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Dancers and Choreographers

(D.O.T.  151.027-010, and .047-010)

Nature of the Work

From ancient times to the present, dancers have expressed ideas,
stories, rhythm, and sound with their bodies.  Many perform in
classical ballet, which includes the stylized, traditional
repertory.  They also may perform modern dance, which allows more
free movement and self-expression.  Others perform in dance
adaptations for musical shows, in folk, ethnic, tap, and jazz
dances, and in other popular kinds of dancing.  In addition to being
an art form for its own sake, dance also complements opera, musical
comedy, television, movies, music videos, and commercials.
Therefore, many dancers sing and act, as well as dance.

   Dancers most often perform as a group, although a few top artists
dance solo.  Many dancers combine stage work with teaching or
choreographing.

   Choreographers create original dances.  They may also create new
interpretations to traditional dances like the Nutcracker since few
dances are written down.  Choreographers instruct performers at
rehearsals to achieve the desired effect.  They also audition
performers.

   Dancing is physically demanding and strenuous.

Working Conditions

Dancing is strenuous.  Rehearsals require very long hours and
usually take place daily, including weekends and holidays.  For
shows on the road, weekend travel often is required.  Most
performances take place in the evening, and dancers must become
accustomed to working late hours.

   Due to the physical demands, most dancers stop performing by their
late thirties, but they sometimes continue to work in the dance
field as choreographers, dance teachers and coaches, or as artistic
directors.  Some celebrated dancers, however, continue performing
beyond the age of 50.

Employment

Professional dancers held an average of about 18,000 jobs at any one
time in 1992.  Many others were between engagements so that the
total number of people employed as dancers over the course of the
year was greater.  In addition, there were many dance instructors in
secondary schools, colleges and universities, dance schools, and
private studios.  Many teachers also performed from time to time.

   New York City is the home of many of the major dance companies.
Other cities with full-time professional dance companies include
Atlanta, Boston, Chicago, Cincinnati, Cleveland, Columbus, Dallas,
Houston, Miami, Milwaukee, Philadelphia, Pittsburgh, Salt Lake City,
San Francisco, Seattle, and Washington, D.C.

Training and Other Qualifications

Training depends upon the type of dance.  Early ballet training for
women usually begins at 5 to 8 years of age and is often given by
private teachers and independent ballet schools.  Serious training
traditionally begins between the ages of 10 and 12.  Men often begin
their training between the ages of 10 and 15.  Students who
demonstrate potential in the early teens receive more intensive and
advanced professional training at regional ballet schools or schools
conducted under the auspices of the major ballet companies.  Leading
dance school companies often have summer training programs from
which they select candidates for admission to their regular
full-time training program.  Most dancers have their professional
auditions by age 17 or 18; however, training and practice never end.
For example, professional ballet dancers have 1 to 1 1/2 hours of
lessons every day and spend many additional hours practicing and
rehearsing.

   Early and intensive training also is important for the modern
dancer, but modern dance generally does not require as many years of
training as ballet.

   Because of the strenuous and time-consuming training required, a
dancer's formal academic instruction may be minimal.  However, a
broad, general education including music, literature, history, and
the visual arts is helpful in the interpretation of dramatic
episodes, ideas, and feelings.

   Many colleges and universities confer bachelor's or higher degrees
in dance, generally through the departments of physical education,
music, theater, or fine arts.  Most programs concentrate on modern
dance but also offer courses in ballet/classical techniques.

   A college education is not essential to obtaining employment as a
professional dancer.  In fact, ballet dancers who postpone their
first audition until graduation may compete at a disadvantage with
younger dancers.  On the other hand, a college degree can help the
dancer who retires at an early age, as often happens, and wishes to
enter another field of work.

   A college education is also an advantage for college or university
teaching.  However, it is not necessary for teaching dance or
choreographing professionally.  Studio schools usually require
teachers to have experience as performers; colleges and
conservatories generally require graduate degrees, but performance
experience often may be substituted.

   The dancer's life is one of rigorous practice and self-discipline;
therefore, patience, perseverance, and a devotion to dance are
essential.  Good health and physical stamina are necessary in order
to practice and perform and to follow the rugged schedule often
required.  Good feet and normal arches also are required.  Above
all, one must have flexibility, agility, coordination, grace, a
sense of rhythm, and a feeling for music, as well as a creative
ability to express oneself through movement.

   Dancers seldom perform unaccompanied, so they must be able to
function as part of a team.  Dancers also should be prepared to face
the anxiety of intermittent employment and rejections when
auditioning for work.  For dancers, advancement takes the form of a
growing reputation, more frequent work, bigger and better roles, and
higher pay.

Job Outlook

Dancers face very keen competition for jobs.  The number of
applicants will continue to exceed the number of job openings, and
only the most talented will find regular employment.

   Employment of dancers is expected to grow about as fast as the
average for all occupations through the year 2005 due to the
public's continued interest in this form of artistic expression.
Although jobs will arise each year due to increased demand, most job
openings will occur as dancers leave the occupation and as dance
companies search for and find outstanding talent.

   The best job opportunities are expected to be with national dance
companies because of the demand for performances outside of New York
City.  Opera companies will also provide some employment
opportunities.  Dance groups affiliated with colleges and
universities and television and motion pictures will also offer some
opportunities.  Moreover, the growing popularity of dance in recent
years has resulted in increased employment opportunities in teaching
dance.

Earnings

Earnings of many professional dancers are governed by union
contracts.  Dancers in the major opera ballet, classical ballet, and
modern dance corps belong to the American Guild of Musical Artists,
Inc., AFL-CIO; those on live or videotaped television belong to the
American Federation of Television and Radio Artists; those who
perform in films and on TV belong to the Screen Actors Guild or the
Screen Extras Guild; and those in musical comedies are members of
Actors' Equity Association.  The unions and producers sign basic
agreements specifying minimum salary rates, hours of work, benefits,
and other conditions of employment.  However, the separate contract
each dancer signs with the producer of the show may be more
favorable than the basic agreement.

   For 1993-94, the minimum weekly salary for dancers in ballet and
modern productions was $587.  For new first year dancers being paid
for single performances, the basic rate was $242 per performance and
$71 per rehearsal hour.  Dancers on tour received an additional
allowance for room and board.  The minimum performance rate for
dancers in theatrical motion pictures was $99 per day of filming.
The normal workweek is 30 hours including rehearsals and matinee and
evening performances.  Extra compensation is paid for additional
hours worked.

   Earnings of choreographers vary greatly.  Earnings from fees and
performance royalties range from about $970 a week in small
professional theaters, to over $30,000 for a 8 to 10 week rehearsal
period for a Broadway production.  In high budget films,
choreographers make $3,000 for a 5-day week; in television, $7,500
to $10,000 for up to 14 work days.

   Earnings from dancing are generally low because dancers' employment
is irregular.  They often must supplement their income by taking
temporary jobs unrelated to dancing.

   Dancers covered by union contracts are entitled to some paid sick
leave, paid vacations, and various health and pension benefits
extended sick pay, child birth provisions provided by their unions.
Employers contribute toward these benefits.  Most other dancers do
not receive any benefits.

Related Occupations

Other occupations require the dancer's knowledge of conveying ideas
through physical motion.  These include ice skaters, dance critics,
dance instructors, dance notators, and dance therapists.  Athletes
in most sports also need the same strength, flexibility, agility,
and body control.

Sources of Additional Information

   For information on purchasing directories about colleges and
universities that teach dance, including details on the types of
courses offered, and scholarships, write to:

   National Dance Association, 1900 Association Dr., Reston, VA 22091;
or call 1-800-321-0789.

   A directory of dance, art and design, music, and theater programs
may be purchased from:

   National Association of Schools of Dance, 11250 Roger Bacon Dr.,
Suite 21, Reston, VA 22090.

   For information on all aspects of dance, including job listings,
send a self-addressed stamped envelope to:

   American Dance Guild, 31 West 21st St., Third Floor, New York, NY
10010.

   A directory of dance companies and related organizations, plus other
information on professional dance, is available from:

   Dance/USA, 777 14th St.  NW., Suite 540, Washington, DC 20005.