Dream Job, Nightmare Salary: Make It Work

With irregular cash flow and notoriously low wages, ballet dancers can have a tricky time keeping their bank accounts healthy—especially when they'd much rather focus on what's happening at the barre than what's happening in their checkbook. In Pointe's June/July issue, we broke down the paychecks of four corps members, and asked each dancer how she makes it work on a starting salary. Here, expert Elaine Grogan Luttrull, CPA, who recently wrote Arts & Numbers: A Financial Guide for Artists, Writers, Performers, and Other Members of the Creative Class, offers her tips for dancers.


What's the biggest financial issue for young ballet dancers?

Relevance. Many struggle to see the connection between mundane financial tasks and what they really want to be doing: performing. It can also be hard to see the importance of saving for the long term. And easy to forget that income can come at irregular intervals. Many ballet companies have a layoff over the summer, but you still need to pay for rent and utilities.


How can dancers deal with inevitable unexpected expenses?

Have a rainy day fund for injuries, last-minute flights, family issues, car repairs, life transitions. Of course, it's easy to advise to “have a fund,” but it's much harder to get one, especially if your income is barely covering your expenses. That’s where a budget comes in handy. If your goal is to save $1,500 during the year, find opportunities for additional income—extra teaching hours, for example, or writing guest articles for a dance publication—or look for ways to curtail your expenses


What should a dancer do if she's completely overwhelmed by her financial situation?

Exhale. And then maybe exhale again. Start small, track your progress and focus on what you can improve one step at a time. You also may want to hire a CPA or someone to help with financial planning (or find a volunteer willing to help you for free). “Help” can also be talking to peers and colleagues. Sometimes just talking about our challenges makes the solutions seem more attainable.


When you were younger, what was one creative way you cut costs?

Looking at my budget, I found that I was spending a lot on reading material without realizing it. I made a conscious effort to use the library instead, and it helped me save more than I’d like to admit per year. The collection of DVDs helped me eliminate cable and Netflix too!


How does Arts & Numbers differ from other personal finance guides?

There are plenty of technically accurate financial guides out there, but I found they weren’t really relevant for creative professionals. What I wanted to do with Arts & Numbers was translate the technical information into a usable format. Arts & Numbers is full of case studies to present the information in a relevant way.

Any additional advice?

Keep doing what you love—it will set you up for long-term success, financially and creatively. And it probably wouldn’t hurt to have a rainy day fund too!

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Richmond Ballet dancers in "An Open Later..." by Matthew Frain. Photo by Sarah Ferguson, Courtesy Richmond Ballet.

What's going on in ballet this week? We've pulled together some highlights.

The Bolshoi Premiere of John Neumeier's Anna Karenina

Last July Hamburg Ballet presented the world premiere of John Neumeier's Anna Karenina, a modern adaptation on Leo Tolstoy's famous novel. Hamburg Ballet coproduced the full-length ballet with the National Ballet of Canada and the Bolshoi, the latter of which will premiere the work March 23 (NBoC will have its premiere in November). The production will feature Bolshoi star Svetlana Zakharova in the title role. This is especially fitting as Neumeier's initial inspiration for the ballet came from Zakharova while they were working together on his Lady of the Camellias. The following video delves into what makes this production stand out.

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Beijing Dance Academy students Pei Yu Meng and Wang Yuzhiwan in rehearsal. Photo Courtesy BDA.

In one of 60 spacious dance studios at the Beijing Dance Academy, Pei Yu Meng practices a tricky step from Jorma Elo's Over Glow. She's standing among other students, but they all work alone, with the help of teachers calling out corrections from the front of the room. On top of her strong classical foundation and clean balletic lines, Pei Yu's slithery coordination and laser-sharp focus give her dancing a polished gleam. Once she's mastered the pirouette she's been struggling with, she repeats the step over and over until the clock reaches 12 pm for lunch. Here, every moment is a chance to approach perfection.

Pei Yu came to the school at age 10 from Hebei, a province near Beijing. Now 20, and in her third year of BDA's professional program, she is an example of a new kind of Chinese ballet student. Founded in 1954 by the country's communist government, BDA is a fully state-funded professional training school with close to 3,000 students and 275 full-time teachers over four departments (ballet, classical Chinese dance, social dance and musical theater). It offers degrees in performance, choreography and more. BDA's ballet program has long been known for fostering pristine Russian-style talent. But since 2011, the school has made major efforts to broaden ballet students' knowledge of Chinese dance traditions and the works of Western contemporary ballet choreographers. Pointe went inside this prestigious academy to see how BDA trains its dancers.

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Ballet Stars
Tim Verhallen, via Instagram

Dutch National Ballet Soloist Michaela DePrince has been busy winning over the mainstream media. Since last spring, the First Position star not only landed a spokesmodel deal with Jockey, but she also recently teamed up on a commercial with Chase Bank and just announced that Madonna will be directing her upcoming biopic, Taking Flight (totally casual).

What could possibly be next? The cover of April's Harper's Bazaar Netherlands, it turns out. Posing in an arabesque with her hair slicked back in her usual ballet bun, DePrince traded in her leotard and tights for a stunning metallic Gucci dress (can we do that, too?).

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Ballet Stars
Leanne Benjamin and Luke Heydon in "Coppélia," via YouTube.

Dancing with The Royal Ballet from 1992 until 2013, former principal Leanne Benjamin tackled just about every role in the classical gamut, from Juliet to Nikiya to Giselle. As the young and spirited Swanilda in this clip from Coppélia, Benjamin reveals that she has equal talent for the silly as the serious. Her comedic performance in Swanilda's doll dance is this role at its best.

In an effort to trick the scheming Dr. Coppelius and save her beloved Franz, Swanilda pretends she is the doll Coppélia come to life. As she begins to dance, Benjamin is stiff and mechanical one moment and then flopped over like a rag doll the next. Dr. Coppelius, played by character artist Luke Heydon, watches her enthralled and Benjamin's gaze is fixed in a plastic stare. But when the toymaker looks away, Benjamin's Swanilda breaks doll character and frantically tries to figure out an escape. Feebly, Dr. Coppelius tries to keep up with her. Although we feel some sympathy for the delusional old toymaker, we can't help laughing at Swanilda's antics. And that slap at 1:55? Gets us every time. Happy #ThrowbackThursday!

New York City Ballet's shoe room. Photo by Tess Mayer.

Deep in the basement of Lincoln Center's David H. Koch Theater is a small, windowless space that's home to nearly 6,000 pairs of pointe shoes, neatly stacked on shelves that reach to the ceiling. It's New York City Ballet's shoe room, and for company members, it's one of the most important places in the world. Dancers frequently stop by to search for the ideal pair for a special performance, or to tweak their custom pointe shoe orders, trying to get that elusive perfect fit. "If the shoe isn't right, the dancer can't do her job," says shoe room supervisor and former Pacific Northwest Ballet principal Linnette Roe. We talked to Roe and NYCB soloist Emilie Gerrity about some of the most interesting—and surprising—secrets of the shoe room.

The NYCB dancers go through 9,000 to 11,000 pairs of shoes each year, including flat shoes, sneakers, jazz shoes, and character shoes. The company has an annual shoe budget of about $780,000.

Keep reading at dancespirit.com.

Younji-Grace Choi at the 2014 USA IBC. Choi is now a dancer with Cincinnati Ballet and will return to the USA IBC as a senior competitor this summer. Photo by Richard Finkelstein, Courtesy USA IBC.

Exciting news today: the USA International Ballet Competition has just announced its list of invited competitors for the summer 2018 competition. The USA IBC has invited 119 dancers from 19 countries out of over 300 applicants to compete in Jackson, MS June 10-23.

Since the last USA IBC in 2014 the competition has expanded its age limits; the junior category now allows dancers ages 14-18 and the senior category dancers ages 19-28. Of the 119 competitors this year, 53 are juniors and 66 are seniors. The United States has the highest number of competitors invited (52), followed by Japan (23) and South Korea (14). The other countries represented are Armenia, Brazil, Bulgaria, Canada, China, Columbia, Cuba, Dominican Republic, Kyrgyzstan, Latvia, Mexico, Mongolia, Peru, Philippines, Ukraine and the United Kingdom.

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Les Grabds Ballets dancer Mai Kono in a promotional phtoo for next season's production of "Lady Chatterley's Lover." Photo by Sasha Onyschenko, Courtesy Les Grands Ballets.

The latest front in the controversy over the underrepresentation of female choreographers in ballet is at Les Grands Ballets Canadiens de Montréal. They're facing a petition and choreographer resignation that forced them to rebrand a season and publicly defend their programming.

On February 26, artistic director Ivan Cavallari, who started the job in the summer of 2017, announced the 2018-2019 season, which included a program titled Femmes. The program announcement said the evening would have "woman as its theme," and that Cavallari had "chosen three distinctive voices, rising stars of choreography, to undertake this great subject."

The three voices Cavallari chose to create on the theme of women, however, were all men.

"This was just too much for me, it was the last straw," says Kathleen Rea, a former member of National Ballet of Canada who now freelances, choreographs and teaches in Toronto. Rea says she's been bothered by the dearth of women choreographers throughout her career. But referring to women as "subjects" and excluding them from choreographing on a program about them compelled her to take action.

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