Are You A Dancer Moving To A New City?

I know something about starting over as a dancer in a new city.  I got my dance degree in Iowa, joined my first dance company in Minnesota, got my Masters and joined my second company in Milwaukee, moved for my husband's job to Florida, moved for the job marked to Illinois, and have finally settled in Washington D.C.  Each time I've had to make my name ALL OVER AGAIN in a new city.  It's humbling and it always takes longer than you think it should.

Recently, I joined 4dancers.org as a contributing writer and guess what my first post is...
You've got it!  Tips for dancers on the move!

"Now it’s time to pull up your big-girl/boy tights, put on your game-face, and be really, really patient all over again.  Since it’s still considered gauche to have your resume printed on your leotard, here are some things I’ve learned along the way that will help you to hop into your new city’s dance scene as fast as possible"

10 "Must Do's" For Dancers In A New City

See what I have to say about cornering teachers after class in order to network, what to put on your website (get one!), and how to survive the long wait between moving and your first dancing gig.
And you know if I'm writing about it, I've done it 8 times and screwed it up 7 of those times.

Thanks for reading, and share with all of those dancers you know that are on the move, forced to move, or just need a change of scenery.  I've got them covered!

Best Thing about Touring: Gratitude.

One of the best things about touring, or heading to a new theater to dance is the little rituals each space has.  You have your rituals, your company has its own rituals and then the space has its own set.  It's very moving.  Rituals ground you, prepare you for what's next, and make you realize WHY, why you are there.

I recently closed a show at The Dance Center of Columbia College, Chicago with Mordine and Company Dance Theatre.  It was a trip that I couldn't have made without the support of family, friends and acquaintances who helped me so generously through my fundraising campaign.  So it makes it all the more meaningful for me to complete this little ritual...



I made it, I made it, I made it.  And now I'm there, on the wall, next to the names of all those dancers who came before me and struggled to get there just as hard as I did.

*ahhhh*

Heavy moment, and so lovely.

Thank you.

Why I, As an Artist, Left Miami

Edward Villella.  A name any dancer should know.  He founded Miami City Ballet, among other amazing achievements and made me, as a devout modern dancer, stop sneering at ballet.  (Well, Eddie and the incomparable Sylvie.)

So, what does this have to do with me leaving Miami for the cold city of Chicago?  A little over a year ago, my husband and I were faced with a choice whether to stay in Miami while he searched for a job or to start fresh in a new community where there were more opportunities for him.  The ultimate choice was up to me because I was gainfully employed and it would be quite a sacrifice for me to leave my company and my teaching.  I decided we would take the chance.

There were many and varied reasons why we chose to move (big city, more museums for him, closer family for both of us, the challenge of a new city, and several more financial reasons) but there is one reason, that as an artist I kept coming back to:  Miami just doesn't get it yet, and my career as a dancer is finite.

All right, all right, simmer down there.  Many artists and choreographers in Miami that ABSOLUTELY DO get it, but they are in the minority and they do not fund companies and seasons.  Board members and the general public steer that ship.  And, I'm sorry (not sorry), but Miami, you have some growing up to do.  Stay crazy, young and fun, but please take down those awful plastic-surgery-for-moms-and-teens and www.whocanisue.com billboards, and grow and artistic soul.

Edward Villella GOT IT.  He did.  He got it and then he founded Miami City Ballet.  People came, saw, and then a few more people were able to "get it" too.  Then Miami just had to stamp it's little 8-inch, platform stripper-heels all over it.  If you aren't familiar with the story of Villella's premature departure from MCB, read all about it in the Miami Herald's tell-all with there many helpful links to emails and subscriber letters.

I was reminded all about this in this month's Dance Teacher Magazine article with Eddie's first major interview since the whole rotten deal went down. Mr. Vallella has this fabulous quote that typifies his struggle with Miami:
"I came from knowledge and awareness, so when I was asked to start a ballet in Miami ... [w]hat I fully didn’t realize is there’s a New York manner and a Florida manner. So for over a quarter of a century I have been trying to educate and bring Miami up to or near the level of cultural understanding of a city such as New York. It’s not an easy thing to do.
... [B]ut when you are dealing with a community that doesn’t fully have enough exposure, interest and support, it’s a little exasperating, and you feel like you have not fully done what you started out to do."

And then after being asked what he'll do next, he just kills me with this one:
"What I want to do first of all is to return to a place where they speak my language. Miami does not speak my language."

Honey, I hear you and my bags are packed.