Equally interesting are DWC’s modifications to the dance audition process. The DanceWorks Chicago annual open audition is conducted on stage, which removes the judgmental mirror and adds the audience component. Nakagawa explains, “It’s an unedited, very authentic experience. We talk about the muscle of courage and how it’s important to make sure that gets a work out every day.  We start with a ballet class, with eliminations, and move on to repertoire selections taught by DWC dancers so that the auditionees, and audience, get more of a sense of who we are as well as our culture of inclusion and personal responsibility.  The DWC dancers are responsible for sharing the information and are included in the audition process, which gives them a different vantage point.  Feedback from the auditionees has been very positive.  They seem to appreciate the presence of a supportive audience and, while difficult, they also take advantage of the opportunity to join the audience if they are excused from the audition and use it as a chance to observe and continue the learning process.”  DWC welcomes a diverse audience into the audition.  “Reaching for a dream and making yourself vulnerable – these are things we can all relate to”, says Nakagawa.

DanceWorks Chicago enjoys being part of a community as an in-residence company at the Ruth Page Center for the Arts in Chicago’s Gold Coast. The company partners often with River North Dance Chicago on combined company classes and even events like potluck lunches. “There are connections that happen behind-the-scenes that reflect our mutual respect and appreciation of one another.  In fact, Monique Haley, a former dancer with River North, participated in Dance Chance as a choreographer and subsequently created new work for both River North as well as DanceWorks Chicago.  Her new work See(in) Me is actually a DWC collaboration with another Chicago company, Muntu Dance Theatre of Chicago!  The collaborations and the energy continue!” shares Nakagawa.

DanceWorks Chicago’s 5^th year includes many performance highlights.  They are excited to debut in Italy with a three-city tour from April 17-19 and for collaborative performances with Muntu Dance Theater, which will take place at the North Shore Center for the Arts, Skokie, IL May 11-12.  DWC also looks forward to their debut at the Spring to Dance festival in St. Louis on May 25 and to their 5^th anniversary benefit, which will be held in their home at the Ruth Page Center on June 3^rd.

To learn more visit www.danceworkschicago.org

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events.

By Laura Di Orio.

When Karina Teran, a freelance dancer in New York City, was offered the opportunity to travel the world, save money that would normally go towards her NYC rent and receive a consistent salary to perform large-scale Broadway-style production numbers, she thought she shouldn’t pass it up. When her dear friend got the exact same offer, her decision was made. For the next seven months, Teran would embark on her adventure – dancing on a luxury cruise line.

For many dancers, a gig on a cruise ship is a welcome one. Some choose the job because they want to save money to pay back debt or for the future. For others, it is their first professional dancing gig and offers invaluable, nonstop performance experience. And for some, dancing on a cruise ship allows them to travel the world while they’re still young.

Christine Wunderlich in performance with Royal Caribbean Productions. Photo by Bobby Black

“For a NYC freelance dancer, a cruise ship job can be a blessing,” says Teran, who has had two contracts with Carnival Cruise Lines. “It’s an opportunity to have a permanent dance job with a good salary.”

Memnon Adams, who has been dancing on cruise ships for the past year-and-a-half, agrees. “The advantages are saving most of your salary, visiting many different islands and continents, being exposed to so many different cultures and languages, seeing ancient ruins, but most of all, not having to pay rent,” he says.

Dancers can make $2,000-4,000 per month, depending on the cruise line and factors like seniority and special abilities (dance captains make more). Most cruise ship dance jobs cover room, food, transportation and primary health services while the dancer is working on the ship. As crew members, dancers also receive discounts on shore excursions and tours, and can take advantage of services aboard the ship: free gyms and pools, discounts at ship stores, coffee shops, bars, spas and hair salons, as well as a number of activities and parties for the staff.

Even more than these extra perks, cruise ship dancers gain intensive performance experience. In a typical six-month contract, consisting of a number of four to five day cruises, dancers can perform three different shows about 180 times, Teran says.

These shows tend to be very theatrical and energetic and can include dance styles that range from Latin jazz to tap to square dancing.

“The productions are of a high level that you can compare with Broadway or Vegas shows,” says Teran. “You work with the ultimate technology for lighting, visual effects, revolving stages, sets and an orchestra.”

For cruise ship dancers, the performance style is extremely varied, so versatility is a must. “It is important to have very solid technique, as well as be strong in jazz, contemporary and theater styles,” says Christine Wunderlich, a freelance dancer from Vancouver, Canada, who is in her eighth contract with Royal Caribbean Productions. “Having partnering experience and knowledge of ballroom styles is also a plus. The more versatile you are the better because many shows have different styles in one show – jazz opening to ballet or contemporary and into partnering.”

A cruise ship dressing room full of costumes, wigs and props. Photo courtesy of Karina Teran

Adams agrees and says it’s also most important to enjoy dance. “It’s tons of fun because I’m learning new skills like harness and trapeze,” he adds.

Most shows incorporate full stage makeup, wigs, props, accessories and quite a few quick costume changes. “Since you are responsible for all your costumes, you learn how to take good care of them and be extremely organized,” Teran says. “These are good habits that will help you in your career as a dancer wherever else you work.”

For cruise dancers, days on which they perform are known as “sea days”, and other days, “port days” – when dancers and crew can roam the land, although often with a curfew.

In Teran’s experience, a typical sea day for a cruise dancer goes as follows:

12-2 p.m.: Rehearsal
2-4 p.m. (or before rehearsal): Duties
Aside from performances, a part of a dancer’s contract often includes additional duties, such as teaching dance classes, assisting in bingo or ping-pong tournaments for the guests or working in the library. Some of these responsibilities offer additional pay.
4-7 p.m.: Break, light dinner and dress for shows
During this time, dancers can rest and prepare their body for the evening of shows ahead. Most cruise lines do not offer a warm-up class, so the dancers must take it upon themselves to warm-up and stretch. Teran says she would do a ballet barre on her own and then stretch in the steam room.
7:15-8 p.m.: Dancers called to dressing room to organize and pre-set all costumes, props and wigs
8-8:50 p.m.: Showtime
8:50-9:45 p.m.: Break, stretch, prep for second show
Should someone get injured, this time would also allow a re-block of the entire show. Dancers must also reset their own costumes, wigs and props. “You have the quickest costume changes imaginable,” Teran says, “and if something is not in the right place it can ruin your timing, putting you out of a number.”
9:45-10:35 p.m.: Show #2
10:35-11:15 p.m.: Organize and put away all costumes, accessories and props
11:15: Done
“After two full workout shows you finish very hungry, so you can take a good meal at the 24-hour dining service before you go to bed or head to the disco with the rest of the cast,” Teran says.

Since so much time is spent onboard and with the other dancers and crew, it is likely that a cruise dance job is a great way to make friends. It is also a great way to learn how to work well with others.

“You work with people of all different backgrounds, and you’re almost forced to live with them and share the same space,” says Teran. “If you weren’t a tolerant or patient person before, you will become one by the end of the contract. In this aspect, you become a better professional.”

While there are many advantages to dancing on a cruise ship, the job may not be for everyone, or just may take some getting used to. “If you are a city person you might feel sometimes that you live in a cage,” Teran says. “You will breathe some freedom only on port days and only for a few hours. It’s different from the dance life on tour when you have a full day off.”

Another concern is the potential for injury, especially since dancers are usually expected to warm up on their own. Some ships, like Royal Caribbean, do offer a weekly company class.

“Personally, some days I would love to have more company classes,” says Wunderlich. “However, I also like to do my own warm-ups, and it prevents doing classes with people who may be less enthusiastic than yourself.”

Adams, too, tries to give himself a dance class when he can. “I try to stay motivated just for my health and of course for future employment,” he says.

For dancers who may be interested in cruise ship work, Teran recommends speaking to those who have worked on ships. If it seems like something of interest, auditions are frequently posted online (check out Dance Informa’s listings or the individual cruise line’s website).

“Working on a cruise ship as a dancer is a wonderful experience, positive in many ways and one that makes you grow as a professional and as a person,” Teran says. “You come back to land with unforgettable memories that will make you smile every time you look at the sea.”

Top photo: Karina Teran, photo courtesy of Karina Teran.

Published by Dance Informa dance magazine – dance news, dance auditions & dance events.

By Katherine Moore.

On a wintery afternoon in late January, nervous young dancers gathered in the School of American Ballet to audition for The Carreño Dance Festival, a three-week summer intensive in Sarasota, FL, led by international ballet star Jose Manuel Carreño.

Assisting Carreño in the audition was Robert De Warren, co-founder of the Festival and renowned teacher, director, and choreographer. As Carreño led the eager students through barre and centre exercises, De Warren sat at a table, intensely evaluating this year’s potential crop of students for the Festival’s third annual season.

With “Learn from the Stars and Dance With the Stars” as the Festival’s slogan, the standards are high for acceptance into the program.

“We can already see who we want,” Carreño said, in an interview after the audition. Who they want are students with excellent technique, an advanced understanding of line and projection, and perhaps most importantly, potential. “These kids have the potential to be really good dancers,” Mr. De Warren said.

Carreño teaching a master class

The Carreño Dance Festival, a project of the Sarasota International Dance Festival, offers advanced training in classical technique, partnering, repertoire, contemporary, flamenco, and character dance. The program’s distinctive feature is a special emphasis on professional enhancement and artistry, which is achieved through the teaching and the opportunity to perform with international ballet stars such as Loipa Araugo, Julie Kent, Magaly Suarez, George Cespedes, Rinat Imaev, Gennadi Saveliev, and Eduardo Veytia.

De Warren explained that the program curriculum is organized to mimic life in a professional dance company so that these pre-professional students understand the demands that professional dancers face every day. Another unique feature of the intensive is that daily class actually takes place on the stage of the opera house, furthering the development of advanced performance training.

“It’s one thing to rehearse in a studio. It’s another thing when you go on stage. We want to overcome those difficulties that even professional dancers may face,” said Carreño.

Savannah Samberg, a 17-year old who participated in the program last year, said that training daily on the stage was one of the most influential experiences of attending the Festival. “The fact that there are no mirrors has helped my performing so much,” she said.

Students and teachers come from all over the world to attend the Festival, which culminates in a “Festival of Stars” performance at the Sarasota Opera House and a junior recital for younger dancers, where students have the opportunity to perform and get noticed.

Sarasota Opera House

Carreño explained that one of the goals of their program is to avoid the gap between a dancer’s student and professional life, both in the range of a dancer’s performance skills and in the opportunities that may come to them. In order to be a successful dancer, “You don’t only need talent. You also need luck,” said Carreño.

At the core of their mission, both De Warren and Carreño want to help budding young talent succeed, and they do so in part by offering over $30,000 in scholarships to many of the 100 students who are accepted into the two-level program. “We have a passion for helping the younger generation,” De Warren said. “You can’t say ‘go away’ to a really talented dancer.”

Both men seek to challenge and encourage students to achieve the next level in their artistry. During the audition, De Warren said, “You can see the ones who work with teachers who don’t inspire them.”

Students Allie Burman & Gabrielle Mengden at Carreño's summer program

Carreño believes that performing with the ballet stars he invites to the Festival plays an enormous role in motivating students to new levels of achievement, but he also recognizes the importance of inspired teaching. He has found that a dramatic use of language can be extremely influential in the classroom. During the audition, he directed students through their exercises, interjecting with “SQUEEZE!” or “LENGTHEN!”

“When I use the language, they relax. They enjoy it,” Carreño said. “It’s all about joy.”

For those dancers who are granted the opportunity this summer to “Learn from the Stars and Dance with the Stars,” joy will surely be abundant.

Top photo: Jose Manuel Carreño dancing with Sarah Lane during an end of program performance.

Published by Dance Informa dance magazine – dance news, dance auditions & dance events.

By Stephanie Wolf.

Eight years after the unfortunate collapse of the Dance Theatre of Harlem, the world-renowned institution is ready to re-launch its full time dance company. Founded in 1969 by New York City Ballet alum Arthur Mitchell and former Ballet Russe de Monte Carlo member Karel Shook, DTH was pressed to temporarily dissipate due to difficult economic times. Now, after strategic rebuilding and reorganizing, the organization is scouring the nation, looking for a crop of energetic, talented dancers to kick off its return in the fall of 2012.

In December, DTH made the official announcement that it would be reinstating its full time dance company, providing some of the nation’s top dancers a stable artistic home in the heart of New York City. DTH Artistic Director Virginia Johnson stated, “I am grateful to be able to continue the work, artistry, and traditions established by our founders. The story that I hope [DTH] will tell again is the power of the arts to transform lives.”

Transform lives indeed. The company will employ dancers for a full season, giving them the opportunity to grow artistically and dance classical and Balanchine repertoire, as well as experience working with some of the best contemporary choreographers currently creating innovative dance. Interested dancers have two options for applying: submitting an online application or attending an in-person audition.

To apply online, dancers should visit the DTH website and have until February 20, 2012 to submit their reels, resumes, and a $20 application fee. Details on the required video content are also available on the website.

DTH’s audition tour kicks off January 14, 2012 in San Francisco. From California, the artistic staff will travel to Miami (January 28^th), Chicago (February 5^th), and New York City (February 25^th), auditioning dancers for full time positions.

Executive Director Laveen Naidu is thrilled to see DTH back on track. “Returning the company on stable footing is a tremendous undertaking,” he said in a press release.  Thankfully, DTH didn’t have to go about their rebuilding alone. Chairman Kendrick Ashton Jr. led the reconstructing of DTH’s board of directors, while the organization engaged in proactive fundraising and worked diligently to strengthen educational programs. Organizations, such as the Upper Manhattan Empowerment Zone, The Rockefeller Foundation, The Andrew W. Mellon Foundation, Bloomberg, LLP, and The Ford Foundation provided additional funding and resources to aid DTH’s mission towards stability and growth. “We are grateful to our donors, large and small, who value this organization’s unique role in the community and around the world … we are set to have an exciting year.”

Having DTH back on solid ground is a huge achievement for the New York arts community. With a full performing season, educational programming, and more assertive fundraising tactics, the company has the potential to accomplish great feats for New York’s dancers, advance the art form, and reach new audiences.

So You Think You Can Dance is back, kicking off its ninth season with auditions beginning Thursday, January 5 at the historic Fox Theatre in Atlanta, GA. The show will then continue its hunt for ‘America’s Favorite Dancer’ with audition stops in Dallas, New York, Salt Lake City and Los Angeles.

So You Think You Can Dance will search for the most talented and loveable young dancers in the country. Those who shine during auditions will once again be given a ticket to Las Vegas for callbacks, where they will work with top choreographers to learn and

Excited contestants during last season's auditions. ©2011 Fox Broadcasting Co. Photo by Adam Rose/FOX

then be judged on multiple styles of dance. Dancers will then be chosen to compete in the series and dance for audience votes.

Last season’s winner, Melanie Moore of Georgia, danced off with a $250,000 cash prize and was featured as a Gatorade athlete on Gatorade.com and in Gatorade’s G series FIT print campaign. Moore also participated in the 32-city So You Think You Can Dance Tour 2011.

“For the past eight seasons, So You Think You Can Dance has been a huge part of our success. We are excited to bring the series and an incredible set of new dancers back for another fantastic season,” said Mike Darnell, President of Alternative Entertainment, Fox Broadcasting Company.

Last summer, So You Think You Can Dance ranked No. 1 in its time period among Adults 18-49, Adults 18-34 and Teens.

Get to an audition near you for a chance to be named ‘America’s Favorite Dancer’.

Atlanta, GA                      
Thursday, Jan. 5             
The Fox Theatre
660 Peachtree Street, NE
Atlanta, GA  30308 

Dallas, TX                        
Friday, Jan. 13                 
McFarlin Memorial Auditorium
6405 Boaz Lane
Dallas, TX  75275

New York, NY                  
Monday, Jan. 23              
Manhattan Center
311 W. 34^th Street
New York, NY  10001

Salt Lake City, UT           
Thursday, Feb. 23           
Capitol Theatre
50 West 200 South
Salt Lake City, Utah  84101

Los Angeles, CA              
Friday, March 2              
Orpheum Theatre
842 S. Broadway
Los Angeles, CA  90014

Please note that venue information may change. For the latest information visit www.fox.com/dance.

Registration will begin at 8:00am at each venue. Auditioners traveling to cities for the open calls should make arrangements to stay for at least two days following their initial audition in the event of a callback. Dancers must be either a U.S. citizen, legal permanent resident of the U.S. or possess a current legal Employment Authorization Card enabling him/her to seek employment freely in the U.S. (i.e., without restrictions as to employer) by the date specified in the eligibility rules. Dancers must be no younger than 18 or older than 30 years of age on the first day they register for auditions. Any dancer who is a minor in his/her state of residence must also have a parent or legal guardian sign all required documents. Dancers must provide legal, valid proof of age when they register for auditions.

For more details on auditions for season nine, as well as eligibility requirements, go to www.fox.com/dance.