Alison Stroming's home page includes an eye-catching, dramatic dance shot.

Courtesy Dani Hernandez, REDO U Media Design

Creating Your First Website: Pro Tips for Making a Striking Online Impression

Before COVID, having an active social media presence may have been enough to supplement your in-person efforts of auditioning, taking class and planting yourself in your local dance community. Now that most auditions are virtual and online submissions have been on the rise, it takes more to stand out. "Art is going to continue, but it will look different," says Rebecca Herrin, ballet instructor at the University of Oklahoma School of Dance, who advises her students on how to be competitive in the industry. "So many dancers are doing the same thing, and it's important to get your work to rise to the top."

To be competitive as the industry adapts and evolves, a professional website is the online presence you'll need to help you stand apart from all the chatter. Here are the basics to get you started.

Why You Need A Website

Dani Hernandez, founder, CEO and head designer of REDO U Media Design, notes the unforeseeable and uncontrollable challenges of relying solely on social media to showcase your work. YouTube sends viewers away from your content by suggesting relevant videos, Vine is no longer used and TikTok could be banned. "A website is yours," says Hernandez, whose client list includes choreographer Al Blackstone. "You control it, and you don't have to worry about an algorithm."

What's more, when someone lands on your site, you know they're searching specifically for you and not just anyone in your field. "Directors are looking," says Kevin Thomas, artistic director of Memphis-based company Collage Dance Collective. Thomas has been able to connect with new dancers online by visiting their websites after COVID-19 disrupted the company's usual in-person auditions this year. "This is a way to get a gig," says Thomas, adding that he recently hired a new company member this way, without having to meet him in person.

A laptop shows a webpage that features a photo of a woman with curly black hair and a yellow sweater next to her biography and social media links

Stroming's "About" page offers a detailed bio, plus links to her resumé and social media pages.

Courtesy Dani Hernandez, REDO U Media Design

How to Get Started

If you opt for the DIY route, there are a number of web platforms, like Squarespace, Wix or WordPress, that are relatively easy to use. They're low-cost, with monthly prices of less than $20 or annual subscriptions for a couple hundred. Most will include a custom domain and won't require self-hosting or any coding ability.

If you're like Alison Stroming, a former member of Ballet San Jose and Dance Theatre of Harlem who's now freelancing in Los Angeles, you may prefer to leave the web design to a professional. If that's the case, you'll invest anywhere from $500 to $2,500, depending on what you want to include on your site, according to Hernandez.

Either approach you choose will be well worth the investment, Stroming contends. She's landed both auditions and jobs from her website, which Hernandez designed. "I don't remember the last time I went into an audition and handed them my resumé," says Stroming, since directors have typically seen her materials beforehand. "It's really important to have your own site. If you don't have one, get on it."

A close-up of the top right corner of Alison Stroming;s website shows a drop down menu with options for "stills," "video" and "press."

A drop-down menu on Stromings' site offers separate pages for photos, videos and press.

Courtesy Dani Hernandez of REDO U

Your site will likely be someone's first introduction to you, so you should immediately establish who you are and what you do. On your homepage, be sure to include an engaging photo and a concise statement about you and your work. "Your homepage has to be something that grabs you," says Herrin. "Not just a headshot. It has to be an artist-in-motion pic with a written intro that makes me want to dive deeper into your site." Hernandez agrees, adding that you don't need to spend a lot on photography. "You can use your phone to take high-quality, non-distracting photos," she says.

Include additional content—such as videos of your work, any press you've had, upcoming shows or classes, a PDF attachment of your resumé, and contact information—as separate pages within your site. (Tip: Ditch the unprofessional email addresses you may have developed in high school, says Herrin. Establish contact info that you'll be proud to share with others in the industry.)

A gold pen lays on top of a notebook of graph paper showing a drawing of a website layout.

Getty Images

You can also include your side hustle or any products or services you offer. But don't overdo it, says Hernandez. Make sure the site's design isn't overcrowded, and that your brand or professional story is very clear. "You want to feel at peace and intrigued when you look at a website," she says. "Have them wanting to come back for more."

If you're just getting started and don't have much content to share, that's okay. It's still important to start with what you have and to put your best foot forward. "Be mindful of your audience," suggests Thomas. "Your site should look professional and tell us who you are. We want to know who we're hiring," he says.

Finally, Hernandez and Herrin agree that your site should evolve as you do. Keep it active by updating it as you accomplish new things in your career. "Once it's up, it's a work in progress," says Herrin. "A website is a living thing," adds Hernandez, "and it's so important for young dancers to know that."

Expert Tips from Web Designer Dani Hernandez

  • Use an easy-to-remember domain name. A good structure is "www.[firstname][lastname].com" or "www.[firstname][lastname][dance].com."
  • Keep your website design simple. Use white space to ensure that it's not too busy, and stay away from too many fonts or colors.
  • Remove the web platform's name from your domain name and site footer. Having "Powered by Squarespace" or "www.[sitename]" in your domain isn't as professional.
  • Align your browser favicon—the small image that displays next to the page title in browser tabs—with your brand. Using the web platform's default image brings credibility down.
  • Try not to overwhelm your website with a lot of photo content, as it will slow the load time tremendously. Only choose a handful that you think will showcase your best.

Latest Posts

The author, Lucy Van Cleef, dancing Balanchine's Serenade at Los Angeles Ballet. Reed Hutchinson, Courtesy Los Angeles Ballet

My 12-Year Journey to a Bachelor’s Degree While Dancing Professionally

If you'd have told me in 2009 that it would take 12 years to earn my bachelor's degree, I never would have believed you. Back then, I was a dancer in my early 20s and in my second year with Los Angeles Ballet. I was used to the straightforward demands of the professional ballet world. I knew that hard work and willpower were the currency you paid in the studio, and that the thrill of live performance made all that investment worth it. What I didn't know then is how life's twists and turns aren't always so straightforward. In hindsight, I can see how my winding road to higher education has strengthened me—and my relationship with the ballet world—more than I ever could have imagined.

Keep reading SHOW LESS
Victoria Morgan with Cincinnati Ballet principal dancer Sirui Liu. Jennifer Denham, Courtesy Cincinnati Ballet

After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

Carla Fracci in Romeo and Juliet, 1968. Erio Piccagliani, Courtesy La Scala Ballet

Backstage Notes: Conversations With Carla Fracci

Last month, the legendary Italian ballerina Carla Fracci passed away at the age of 84. A star whose name was eponymous for La Scala Ballet in Milan, she went on to have an international career with companies including The Royal Ballet and American Ballet Theatre. Over her five-decade career she developed partnerships with the greatest male stars of the age, including Rudolf Nureyev and Erik Bruhn. She also acted on television and in films, playing Tamara Karsavina in the 1980 movie Nijinsky, and would go on to direct ballet companies in Naples, Verona and Rome. Often called the "Duse of the dance" (referencing the great Italian actress Eleanora Duse), Fracci became famous for her bringing vivid spontaneity and depth to her roles, from her signature Giselle to The Accused (Lizzie Borden) in Agnes DeMille's Fall River Legend.

In October 2006, I had the pleasure of conducting a series of interviews with Fracci for my book, First Position: A Century of Ballet Artists (ABC-CLIO). After the interviews ended, she and her husband, Beppe Menegatti, graciously invited me to their home. Our conversation was wide-ranging (including our ideal casts of present-day dancers for various ballets, the role of the Alonsos in Cuba), and she shared anecdotes about partnering.

Keep reading SHOW LESS

Editors' Picks