Save some cash...

So in my on-going quest to make the dancer's life a little easier, I thought I would clue you in on a couple "steals" that I think other dancers might want to take advantage of...First of all, we all know that taking class in the city can be on of your biggest expenses. Currently, a single class at Broadway Dance Center is $18 or, translation...three meals. OK, but you have no choice, right? Well yes and no, there really is no good substitute for a damn good ballet class (Nancy Bielski at STEPS, anyone??) and if you want to bone up on a particular style like vogueing or house, then going to a class certainly is worth the green. On the other hand, sometimes you just need to maintain, stretch the muscles, strenthen the upper body, work your releve...and for that my friends, a great Vinyasa yoga class might just do the trick. Take the 6 train to Astor Place or NQRW to 8th street, walk east on St. Marks Place. Here you will find Yoga To The People...I cannot recommend this place enough. It has a totally laid back atmosphere, chill crowd, great music and they don't wimp out on the intensity...YOU WILL SWEAT, I repeat, SWEATING WILL OCCUR. For any of you who have taken my class before, you know that I am extremely pro-sweat, so for me to say this means its really going to kick your bootay. Best of all, the class is donation based, which means you NEVER have a financial excuse for sitting on your butt and doing nothing. When times are good and the check's in the gate, drop an extra ten in the kleenex box(ya, that's their "cash register") and when money is tight, down-dog yourself to St. Marks and be grateful for this amazin resource. Second tipper...I know that I might receive emails and tsk tsk from people for this next one, but I think its very individual and only applies to some people. But the city can be a very dreary place from Oct to May, and it can really start to affect your mood. Coming from California, I grew up going to the beach and the feeling of being in the sun and sand has always picked me up. In addition, if an audition for Capri Sun is casting in Jan, the agency doesnt care if its 13 below, they want you to look like you just drove in from Oahu. So my suggestion for those of you who DO NOT BURN and TAN EASILY...mid-city gym on 42nd street, between 8th and 9th, offers unlimited standing tanning beds for $20 a month. Ya, I know, my jaw dropped when I found this one, unheard of price. And please, for those of you who can't wait to write me about the dangers of UV rays, the research I have done indicates the importance of not burning. Some people can be in a tanning bed for two minutes and come out beet red...for them, its probably a BAD idea. But if you have a little color and brown with ease, a little bit of sunshine can do amazing things for your mood. The last little tip I have is the Russian Turkish Baths on East Tenth, between first and A. This place is $30 for the entire day, and will relax your body in unbelieveable ways, there are saunas, cool pools, Russian furnace, massage, showers, and a cafe. Check it out, your body will thank you. Alright, thats all for now. Peace and Love to you all!!

It's all connected...

While I've known it to be true for a long time, I've recently been reminded of the fact that he NYC dance community is so incredibly interconnected that it's really ignorant to imagine that its just YOU versus the industry. I encounter this mentality on a weekly basis from dancers, who seem to think that the business is biased against them, or harbors a personal vendetta. Unless you have done some serious bridge burning(and I mean SERIOUS), your lack of work probably has more to do with "networking neglect"...I actually ought to coin that phrase!! Your circle of dancer friends and contacts are a far more effective means of finding gigs than any cattle call you'll find on Craig's list or elsewhere. The subscription price to this valuable info, is you being just as vigilant about helping the dancers YOU know get work. The more you help other people survive in the city, the more surprise opportunities will appear at your door. I guess its just the Golden Rule of Showbiz, if you want others to think of you when a gig comes up...well then, you better start doing the same. I know I've harped on this one before, but it comes up frequently in response to a comment I hear from people A LOT. People always say to me, "damn, you know everybody!" Actually, this statement is far from true, and yet, at the same time, it does illustrate an important fact. I do have friends who are amazing breakdancers, classical ballerinas, and crunchy moderns LOL...but I ALSO keep the company of lawyers, artists, actors, producers, casting agents and composers. My point is, I might get a call from my lawyer friend who wants to talk to a producer...and I hook it up. There might be an aspiring director who needs to film breakdancers in a scene...and I can set it up. And etc, etc, etc...but all this would be impossible if I just isolated myself in my own little commercial dance world, and only worried about what auditions I needed to go to, or what gigs I was right for. These things are important, but they don't help you build the kind of connections that can really help propel your career forward...OK, I'm out for now
Peace and Love,
R

Bite The Bullet...Get Flexible

WOW, so as I'm sure y'all have noticed, my entries into the blogosphere have been intermittent to say the least. While this is actually a really good thing(explanation en route), I promise to be more regular and not leave ya hanging! But digress I must...my point is this, sometimes you have to completely let your contingency plan go and trust that you can build a parachute on the way down. The most recent case in point being "mi vida" at the moment. Basically, what I am trying to say, is that the city presents you with strange and perplexing, catch 22 type challenges, the biggest of which maybe how you compromise between the need to survive and the need to create your art. The typical answer is to find a JOB that pays well enough to cover living expenses, and yet, leaves you with enough time to do what you, as an artist, REALLY want to do(need to do, in some cases). But if I am going to keep it real, the type of job I just described is almost a fantasy. The majority of great, well-paying jobs in the city are also some the biggest time commitments, whereas, the most flexible and chill jobs, really don't compensate you adequately to survive...hmmmmmm, so what is the answer? Well, I suppose its going to be different for everyone, but in my experience, sometimes it takes a completely irrational leap of faith to break the cycle of "ball-and-chain" JOB-imprisonment to really make the freelance lifestyle a reality. For a time, when I first moved to NYC, I had a very laid back job at a fitness gym, just to make sure that I would have rent money each month. However, I ended up spending more time there than I was in class, choreographing, etc. In addition, every time an opportunity for an industrial, reel gig, or whatever came up, instead of having the flexibility to jump on those chances, I always had to think about my JOB responsibilities at the gym first. BUT WAIT!! I am thinking to myself, "why am I devoting all my time and energy to the gym, when I am a dancer?!?!?" And that is when I decided that, for better or for worse, I just needed to bite the bullet and free up my time, my schedule, and my life so that I would be available to take advantage of the opportunities coming my way. It also gave me the independence and motivation to start pursuing and CREATING new opportunities for myself. One caveat, I don't recommend this course of action if you are planning to simply wait passively for things to start arriving on your front door. But if you have the drive, the determination, to really make things happen for yourself, you cannot limit yourself to the confines of a weekly schedule in the employee break-room.

Zen Master Mark(Part 2)

whoo hoo, back to my old bloggin' self...actually, I have been working on a couple new posts, but none of them are ready for the blogosphere. I intended for my last blog to be sort of a two parter, with the tax nitty gritty in the first half, and then the more philosophical stuff in the "sequel." So without further adieu, here's PART 2 in all its glory. Doing my taxes this year was a superlative experience, I got a lot more than I had expected. Not only did the refundo kick some serious A$$, but my tax guy turned out to be a really cool dude, a showbiz zen master, if you will. Aside from dolling out precious tax tips and points of interest, he had a few very wise words that I thought were exceptionally applicable to dancers in NYC. Some of what he said was very similar to points I've made here previously, but I really liked his fresh take on it. For one thing, he talked about your headshots and resumes being like seeds, and the more of them that you plant around the city, the more likely that one of them will find the perfect spot and grow into a successful gig. This analogy is so absolutely true, and that's why it pays to have a good quality headshot that is flattering and eye-catching. But that's only half the equation, you are the one who has to get out there and sow all those beautiful seeds. Another thing that the zen master talked about was the importance of maintaining a good reputation in the industry. I could tell you lots of stories about people burning bridges and screwing themselves out of work. I can also tell you lots of stories where I made a decision that seemed stupid at that moment, but turned out to be really fortunate in the long run. Many times, people will throw away a working relationship at a moments notice if they get more money offered somewhere else. Try to work it out so you can do both, if there is a conflict. Otherwise, don't leave anyone hanging, have the courage to make a decision and inform both parties as soon as possible...DON'T WAIT! Lastly, Mark was just really supportive and echoed my sentiments that dancers gotta stick together, it doesn't matter if you are Equity or not, fierce or still in training...doesn't really matter, cuz in the grand scheme of things, we are all in the same boat, working and creating. It is counterproductive TO YOU and YOUR DREAMS to hate on other artists, so avoid it at all costs. Anyway, enough blogging for today, don't worry though, more to come soon!

"What you are thinking, you are becoming."

My Man Mark's Zen Feng Shui and The Art Of Dancer Tax Filing...

Yup, that evil American holiday is upon us again...and I'm not referring to the first couple weeks of bad Idol auditions. Actually, my friends, it's time to file the tax returns and I want to alleviate some of the dread that typically accompanies all those torturous W-2, 1099, IT-2, Copy B, R2d2, and C3PO forms the IRS conjures up. For me, this past year probably won't rank on the Top Ten Years of My Life, (and then again, hindsight tends to reveal the hidden value in lessons learned in tough times) but it certainly wasn't horrible. In any case, I was a little worried that with all the freelance, 1099 work that I had done, I might actually end up in the negative red column and have to send a check in. Let's just say its a GOOD THING I didn't try to do my own taxes, because I simply was not AWARE and CONSCIOUS of what my situation was. First of all, thank god for VITA, which is the Equity Volunteer Income Tax Service, I know that some people knock these guys and swear by Jackson Hewitt and H&R Block...but I give those naysayers a big WHATEV, and say kudos to VITA. My man this year was named Mark, and I title him "my man" in the most street cred-respectable way possible because, my man Mark KNOWS what he's talkin' about. First of all, he clued me in on a cool little thing called the QPA...something EVERY NYC dancer needs to be aware of. Here's what he told me, basically QPA (or Qualified Performing Aritist) is a special designation, that if you meet the requirements(ie struggling your ass off) can save you a ton of money. Actually, the requirements that you need to meet are pretty specific, but I have a hunch that a lot of young, NYC dancers probably fall into this category. Most importantly is the magic number $16,000: you HAVE to be under this amount for your annual income. Secondly, you need to have had TWO, theatrical art related employers where you made more than $250. Those are the two requirements that you have to meet, and if you do, we'll talk about the prize you get in a second. But lets just break those two qualifications down. First, the $16,000 is pretty easy to figure out, either you made more than that or less than that. But the two employers thing is a little tricky, basically they MUST be W2 jobs(not 1099 freelance gigs), and you have to have made more than $250 at each of them. My man Mark told me that every year he gets actors and models who come in with a stack of theatrical related 1099s and NONE of them count towards your QPA status...which sucks, because here is the juicy part. Normally, people can either add up all their write-off itemized deductions for the year(dance classes, books, movies, etc) OR they can take the standard IRS deduction(this year it was $5353 or something like that), whichever is more. BUT if you are a QPA, you can deduct ALL your itemized performer-related deductions, ON TOP of the standard IRS deduction. So lets say you made $15000 for the year, which is not unheard of for a lot of struggling artists. But you had $6000 in itemized write-offs, PLUS the $5353 freebie from the good old GuvMent...add those together, and you "actually" made $3647(and your tax on this amount will be A LOT less than on $15,000, in other words you might end up getting all your money back). But you have to be sure that you have those two, art-related, over $250, W2 employers in your stack of forms. Anyway, hope this helps, whether you qualify for it this year or not, its still important to be aware of these types of things!

Eight Million People...and One Lonely, Depressed NYC Dancer

Yes...its true, NYC is a fun, amazing, energetic and vibrant city. In many ways, it is the cultural and artistic epicenter of the world. You would think that with all the opportunities that the city has to offer, dancers would always have something on their plates to keep them occupied and busy. But here's the reality...unless you are being pro-active, seeking out these opportunities and experiences, getting your face out there at auditions, going to class, "the city" doesn't care whether you leave your apartment, get out of bed, or quit and move back home. NYC isn't going to come to your door and ask you if everything is going OK, how it can help you acheive your dancer dreams, or how it can make things easier for you. Lets just say that when it comes to dancers, NYC doesn't have the best customer service reputation. But it's the biggest love-hate relationship you will ever face. I can't tell you how many times I have dragged my tired feet/body/mind home and felt like NYC just chewed me up and spit me out...and then you get up and do it all over again the next day. Under these circumstances, it is easy to see why lots of dancers would rather just curl up under the covers and stay in bed all day. Donald Trump said, "Going through tough times is a wonderful thing, and everyone should try it. Once." What's interesting about this, is that he doesn't specify how long these "tough times" may be. In other words, you may be struggling in NYC for a year and a half before you book something and things turn out OK. In the meantime, trust me when I say you will have learned such valuable lessons about yourself, others, and life in general. These are lessons that money CANNOT BUY. And as hard as it is to see the "value" in being broke and having nothing but hope and dreams keeping you afloat, in the end, all the deposits you have made into the investment of your life will pay off. And don't worry, these are the rules of life, which apply to everyone, no one is exempt. The most you can do, is try to minimize the amount of hardship that you subject yourself to by preparing, making smart decisions before you get to the city, hit the ground running, having realistic expectations as far as the possible timeframe, being very objective about your skill level, staying positive in the thick of it, and refusing to ever throw in the towel and give up. The things I just mentioned are the only areas you have any control over. Anything outside of that is beyond your realm of influence and it makes no sense to stress about it. Keep your head up, cuz no one else is gonna do it for you!!

"This is the blessing of humankind, what separates us from the animals: to dream."
Hugh Hefner

The Low Down On Prod. Cos...

In addition, to helping with the psychological side of the NYC dance scene(keeping yourself positive and optimistic), in this blog, I also want to highlight other avenues that utilize your unique talents as a dancer...preferably ones that involve getting paid!! Unlike other touristy spots(eg Orlando, LA, Las Vegas), there are relatively fewer...how shall I phrase this..."gigs" that look for and employ dancers in NYC. In LA and Orlando, even if you aren't in a Broadway Touring Cast, even Equity members are eligible to work at Theme Parks, Dinner Shows, and atmosphere entertainment. Las Vegas also has many entertainment venues that offer jobs for dancers, even though they aren't considered "high profile." In NYC though, there exists very well paid jobs on Broadway, even fewer off-Bway paying gigs, and more non-paying revues, showcases, dance companies than you could ever dream of. So if your life-long ambition has been to dance purely for the love of it...NYC is the place for you!!!! However, if you actually want to get paid for what you do, well then, you gotta get creative, be persistent, and be willing to think outside the box. So what I'm I saying? I am suggesting that until you get a break and lock your big Broadway star contract, you might consider being the dancing star of...drumroll please...some 13 year old kid's bar mitzvah. OH WAIT, that's not glamorous enough for you...sorry, get used to it. I can count on one hand the number of non-Bway gigs that employ trained dancers, and let me put it this way...while it isn't stripping, good technique isn't their top priority. See, in Vegas or Orlando, there is TONS of work, that mom and dad can actually come and watch you do. So you can be working AS A DANCER in a Disney show, Universal show, shows at Treasure Island hotel, etc. But in NYC, the fluff touristy shows don't really cut it when they are up against Broadway caliber performers and producers. OK, so back to the mitzvah!! What NYC DOES have ample supply of, is events...corporate events, fundraising events, bar mitzvah events, opening gala events, every night there is something going on and frequently the event planners for these events want DANCERS to entertain their guests. Thats where you come in!! It is not an ongoing gig where you show up day after day, until you get bored and audition for something else, but its the way that NYC works. In order to get these gigs, you must hook up with a production company or event planning company. In many cases, the event planner will just sub-contract the production company to provide all the entertainment. One of the biggest production companies in NYC is Chezzam Entertainment, however, there are probably many others. Although, Chezzam is unique in that they provide far more than just entertainment(costumes, decor, music, etc). This is just another option for money if you don't see waiting tables in your future...or want to suppliment your day job. Typically, an event will pay around $150 to $300, depending on the length of the performance, and the amount of rehearsal required. So its not the lotto jackpot, but it definitely makes a difference in the dancer's pocket!

Gym It Up, My NYC Dance Folk...

Talking with other dancers and choreographers in the city, I realized that I wasn't alone when it came to my relationship with fitness clubs and workout gyms. A lot of dancers end up teaching Pilates, Yoga or Dance at NYSC, Equinox, Reebok, or most recently for me, the JCC(Jewish Community Center). And while I have seen some of the ugly politics that go on in these places, I still think that they can be great resources for NYC dancers. If nothing else, being on staff at a chain gym, guarantees that you will always have access to a clean bathroom, showers and lockers, which can come in extremely handy for people living out of their backpack during the day. Another thing, unless you are working in an administrative position, say, at the front desk or in sales, you have a great deal of flexibility and finding subs is relatively painless. Another benefit, has to be the facilities themselves. While there are always exceptions, NYC boast some of the most amazing workout locations in the world. The clubs are clean, beautiful and crawling with eye candy...but that's no reason to go to the gym right? wink wink Seriously though, its so important for pro dancers to stay on top of their game and be in shape. I'm telling you, its a fifty fifty game out there, casting directors are looking at your body, face, personality just as much as they watching your technique. Lastly, gyms provide a great perk that restaurant jobs can't match...rehearsal and practice space for FREE. I may be overstating this last point a bit, but its really beneficial to have a spot in the city to go and give yourself barre or work on choreography...since trying to do it Central Park only attract weirdos and creeps, believe me...I've tried. I've also done lots of recording in the gyms(one caveat, make sure you get management's permission to video). Since renting studio space at say STEPS costs $35 per hour, free gym space can be a great thing to have access to.

"Just Don't Give Up"

Don't Analyze, Just Do It...

One thing that NYC is big on is opportunity. Nearly everyday there are auditions, go-sees, EPAs, you name it, its probably happening in the city. But what a lot of newbies don't realize initially, is that many of these opportunities are not the type that you spend a week preparing for. In fact, a lot of NYC "chances" are right in front of you, and then...whoooosh, they're gone, just like that. So you constantly need to be ready. It goes without saying, that in NYC, you should ALWAYS carry a couple headrez(headshot resumes), some people go the business card route(also a viable option), and it usually a pretty good idea to have a couple sheets of music with you that you can pull out at any time. I'm speaking from experience here. When I first moved to the city, it didn't really dawn on me that I would need to carry around a binder with my headshots, sheet music, monologues, etc. But I quickly learned that if you aren't ready, you will be missing great opportunities to step up in an instant. One of the big differences between LA and NYC, is that the geographical lay-out of LA, makes it impossible to have spontaneous, spur of the moment, casting opportunities. In LA auditions are always posted a couple weeks out, everyone needs time to drive around the city, traffic is always a factor, etc. But in "the city," it is not uncommon for your agent, or best friend, to call you and say, "can you be at Chelsea Studios in 30 minutes, Rob Ashford is having an audition." True story: efore she went nutso, Britney Spears had an audition in NYC just prior to the VMAssacre. Dancers, including my old roommate, got called in an hour before the audition. Seriously, things happen THAT fast in the city...because they can. Everyone lives within 20 miles of mid-town, and so casting agents take advantage of that. So the lesson is...ALWAYS be ready. Furthermore, if you are interested in teaching and choreographing, ALWAYS have your class music or I-pod(and connection cables!!!) with you, in your bag, and a few combos pre-choreographed. I have picked up so many classes, in situations where a teacher failed to show up and I was prepared. This leads me to my final suggestion: Just Do IT!!! Now if someone had a heart attack in the middle of Time Warner Center, and people were asking for a doctor, I certainly would not step up and say "sure, I can do it." That just isn't within my capacity(although, can you imagine how cool that would be, Dr Dance, random side note, I actually KNOW a brain surgeon who is a fierce dancer, google Kalvin Latimer see for yourself) BUT, and here's my point, if someone is running around saying, "OMG, Leslie Feliciano can't make it to class, we need a teacher, who can do it," that is a BIG FAT OPPORTUNITY staring at you in the face. So, if you are prepared, and have your tihs together, then "just do it." Step up, don't second guess your abilities, and take advantage of the opportunity that just fell in your lap. This is what separates the dancers who "make it" from those who don't.

"What you are thinking about, you are becoming" Muhammad Ali

Pre-NYC Preparation...

I know that I have been promising this for a couple weeks, and I'm sure I will be adding to it as I do further research...but, two very promising "side" careers for NYC dancers are Pilates and Yoga certification. I say "side" because for many fitness professionals, this certification IS their primary source of income. But for dancers, it can be a very reliable and immediate source of revenue, its very flexible(no pun intended), an excellent networking tool, there is a high demand(unlike the dance teacher market) and I have a tendancy to believe that dancers have an inherent advantage when teacher Pilates and Yoga classes. Now some people have asked me, "well, what about personal training?" And while I will admit that its a viable option, in order for it to be lucrative, it is usually very time consuming...translation=less time for YOU to be at auditions and class. With that said, why isn't everyone running around teaching Pilates and Yoga? Because...certification isn't cheap. Typically, for yoga teachers, you are looking at around $2000 dollars, depending on the school and instructor. But if you are considering a move to NYC, and you are currently living in Vegas, Atlanta, Miami, or anywhere the cost of living is cheaper, seriously think about getting your certification BEFORE you make the big move. It is an investment that will pay for itself and give you the means to survive while you are getting your foot in the entertainment door. Although I was able to fight my way into the dance teaching market through sheer persistence and fortunate timing, I wish so much that I had gotten my Pilates certification when I'd had the time and money, prior to NYC...but hey, everything happens for a reason, and now I'm passing on the info to you. While it is far from the one and only way to make money in the city, it's something to think about.

Gotta Be Familiar...

I can't tell you how many times I've heard dancers bemoan the fact that they get passed up at auditions by lesser technical, better connected dancer.  I could have a steady passive income if I got paid everytime I heard someone ask, "Who is HE sleeping with, He always gets kept."  This question is inevitably answered by another jaded dancer with, "Hmmm, its all about who you know."  So hold on, pause for a second and think about that.  Put yourself in the choreographers shoes, and chances are, you would behave very similarly.  Now, I'm sure there are people out there who would insist that they would take a very meritocratic approach, and only cast the BEST dancers...BUT REALLY?!?!  I mean, think about the majority of Broadway shows.  For 95 percent of the shows out there, you need to be a good dancer...but not a GREAT one.  It isn't necessary for you to look like Corella or Vishneva.  So consequently, if you are friends with the choreographer, have a working relationship with the casting director, or are simply a familiar face on the NYC scene, and they know that you are capable of the doing the choreography...YOU DON'T HAVE TO BE THE BEST, DOLLY DINKLE, STUDIO TRICK, COMPETITION DANCER TO GET THE JOB.  Which is why so many technical, monkey flip, dancers get disillusioned when it comes to auditions..."I was always winning competitions, but now I can't get a job, what happened?"  SO, what do you do?  Well, keep in mind, that the goal is to become a "FAMILIAR FACE."  Even if choreographers don't actually KNOW you, if you audition for them enough times, eventually they will begin to associate your dancing with your name, with your face, with your attitude, with your voice, with your personality, with your special skills...and somewhere down the line, you will become very FAMILIAR to them.  They will feel, in a sense that they already KNOW you.  Once you have gotten to that spot, you are in a much better position to get hired.  But realize, it might take a half dozen auditions for this process to take place. And since projects audition every couple months, you have to be willing to stick it out long term.  I guess it comes down to this- Show Business is really all about who knows YOU, even if they don't really KNOW you...I know that sounds like a contradictory statement, but if you're a smart dancer, you understand.  So don't be surprised, if in ten years, you are the one sitting behind the audition table hiring four dancers and five walk in.  Four of the guys are people you have worked with, they are good but average dancers, and you really like them, personality-wise.  The fifth is a phenomenal dancer you have never seen before and know nothing about.  As long as the choreography is typical Broadway fare, the amazing new guy doesn't really stand a chance until he becomes more familiar.  And yet, its very likely, that he would leave this audition feeling very put out that he just got passed up by "lesser" dancers. So people, thats the game, and the sooner you learn the rules and start playing, the sooner you will reach your goal!!

"Put things in perspective, you are alive, you can dance, you have A LOT to be thankful for.  Quadriplegics envy paraplegics, they say "man, he's got it made!"" 

How You Can Teach...NYC Style

I mentioned in the previous post, that if you are coming to New York to work professionally, it is vital that you have something to start generating income relatively soon after you arrive. I will talk about some of the more viable options soon, but first, I think it is important to address a common misconception. Many dancers, who have taught in their hometowns, or in local studios, have this notion that teaching in NYC is going to be their part-time gig until they book their big break. The fact of the matter is, unless you are an established name in the business, it will be very difficult to parlay your knowledge into a full time teaching position at any of the major studios. However, like I always say, DIFFICULT DOES NOT EQUAL IMPOSSIBLE. If teaching is your passion and gift, you basically have three realistic options. 1) Develop a consistent attendance routine with a teacher, become their assistant, and sub when they are out of town, 2) Build up a consistent following teaching at one of the many NYC sport fitness clubs, many of which now offer dance classes, 3) Teach at one of the outer borough amature studios and schools. Each of these options has their own pitfalls and drawbacks. For example, the type of class you might teach at a fitness club will generally be a very different style and technical level than even a basic studio class in Staten Island. Teaching at the gyms is a tricky topic that involves certification, CPR training, etc...so I will go into more depth about that later. But for the most part, new dancers simply need to realize, that when it comes to making immediate money in the city, there are better alternatives than trying to establish yourself as a teacher...although, it can be done. The outside studios are always looking for teachers, and often rely on word of mouth recommendations. Ask friends for studio recommendations or post your information on dancer.net.

"Risk means guessing at the outcome, but never second-guessing." Mel Brooks

Save For Rainy NYC Days...

One of the big questions lots of people have, when they are considering a NY relocation, is how much money should I have saved. The easiest answer would be AMAP, As Much As Possible. I don't need to tell you that New York is insanely expensive. In fact, lots of people joke about the "air tax," every time you walk out the door, you mysteriously lose $20...it is just an expression, but it really does feel like that. But the more important issue, is really the purpose of your move...are you coming here to train temporarily, or are you looking to come for professional, performing opportunities. The reason I ask is simple, if you are coming to train at BDC or STEPS, and are going to be here for a set period of time, it is much easier to pencil in a set amount. Generally, I would recommend about $2000 per month, and a work study position(see my blog "I Want To Take Class But...") However, if you are looking to move here to pursue a professional career, it is far more important to have a built-in, revenue generating plan in place before you get here. This is because you have no idea how long you are going to be waiting for a spot to open on Broadway. Since you have no way of knowing the time frame, its very difficult to pin down an exact dollar amount that you need to have saved. But since, it does take a little while to get situated in the city, upon arrival, I would say your starting savings should be around $5000, to cover apt costs, furnishings, etc. But again, the key is to have something to offer, BEFORE you get to New York, that will allow you to start making money immediately, outside of the Broadway circuit. My next blog will focus on a couple ideas to get you prepped!

Power of Networking...

Everyone knows that NYC dancers have to be on the top of their game...this is no place for mediocre, sub-par, performers. Generally speaking, everyone who ends up making the "big move," has put in hours and hours of sweat, practice, and tears(or they have the intention of doing so at a NYC studio). But when it comes to dancing professionally, I cannot stress how important it is to network among the dance community. At first, it may seem a little strange and hop skip jump outside your comfort zone, but I always encourage people to introduce themselves to the the people to the right and left of you at the barre. If you are going across the floor and see someone with amazing turns, ask their name, tell them yours, and let them know that you appreciate watching their technique. When you go to auditions and you are number 37, you should know the names of 36 and 38 before you walk back to the subway. Don't worry about coming off as creepy or "stalker-ish," in fact, its just the opposite. Look at it this way, you and the unknown, intimidating, "competition" actually have A LOT in common. You both have given a large percentage of you life to this thing called DANCE, which you both love passionately. You both know what its like to walk into an audition and feel judged and inferior. And oddly enough, once you get over your case of "weird-itus," you'll probably discover you have mutual friends you didn't even realize. Business people give and get lectures all the time on the power of networking, the notion that success comes from building connections with other people in your field. And yet, so many dancers in the city have this isolated, me-against-you mentality, which...OK, I'm just going to come out and say it...IS DAMN STUPID. But until you start taking pro-active steps like the ones I've outlined above, you are cheating yourself from seeing the results first hand. WOW, I never thought I would actually quote High School Musical for ANYTHING, but look people, "We're all in this together." As cheesy as it sounds, it makes no sense to foster the cut-throat atmosphere, especially when NYC casting is laser point specific. So get out there, let people know that you are new to the city, and offer to help them reach their dreams...in the process, you might just end up with some unexpected surprises and adventures of your own!!

"no man is an island...(even though Manhattan is an island)"

Extra Work...

So, one of the reasons I wanted to start this blog, is to illustrate different ways to make money while you are waiting to book that big Broadway Show! Now, I KNOW that everyone is familiar with the "move-to-NY-starving-artist-slash-restaurant-waiter" scenario. So I am always looking for legitimate alternatives to the mundane. (not that waiting tables can't be fun, and all the props in the world to waiters and bartenders, you can actually make great money) But, for me, table service wasn't really all that attractive, especially since I moved to the city to be an entertainer. Second to Hollywood, NYC has an immense motion picture and TV industry. In addition to feature films and prime time shows, NYU and Columbia both have extensive student film programs. Even if you are not an aspiring actor, working as an extra on films and TV shows can be a fun and enlightening experience. Not to mention, the one day extra rate starts at $150 plus overtime. Catered meals are included, and for the most part, you will be required to simply sit and wait until they need to use you. While waiting in "holding," I usually read, choreograph, give myself barre, and a couple times, I have even taught class to other extras who wanted class. Don't be mislead, however, this is NOT an "acting" gig, although there a frequently gooby goobs who think extra work is their "big break" into the movie industry-"honey, don't flatter yourself." But that aside, it is easy money, and for a trained dancer, the connections and networking opportunities can be especially lucrative. The best online sites for NYC extra work are http://www.castingnetworks.com/ or http://www.actorsaccess.com/ (both of these sites require a minimal fee to submit you headshots to casting directors) Or you can contact info@extramilenyc.com and submit to casting directly. See you at the movies!!

One bit of warning: Don't necessarily expect to get your extra checks quickly, you may have to wait until the movie wraps to get paid. The longest I've ever had to wait for a check was one month, but typically you will see your money within two weeks.

"No Risk, No Reward, Know Risk, Know Reward"

The Agent Advantage...

A friend who recently moved to NYC ask me whether or not an agent was a necessity in the city. Since she is a more of a singer/actor who moves well, I told her that on the acting end of things, an agent would definitely be something to look into. An agent, in and of itself, is not going to guarantee work. Many times, you will still be required to put in the footwork, hustle around town, and attend open calls. The bigger the gig, or more high-profile the job is, the less of an effect agent representation might actually have. When Beyonce auditioned in NYC for her world tour last year, there were close to 800 people at the open calls. And yet the agent call wasn't much better, probably around 300 or so. My point is, for a job that big, having your agent get you into a closed audition isn't much of an advantage. YOU are still the one who has to step up and out dance hundreds of other dancers.(and at that stage in the game, 300 looks pretty much like 800 or 1000) It is still a whole lot of people. The idea of agent representation, is that you are going to auditions that have been tailored to your type. So if anything, it can be a time-saving mechanism(nobody who is blond, blue-eyed needs to wait three hours to be seen, if the producers are only looking for one dark, African dancer) But many times, the producers themselves are unsure as to exactly what they are looking for. So your agent might submit you, the casting agent passes on it, and you should still go to the open call. So many times, I have gone into an agent call, only to be cut right off the bat. But then, I will go to the open call the very next day and make it all the way to the end. In the end, an agent/client relationship should be beneficial to both. They get you into smaller audition situations, you book the job, and everyone gets paid. But all this agent talk should reaffirm another point, if you do not currently have an agent, or have gotten cut at an agent audition...don't freak out. In many ways, you will be in the exact same boat as the people who have agents...everyone has to audition, everyone has to impress the producers. Just remember, there are many different routes to the same destination, you might get cast in a video because your favorite teacher has just been asked to choreograph something...that is the crazy thing about New York, your next big adventure could literally be waiting for you around the corner.

I Want To Take Class, But...

Hey everybody,
wow, I got a little sidetracked over the new year, but I'm back...and I promise I'll be more regular in 2008. So one thing that aspiring NYC dancers need to realize, is the city is chock full of catch 22s. Seriously, people, Keller would have loved this place. For example, to get an agent, you need to show experience and the ability to book a job...BUT, you need an agent to get into the really good, resume-building, jobs...hmmmmm, doesn't sound like a reasonable progression, does it? But that's the way the business is, and you can either throw your hands up in frustrated desperation, pack your bags and head back to the mid-west, OR, figure out how to make the game work in your favor. I will address the whole agent dilemma later, but for now, I want to discuss the importance of regular class attendance. Since we're talking Catch 22s here, class presents an especially difficult pickle for many dancers. We all know that dancers need to attend class regularly to be on top of their game when auditions come up. Unlike singers and actors(someone will probably hate me for saying this), maintaining your dance technique, requires constant class and attention. But(Catch 22 alert) dance classes in NYC are not cheap, for that matter, neither are gym memberships. Right now, class at BDC(Broadway Dance Center) is $18, STEPS is $15.50, and NDG is $14. Suffice it to say, taking class 5 or 6 times a week can really put a strain on your budget. So what can you do? Well, the easy option, if you are serious about keeping your technique on point, is to enroll in a "work study" program at one of the studios. If you are concentrating more on Hip Hop or commercial dance, I would recommend the BDC program, which allows you to take one $5 class for every hour worked. The STEPS program is better for dancers looking to further their classical ballet and traditional jazz, and they offer unlimited $3 classes to those enrolled in their work study. So in addition to your outside employment, audition schedule, one five hour shift on a Saturday could greatly benefit your pocketbook.

For more info on the STEPS work study program, contact Kristi Sutton at 212-874-2410 ext. 15 (or email at kristi@stepsnyc.com) and for BDC, contact Dawn Rumbaugh at 212-582-9304

"The point is not whether you are failing, everyone fails. But those who succeed, are the ones who are failing forward"