hen most people think of dance, they think of performance. Whether it’s a childhood memory of seeing “The Nutcracker” or the image of a ballerina wearing a tutu, the stereotypical image of a ballet dancer is of one who dances all day and dreams of being a principal dancer in a major company someday. While this perception may be the case for a select few, this ideal in no way represents the goals of every dancer. It appears to be a glamorous career, but the truth is, being a dancer in a company is not always as appealing as it seems. This often causes many to fi nd jobs dealing in other aspects of dance.

First, there’s the rigorous training that must start at an early age. Dancers need to have the best training possible since jobs are limited. There are few openings—most are for the corps de ballet (ensemble) or for small companies—and only the most talented fi nd regular work. Many young dancers train in the summer at renowned schools in New York, Seattle, San Francisco and Boston to build their résumés.

Then there’s the audition process, where you compete against thousands of other hopefuls for one opening in a small company. Competition is intense. Sometimes there are hundreds of dancers at one audition. If you’re lucky enough to get in somewhere, the competition isn’t over. The struggle to obtain soloist roles is always an issue among company members—there’s a chance you might get stuck dancing with the corps de ballet in the back line for the remainder of your career.

The performing life of a dancer is short and so is the pay. Most dancers stop performing in their late 30s, with only the most privileged able to continue. The average pay for a company dancer is anywhere between $14,000 and $35,000. A principal dancer in a major company may earn $55,000 or more. Many dancers must have secondary career choices for when they stop dancing.

Dancers are also frequently stressed out and frustrated. Intense competition, endless rehearsals, plaguing injuries and constant evaluation all contribute to the stress factor. It is often a true love for performing that keeps a dancer going. As University of Utah senior Mark Harootian puts it, “I’m tired and stressed, but still happy to be here. I love to dance and would dance any day. I just get frustrated because I’m never satisfi ed with myself.”

Because the performing life of a dancer is so short and an injury can abruptly end a career, it is often advised that dancers take advantage of their general education and obtain a high standard of academic qualifi cation. This is why the U’s ballet department provides such a great opportunity.

It might be surprising, but dancing isn’t the only thing that these ballet majors do. In fact, they are required to take classes in music, choreography, acting, dance injuries, ballet history and sometimes teaching. Any one of these classes could spark an interest in areas of dance other than performing—and in many cases they do. If a dancer is looking for something in the dance fi eld besides performing, these classes are especially benefi cial. They aid the exploration of the realm of possibilities.

The more popular areas in the alternative career world tend to be teaching and choreographing. Many students teach on the side and choreograph for the ballet department’s “Ballet Showcase” to gain skills and experience. Annri Opitz, a former student at the U, has chosen to pursue this career path.

Opitz came to the U on the advice of her teachers at Walnut Hill, a performing arts high school in Natick, Mass. Halfway through her undergraduate degree, however, she realized that her goals were shifting more toward teaching and choreography rather than performing.

“When I came here, I choreographed for the fi rst time. That’s what geared me away from performing,” she said.

According to Opitz, having a degree has defi nitely helped her in achieving her goals. While she was earn-ing her master’s degree, she began to consider teaching more seriously. With an MFA in teaching and choreography, she is now qualifi ed to teach at the university level, something she already does part time.

“I love it when students pick up my concept of teaching. I want to see them blossom and grow as an artist.”

Opitz currently teaches ballet at the university to both freshmen and non-majors. She says it is a challenge because one must have patience and dedication in order to teach, but that it’s the students’ willingness to learn that motivates her the most.

Her first love though, is choreographing. “I love that there are no rules with choreography. It’s so open and you’re free to experiment with dancers who all have different personalities. I love to see my pieces being performed on stage. It’s what makes me most happy,” she said.

Opitz has choreographed numerous works for the ballet department. Her cleancut, innovative works are often seen in various shows such as “Ballet Showcase,” “Ballet Ensemble” and Utah Ballet productions. In addition, she has choreographed for the Ballet West Conservatory and for the American College Dance Festival in Modesto, Calif.

While she teaches at the university and at local schools throughout the community, Opitz is planning to send out videotapes of her choreography to companies and is working on a new piece for Ballet West.

In the future, Opitz hopes to open a ballet studio for kids of all ages and perhaps teach at a smaller college or a performing arts high school. From there, her ultimate dream is to direct a small ballet company, where she could continue to choreograph once in a while. “If somebody gave me the opportunity to direct a company, I would do it in a heartbeat,” she said.

Devon Welsch, another graduate student and member of Utah Ballet, is pursuing a lesser-known alternative dance career in body conditioning. She has tailormade her own program to pursue Ron Fletcher’s work, which combines Pilates and the Graham technique. Pilates is a method of body conditioning created by Joseph Pilates, and the Graham technique is named after the renowned modern dancer Martha Graham. Body conditioning serves as a type of dance therapy, working to prevent injuries and strengthening muscles and overall well-being. The U offers a body-conditioning class, and one can often see dancers doing Pilates in between classes.
Welsch decided to research this field after suffering two knee injuries.
“When I recovered from my injuries, I had to refocus and analyze what it was I wanted to do. Dancers need to be healthy, so I wanted to help prevent injuries,” she said.
She can often be seen giving strengthening exercises to her fellow classmates before and after class.
A career in performance was never even a consideration for Welsch. “I started dancing late, at age 16. I’m here because I love to dance and I love the passion.”
After graduation, Welsch plans to continue pursuing the work of Fletcher and become a teacher. She has already conducted a few Ron Fletcher workshops in Denver and other places in Colorado. She would like to work with dancers and help them physically and emotionally, with dance and their overall lives.
DESIGN, MUSIC, HISTORY AND THE REST
These are just a few of the myriad areas that dancers can choose to pursue. Here are some of the others:
The ballet master/mistress rehearses and teaches the company all repertoire. This person is responsible for making the company members look their best through casting and staging of the works.
The company choreologist (notator) records the movements of the dancers through a specific notation system similar to music theory. They usually work for major companies and assist the ballet master/mistress in teaching the work to the company members.
A company director directs and oversees all affairs to do with the company, hires dancers and plans the works that the company will perform each season.
A costume/hair designer designs costumes and hairstyles for company members. These designers must be able to observe a piece of choreography and enhance it with their concepts.
The dance accompanist provides music for dance class and occasionally composes. Experience playing the piano is required. A good accompanist can make all the difference between an exciting class and a boring one.
People in dance administration are responsible for all public relations and assist in tour management. They talk to reporters and develop a relationship with writers and producers. They’re also responsible for writing dancers’ biographies and promoting the work of a particular company.
A dance critic previews and reviews performances for magazines or newspapers.
Keeping an eye on the past, a dance historian researches and teaches advanced dance history through the ages, such as the Renaissance and Baroque eras.
A dance photographer captures professional dancers in their best moments, working either for the company or an outside entity.
Dance studio owners teach dance to students throughout the community and promote the performing art with local concerts and shows.
A dance therapist uses movement and dance as a medium through which an individual can creatively engage in personal integration and growth. He or she explores the relationship between the individual and his or her body and helps with social, emotional, cognitive or physical problems.
Massage therapists relieve and relax aching muscles, while physical therapists work with injuries and conditioning muscles. Most major companies have their own physical therapists.
While there may be a lot of dancers aiming for a career in performance, recognition must be given to alternative careers, which can, in some cases, prove to be more rewarding. Just as in performing, the many varied dance careers provide an opportunity for selfexpression and interpretation of ideas. You never know—your next massage or hair styling may be given by a ballet major you knew in college.
marissa@red-mag.com