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Ballet Careers

Leveraging Your Summer Layoff: How to Make Your Company's Postseason Hiatus Work For You

Sarah LaPointe, here in class at Charlotte Ballet, uses her summer layoff to teach and catch up on college. Todd Rosenberg, Courtesy Charlotte Ballet.

For a new professional dancer, the concept of a summer layoff—when ballet companies go on an unpaid hiatus for several weeks (or months)—can be a welcome change of pace, an anxiety-riddled uncertainty or a bit of both. While it should feel rejuvenating to take a break after an intense season, fear of financial instability or getting out of shape can overshadow the good. Here, six dancers share how they leverage their summer layoffs to be both productive and restorative.

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Trending

Think A Dance Degree Is Only Good for A Performance Career? Here Are 4 Grads with 4 Different Career Paths.

Colleen Reed and a classmate in rehearsal at The University of Oklahoma. Photo by Noor Eemaan, Courtesy Reed.

When you decided to pursue a dance degree, it was most likely with the intent to join a ballet company after graduation. But college is also a place of self-exploration and discovery—and sometimes your dreams change. While auditioning for companies may seem the natural "next step" for graduating dance majors, a degree can lead to a variety of paths. Here are four recent dance program graduates with four different career goals.

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Audition Advice

Are You Sabotaging Your Summer Intensive Audition?

In class at the Bolshoi Ballet Academy summer intensive. Photo by Gene Schiavone, Courtesy Russian American Foundation.

When Complexions Contemporary Ballet's summer intensive program director Meg Paul auditions students for its Detroit intensive, there's one thing that catches her eye for all the wrong reasons. "It's a real pet peeve of mine when a dancer keeps shifting her eyes to me during a phrase," she says. "It tells me that she's not fully invested in the movement, that she's more interested in being watched than in embodying the choreography."

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Ballet Training

Beyond the BFA: Can You Pursue a Non-Performance Dance Degree and Still Have a Stage Career?

Nicole Ivan, now a dancer with Bodiography Contemporary Ballet, in Elon University's 2016 Fall Dance Program. Photo by Tony Spielberg, Courtesy Elon University.

During his sophomore year at the University of Oklahoma, Austin Crumley switched the focus of his Bachelor of Fine Arts from ballet performance to ballet pedagogy. “I figured I already knew how to perform," he says. “I wanted to take advantage of OU's incredible faculty to learn something new." The degree change didn't close any doors for Crumley, who joined Sacramento Ballet this fall. However, he plans to focus on teaching after he retires. “The pedagogy degree turned a passion into a potential long-term career," he says.

Some degree-seeking dancers opt to concentrate on dance studies outside the traditional performance track—from dance science or administration to dance media, pedagogy, or even cultural studies. And for many, these degrees can support long careers both onstage and beyond.

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Ballet Careers

From Competition to Corps de Ballet: For Competitive Dancers Transitioning to Company Life, Mind-Set is Everything

Boston Ballet's Hannah Bettes. Photo by Ernesto Galan, Courtesy Boston Ballet.

At age 15, competition veteran Hannah Bettes traveled to the Prix de Lausanne, her sights set on getting into The Royal Ballet School. The teen left the competition with a scholarship—and the Audience Choice Award, to boot. That same year, Bettes won the gold medal in the senior division at Youth America Grand Prix and the bronze at The Beijing International Dance Invitational, adding to her already impressive resumé of YAGP and World Ballet Competition accolades. Yet by the time she signed a contract with Boston Ballet in 2014, the glamour of the competition stage seemed a distant memory. “Joining a corps de ballet was a huge change," says Bettes. “I'd be lying if I said it was easy."

While most young professionals expect to pay their dues in the corps, the contrast can seem especially stark for dancers emerging from the competition circuit. Beyond adjusting to fewer solo opportunities, they no longer have the personalized attention of a private coach. Furthermore, many start company life with a preexisting fan base, whose high expectations may increase pressure to progress quickly through the ranks. As the accolades and YouTube fame begin to fade away, competition dancers who approach company life with a fresh perspective will ultimately make the most successful transition.

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