Who You Need to Know Can Finally Get to Know You!

By Deborah Searle

Esteemed dance manager Jim Keith of The Movement has recently started a unique series of workshops in Los Angeles for professional dancers seeking to arm themselves with the knowledge and the contacts to succeed. Since the first workshop in October, The Dance Group offers weekly two hour-long networking and audition workshops with a rotating roster of LA’s top dance industry professionals. Creating an environment for dancers to meet, learn from, dance for and network directly with choreographers, directors and casting directors, Jim Keith is passionate about the The Dance Group’s potential to equip dancers for career success.

Dance Informa spoke with Jim to find out more about these new workshops that are all the buzz across LA.

Why did you start The Dance Group?

When I was a dance agent, signing new clients, I’d always hold two hour long orientation sessions. I would discuss things like marketing materials, networking, agent-client relations, audition techniques, etiquette, dancer rates, working conditions, and so on. I tried to cover all the basics with my new clients and instill in them a sense of knowledge and security that would stay with them for years to come. After doing this for some time, I started to notice that I could give them all the knowledge in the world but that wouldn’t necessarily cause specific result in their lives. I was looking for something that would produce actual results. Two of my closest friends are actors and they would attend casting director and agency workshops. They would perform monologues or mock commercial auditions and get noticed and coached. Their bookings actually increased. No one was doing this for dancers yet. Not this way.

There are many dance workshops out there that discuss various audition techniques and try to share “industry insight” and knowledge. What makes The Dance Group different?

Those workshops are wonderful and some of them make amazing differences in the lives of dancers but they don’t necessarily put you in front of the people who will be making the final call on whether or not you book a job. That’s the difference with The Dance Group. Auditioning in Los Angeles is about three things and three things only, and unfortunately none of those things necessarily have to do with how good you are. Chances are that if you have representation you’re ‘good enough’ so that isn’t an issue. Booking jobs as a dancer is about who you know, how good you look and how well you sell.

The ‘who you know’ part is key, because quite frankly, the dance market in Los Angeles is completely oversaturated. Hundreds upon hundreds of dancers show up at cattle calls that last hours. Amazing dancers all make it to the final cut, but in the end, it’s 99% about who you know that gets you kept. Things like look, ability and performance quality get you all the way to the end, but it’s who you know that will keep you standing there when the cutting is done.

Why is networking so important to success in this industry?

Most dancers don’t realize that the choreographer’s job and reputation is on the line as well. A choreographer is more inclined to choose people he or she knows or has worked with before because it is less of a risk for the choreographer and creates an environment of creativity and trust. If the choreographer doesn’t have to worry about the dancer’s work ethic, reputation or ability, then they are left freer to create better work. At The Dance Group, we create a unique environment that puts dancers directly in front of industry leading dance professionals. They get personal critiques and one-on-one coaching each session in a room that is limited to only 45-60 dancers at a time. The limited class size ensures maximum exposure.

What other benefits does the workshop provide?

Each choreographer has a different way of seeing and doing things in regards to auditioning, so it is important that dancers know each individual choreographer’s methodology. We ask them to dress the part, like they were going to an actual audition for that specific choreographer, and to bring their photos and resumes. Everything is analyzed and critiqued from the moment they walk in. Everything is assessed and commented on, from what they are wearing, to their photos, to their execution of the choreography or their ability to pick up the steps. They learn choreography and have to execute it in an audition type pace. They learn each choreographer’s way of doing things, what they like and what they don’t. It arms the dancers with specific knowledge to give them an advantage in a real audition situation. We also have a 30 minute Q & A at the end if the students have any more specific questions or comments. If the choreographer likes any of the dancers they see, we also prepare a package of headshots for the choreographer so they can keep them on file for future reference.

Any success stories yet as a result of the workshops?

YES! Marguerite Derricks confirmed that she hired five new dancers for a pilot she was choreographing for, due to the workshops we held with her. Marguerite is very specific about what she wants to see at auditions and what she needs to get from dancers that work for her. These girls probably never would have worked for Marguerite so quickly if it wasn’t for the workshops. The Dance Group gave these young dancers the tools they needed to get a ‘leg up’ on the competition. They knew how to dress for Marguerite, what she likes to see while auditioning and how she likes her choreography executed; all key elements to a successful audition.

www.thedancegroup.net

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Known worldwide for his Emmy nominated work with Madonna , Alex Magno is a highly regarded international director and choreographer for the stage and screen. His diverse resume includes works for Madonna, Yanni, Britney Spears, the Parisian Lido,  Ballet Hispanico, Ringling Brothers, and the Academy Awards, to name a few, as well as his own highly acclaimed dance company With Passion.

Alex took time to share his unique story with Dance Informa.

Tell us about your upbringing in Brazil and the impact it had on you as a dancer and choreographer.

My upbringing has absolutely had a strong influence on the kind of dancer and choreographer I am today.  As a Brazilian, improvisation is part of your DNA, it is entrenched in the culture, the music and the way of life, and I am no exception to that rule.

I grew up in a small town called Vila Kenned outside Rio De Janeiro, and at an early stage of my life I learned how to cultivate my imagination, to improvise (in life and dance), and  create my own world in which anything was possible, even though the world outside me had infinite roadblocks. I remember every Sunday getting together with the entire family and gathering around in a big circle for an impromptu music and dance jam, with the entire family playing rhythms on whatever was around that could be used as an instrument. This is where I learned not only rhythm, but how to improvise, listen to the music, and let it move me.

I did not grow up taking dance lessons, but I did do Capoeira and two different styles of Karate. In my teens, I put a dance group together called “Old Jazz” and we used to go to different night clubs and perform. I would make up the routines that were influenced by watching different dance videos and films. So I actually began choreographing before I began training as a professional dancer. I ended up getting discovered in one of those clubs and got a scholarship to begin training.

How did you get to LA?

I arrived in LA in 1986 after winning a choreographers competition in Brazil (sponsored by Paramount Pictures) in which the prize was a trip to LA with all the expenses paid for one week.

It was very surreal for me; they had a limo waiting with the driver holding a sign with my last name. This was a far cry from the harsh reality of life in Brazil at that time.

I ended up staying and received scholarship at one of the best dance studios in the US at the time – Dupree Dance Academy. There I took classes with amazing dance teachers such as Doug Caldwell, Hama, Jackie Sleight, Randy Allaire, Rosemary Randy, Tony Cappola, Melinda Cordell, and Vicktor Manoel, amongst others.

You’re known worldwide for your Emmy nominated work for Madonna. Tell us about your experiences with her.

I worked with Madonna on two worlds tours. The first tour was The Girlie Show Tour – a tour that was all about staging, choreography, costume and lighting. It was one of Madonna’s few tours that relied heavily on theater, and the choreography shared an equal spotlight with Madonna herself.

The first thing Madonna told me after I auditioned as a choreographer for her was, “Alex, just so you know, I approach each of my songs from a character point of view. I need you to not take it personally if I don’t like a certain step or if I challenge you to tell me the reason why you’re choreographing this step or that…You are going to be fine as long as you keep those guide lines”.

Lucky for me, that was the way I used to work, in a very theatrical way. All of my movements came out of a character.

There is an interesting story behind me working with her a second time. A few months prior to the Drowned World Tour starting production, there was news that Madonna was going to be touring again, but I had no information on who was to be her next creative team. So I submitted to Madonna’s manager a full tour concept, along with my new choreography reel. It happened, just by coincidence, that some of the concept I sent to her was very similar to the direction that Madonna and her director Jamie were thinking. That synergy was what got me the gig the second time, and eventually the Emmy nomination. This tour was the perfect balance of music, theater and hi-tech production.  It was one of the most challenging tours, because I had to choreograph all different styles of dance, ranging from Martial Arts, to Tango, Flamenco, Contemporary, etc.

Madonna is an artist who is highly intelligent, deeply in tune with herself and always true to what moves her. She makes no excuses for her motivations and beliefs. As an artist, it is inspiring to be able to create alongside someone so bold and fearless. The other great thing about Madonna is that she is always clear – she loves it or she hates it. That may be harsh at times, but in the end you always know that she is truly happy with the final product. She will push until it is perfect.

What was it like to be nominated for an Emmy?

Being nominated for an Emmy, for doing what I love, was an absolute honor. The Drowned World Tour was actually the only one of Madonna’s tours to be recognized with that honor.

You are often called a “story teller” when it comes to your body of work. Why do you think that is?

Because I explore the movement from a character’s point view, from real emotions we all can relate to. Dance is an art that can be both abstract and communicative, but in order for it to be effective, it must provoke emotion.

Most of my work has universal themes that cross frontiers, language, age, culture and gender, but when you apply them to a specific setting they become much more tangible and emotionally effective. I appreciate dance that is about the beauty of the movement, but for me the steps are secondary to the emotion.

In every work I do I try to bring all of the colors of the music to life through the movement, showing the unspoken poem of the song and getting to the core of the music itself. The idea is to have the music translate visually through each body movement.

You’re an avid dance educator in addition to being an award winning choreographer. Why are you so passionate about teaching?

Because it keeps the flame of dance alive. I had some amazing teachers that inspired me to be what I am today, so I feel that is part of my job to pass that on.  It is also what keeps me artistically alive. It is my “creative workshop” where I create the castles out of “playing cards”, it is a place where I see magic being created.  I learn from my students, they teach me to become a better teacher, choreographer and director.

What is next for you?

I am currently directing, choreographing and producing Benise’s The Spanish Guitar world tour. I am also in development for a new dance multimedia show starring actress/dancer Jenna Elfman, as well as shooting a series of dance short films.

Alex Magno is represented by The Movement / A Dance Management Company
www.MovementMGMT.com

Emmy winning choreographer Bonnie Story is the genius behind the much loved dance scenes from High School Musical 1,2 and 3. Bonnie served as co-choreographer for the opening and closing ceremonies of the 2002 Winter Olympics, has choreographed for several television shows, commercials and films and is Associate Artistic Director of Odyssey Dance Theatre.

Dance Informa spoke with Bonnie to discover her story.

How did you start dancing and why?
I started dancing when I was about five years old.  I would go with my older sister Ruth Ann and watch and then my mom who played the piano for the dance school (Shirley Dias Dance School), decided to put me in classes. At home, I would put together recitals with costumes, music, programs and chair seating. I would go around the neighborhood and invite everyone.  I would also write plays and put them on – total scripts and everything.  I even assigned a part to my dog ‘Jamie’. Even though he didn’t come in all the time on the right cues, he was a hit. My mom had a closet full of costumes that would be used several different ways, depending on the need.  I would constantly choreograph and direct.  In dance class, I was such a perfectionist that I would cry if I couldn’t get it perfectly right the first time. I have always been inspired with music, even when I was young.

How did you get involved with the HSM Films?
I got started with HSM films because the director Kenny Ortega and I had worked together before. The first time I officially worked with Kenny was during the Opening and Closing 2002 Winter Olympics. I was an associate choreographer that worked with Kenny.  We have always worked together well. He is brilliant and always willing to teach and direct his choreographers in a way that you come out of every project a new artist.  I have learnt so much from him. I love him so much. When they called on the first movie I couldn’t wait to work with him again. Then we just kept on working together.

What was it like to work on the films with so many dancers?
I love the cast of HSM. They were incredible to work with them. They worked hard and we had a lot of fun along the way. We all became very close. After the first movie we were all family and by the third, there really are no words. I have so much respect for all of them, and their willingness to trust and to keep pushing themselves each movie. If you watch the choreography from the first movie to the last, you can see how much harder we would push them.  It was incredible to be part of that process. I also loved working with so many dancers. We had principal dancers to hundreds of extras that danced in each movie. Everyone worked so hard and very fast. Sometimes we would have to teach 400 extras choreography and film it at the end of the day. It was intense, but everyone was so invested in the project that it worked. Of course it starts from the top, and Kenny made everyone realize the important role they were playing in the movie. The end result was a product of everyone completely putting their all into it. It was an incredible ride for all involved.

What was it like being nominated for and winning an Emmy?
Receiving an Emmy nomination and then actually going home with one was very surreal.  It was amazing! I feel honored to have received one.  Every time I look at it, it reminds me of the commitment that was given from everyone.  There is never a project where you do it on your own. The concepts, music, direction, art direction, the whole crew (I could go on and on) – without their contribution and artistry, the Emmy wouldn’t be there.  I am grateful for being able to work on a project that made a huge impact on a lot of kids and adults.

What choreographers or teachers inspire you?
People that have inspired me are many.  My background in dance is varied.  I am thankful to firstly, my parents, who put up with all my dance classes, all my plays and recitals and who sent me to New York.

I had incredible ballet teachers: Carolyn Barnett, Ben Lokey, Teri Port, Sonia Arova, Thor Sutowski, Ballet West, SAB – it is hard to name one.  Then I went to LA and one of the first classes I walked into was Jaqui and Bill Landrum’s class. They helped me ease from the ballet world to other styles. Billy Goodsen was very instrumental in taking the ballerina out of me, but still using the technique that came from all my ballet years.  Ben Lokey was a huge influence when I first went to LA.  He understood also how to take me to a jazz style from ballet.  Doug Caldwell was so inspiring to take class from and Joe Bennett was amazing. And Vincent Paterson, who I met in Bill and Jaqui’s class, took me under his wing, and literally jump started my career.

Companies that I watch inspire me, including Lines Ballet, Hubbard Street, Alvin Ailey, the list keeps going because I have so much respect for those that have molded who I have become.

Kenny Ortega, who is brilliant, is an inspiration and I have learnt so much from him.  He will say to me on a set, “Bonnie, do you know why I am doing this shot this way?” He’s always teaching and pushing me as an artist, choreographer and director.

I have great love for all of them.  I owe a lot to them.  Hopefully I am passing on all that I learn with every job I do.

Bonnie Story is represented by The Movement / A Dance Management Company and MSA.
www.MovementMGMT.com www.MSAAgency.com

Known to both our readers in the US and Australia, Adam Parson is a well travelled dance instructor, choreographer and performer. Born in Nairobi, Kenya and now residing in LA, Adam is the founder and artistic director of Commonality Dance Company, which has toured the United States, Mexico, South Korea, and Europe. Adam’s commercial credits include Pepsi, Prince, Monica, Shell Oil and 3^rd Rock from the Sun and he has even toured the world as a Power Ranger!

Here Adam shares some of that power with us…

Why did you start dancing?
I started dancing at 26 years old! At the time, I was a systems analyst and book keeper for a computer firm in Washington D.C. My sister asked me to take her friend to dance class as his mom couldn’t. I took them to the studio, heard the music, stepped inside and saw all these people jumping, turning and dropping to the floor in this uniformed movement. I was instantly hooked! I went straight up to the teacher and told her I wanted to do what everyone else was doing. She said, “If you’re serious, you’ll have to start by training and dancing with the juniors.” I did it, much to the dismay of the little dancers, but it all worked out. Actually, one of those juniors grew up and is currently on tour with Usher. We still laugh about those early days!

What teachers inspired you to dance? 
My teacher Terry Peyton and my ballet teacher Elan are why I’m where I am today. Terry shaped my hunger for strength and my fire for dance. She made my focus razor sharp and it’s still there. She turned the light on and then smashed the switch, leaving me always on! Elan gave me the drive and discipline to want to have my body be a precise machine. My first ballet class with her, I IMMEDIATELY felt the difference in my body and was obsessed with the fact that this drive, discipline, and sensation could create a useable foundation that still lasts to this day.

How important is training?
Unfortunately, it seems that young movers today don’t understand that once you stop training, you stop dancing. Movers are people who can move, copy the steps and throw a lot of energy into it. It’s easy to copy someone but it’s the training, time invested and knowledge of your art form that make you a dancer. Those of us who are just dancing for work have lost the art of dance itself. Some of the most successful dancers I know still take class in all forms (ballet, jazz, jazz funk, hip hop, tap, etc) because they know that if they stay sharp, they will always stay relevant. They stay on top of their own body’s game, which is why they keep working.

What’s so great about dance today?
The great thing about dance today is that it’s really mainstream with the help of all the dance shows on TV. The non dance community is starting to gain an awareness of the work that we do and are even starting to participate by taking classes themselves. I can only see this as a win-win for all of us. It’s not only dancers that are working more, but choreographers are in demand for work, which keeps my manager Jim Keith of Movement Management very busy!

This year Adam will be teaching across the US, in Europe, New Zealand and Mexico City, as well in Sydney Australia for Global Dance Convention, April 15-17. www.globaldance.com.au

Adam Parson is represented by The Movement/A Dance Management Company www.MovementMGMT.com
Take Adam’s class at Edge Performing Arts Center www.edgepac.com

Do you have a question relating to your dance career?

Leading dance agents Aris Golemi of Xcel Talent Agency and Jim Keith of The Movement are sharing their time with Dance Informa readers to answer your questions. So what would you like to know?

How can an agent help me?
I attend Open Call auditions as regularly as I can,
but I am not having much success.

Aris Golemi, Xcel Talent Agency
An agent can be essential in advancing the professional career of a dancer. Agents provide opportunities with casting calls, and after booking a job they protect you and your best interests by negotiating the right contracts, issuing invoices and making sure you get paid on time. They will solve any disputes you might have while on the job, and look after you from the moment you book the job until you get compensated. A good agent will not only guide you in the right direction, but also find ways to inspire and motivate you to be your best.

Open calls can be cattle calls, done mostly for publicity buzz. When you have so many dancers attending open calls, it’s easy to be overlooked. Many casting directors do not hold open calls very often. They rely solely on working with agents because they understand that that’s where the talent is. It saves them time and money.
So having a good agent in this profession is a must.

Jim Keith, The Movement / A Dance Management Company
In Hollywood, agents act as the middlemen between the actors and the studios or the ‘people’ who actually hire you for the job you’re auditioning for. A while back it was the studios that had the power/control over the performers. The studios would discover and groom their own performers without the need for agencies. Talent agents came into existence because performers had financial and legal disputes with the studios and they needed representation. Today, even though the major studios are still a dominant force in the industry, talent agents hold the power as the studios must go through them to hire the performers.

Agents get information about auditions for roles, either directly from casting directors and producers or from an insiders-only internet service called “breakdowns”. These are available only to agents and managers. For each role, a casting director will receive hundreds to thousands of resumes and head-shots, from which they narrow the field. There are so many performers trying for so few roles that talent agents act as the first step in the ‘weeding-out’ process. In this field, where the supply greatly exceeds the demand, just getting an audition is quite an accomplishment. And to get the audition, you need an agent.

What sort of photos should I include in my portfolio?

Jim Keith
First, you should decide where you want to work, as styles in head-shots vary. If you plan to work out of Los Angeles, you want an L.A. photographer to do your head-shot. If you’re a devoted New Yorker, have the head-shots done there. Getting a photographer is a lot easier than getting an agent. Look through books, magazines or websites to see the photographer’s best work, and get referrals from fellow performers or your agent. Plan to spend anywhere from $300-$750 on two or three 8″ X 10″ headshots. You will probably need to have at least two headshots taken – a commercial shot, which generally is more ‘smiley’, and another photo geared towards the type of work you’d like to do. Also consider doing a body shot or one that shows off your level of physical fitness. This can be an asset in the pre-casting process. 

Aris Golemi
Your portfolio should reflect who you are. Finding your personality in the photos is more important than the number of photos or the looks you include in your portfolio.

Are there any dance specific unions?

Jim Keith
Unfortunately, no. There is no single governing body that strictly handles dancers. There are certain unions that will ‘cover’ dancers on specific jobs such as on a TV program, certain commercials and most feature films. There is no union jurisdiction, however, for music videos, live stage tours, industrials or print jobs.

Aris Golemi
The closest thing we have to a dance union is Dancers Alliance. I would encourage everybody to look them up and support their cause. They fight our fight for better rates, and they need your support so we can secure a better future for our dance community. www.dancersalliance.org

Should I join a union?

Aris Golemi
It really depends on your region. I would encourage dancers living in California and New York to join a union, but I wouldn’t advise the talent living in Georgia and Tennessee to do the same. The last two states are right to work states. In these states you could work a union job without joining the union, and still be treated and compensated the same as a union member. Being in a union will work against the dancers in these states, because they will be limited to union work only. Don’t get me wrong though. I am a huge fan of unions, but it’s really hard to advise somebody to join an organization when they lose the opportunity of competing for 70% of the jobs that come to their states.

Jim Keith
Whether or not it is the right time for you to join a union is a conversation that is best had between you and your agent/manager, because each performer’s situation is different and there is no one answer that will be right for everyone. You are not even allowed to audition for some jobs unless you are in a union. Union jobs are more desirable, to a certain extent, because the performer’s pay scale, amenities and rights are usually already agreed upon before the performer is even hired. 

Do you have a question? Email info@danceinforma.com with subject: ‘Ask An Agent’
We will share your questions with our team of experts and give you the best advice in the biz.

Jim Keith of The Movement / A Dance Management Company
Born and raised in Los Angeles, Jim is a true Hollywood kid. He has worked in Los Angeles as a performer (actor and dancer), choreographer, educator and talent representative for over a decade. In 2004 Jim was hired by DDO Artists Agency and was quickly appointed Director of their dance and choreography departments. He soon began to mould the departments into major players in the dance representation field. Jim was responsible for placing dance and choreography talent in all facets of the entertainment industry including Film, TV, Commercials, Music Videos, Live Stage Tours and Industrials of various kinds.

The Movement / A Dance Management Company
The Movement is a dance management company committed to representing dancers, choreographers and dance educators by providing them with exceptional service, personalized attention, career guidance and industry connections that will create long term success for their current and future goals. www.MovementMGMT.com 

 Aris Golemi of Xcel Talent Agency
Aris Golemi has gained tremendous recognition internationally for his outstanding achievements in dance and choreography. He began his choreographic career at Academy of Fine Arts in Tirana, Albania and holds a Bachelor Degree in Choreography. His dancing and choreographic career includes music videos, commercials, TV Specials, movies, tours, fashion shows and live performances for some of the biggest musical acts in US and abroad. In 2006, Tirana Observer listed Golemi as one of the ’50 most successful Albanians’ in the world. In February 2010, Aris Golemi was selected as a Celebrity Judge for ‘Sprite Step Off’, a new television show on MTV 2.

Xcel Talent Agency
Xcel represents dancers, choreographers and actors for commercials, film, television, industrials, theater, print, live tours, and music videos. Credits include CMT, MTV, VH1, ABC, HGTV, Cartoon Network, CBS, FOX, TBS, NBC, BET and GMC amongst others. www.xceltalent.com

Top photo: © Stanislav Perov | Dreamstime.com