Ballet Training
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I'm in my second year as a trainee. I like the company, but it's hard to tell if the director sees a place for me here long-term. I don't want to waste my time hoping for a contract that may never come. Any advice? —Eryn

Don't pin all your hopes on one company. A traineeship is a very vulnerable position, and the director is under no obligation to hire you. Several times I've seen young dancers, even those who've been verbally promised a job, end up empty handed. Budgets change, sometimes causing rosters to shrink, or directors hire an outside dancer instead of promoting from within. I'm not trying to scare you—I just want to encourage you to protect yourself and be proactive about your future.

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Should I turn down an apprenticeship to finish my dance degree, or should I put my education on pause? —Ashleigh

Congratulations on receiving an apprenticeship offer! They don't come every day. If you think you're ready for company life, and will be full of regrets if you turn the offer down, you can always resume school later. However, make sure you know what the position entails.

Not all apprenticeships are paid, and there's no guarantee that you'll be promoted to the company's corps de ballet at season's end. Are you comfortable entering the dance world without the security of a college degree? And are you motivated enough to return to school if you put your education on pause now?

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BalletX's Caili Quan found value in her early years of career building. Photo by Alexander Izilaev, Courtesy BalletX.

After two years as a trainee and then one as a second company member at Orlando Ballet, 22-year-old Aurélio Guimarães wasn't able to audition much due to an injury. When The Washington Ballet offered him another traineeship, Guimarães debated what to do. He would ultimately be embarking on a fourth year of doing professional work without a livable salary or title. “It was absolutely a hard decision," Guimarães reflects. “But I also had to consider the work that I would be doing." Knowing his traineeship would entail close work with the artistic director, he essentially took a demotion, with the hope that starting over in Washington would yield a paid contract at the end of the year.

In the past, it was common for a year or two of apprenticeship to lead directly to a corps contract. But today's ballet world involves more no- to low-paying rungs at the bottom of the ladder. Many companies now have three gatekeepers: trainee programs that are often the top level of the school and involve corps work with the company; second companies that work independently as well as more intimately with the main company; and apprenticeships, the most entry-level rank inside the professional hierarchy.

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