DOCUMENT RESUME

ED 137 614 08 CE 010743 .AUTEOR Cornell, Richard; Hansen, Mary Lewis TITLE Exploring Careers. A St-2dent Guidebook. INSTITUTION Technical Education Research Center, Cambridge, Mass. - SPONS AGENCY Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C. Div. of Research and Demonstration. PUB DATE 76 CONTRACT OEC-0-74-9253 NOTE 32p.; For related documents see CE 010 734-744 AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number DI7-080-01638-9, $0.75) t NN N EDRS PRICE MF-$0.83 HC-$2.06 Plus Postage. DESCRIPTORS ; *Career Exploration; *Dance; Education;. Instructional Materials; *Occupational Infermation; Occupations; Resource Guides; Secondary Education

ABSTRACT. One of,six student guidebooks in a series of 11 arts and humanities career exploration guides for grade 7-12 teachers, couliselors, and students, this student book on exploration of dance careers presents information on specific occupations in both performance careers and dance education. An introductory section describes the four different dance careers of Carol, Mike, Janice, and Laurie. The main chapters include general discussion of the field and what people in the field do, various specializations, skills and interests that are appropriate, eduOation or experience required, where and how jobs are found and the'job outlook, and suggestions a person in the field would make to students. The first chapter on dance performance careers focuses on the different styles of dance and how the careers are different for ballet, , dance, and ethlic dance. Also included are notes on as a career and a list of dancers' unions. The chapter on dance-education includes discussion of dance therapy. i final chapter discusses change affecting the field (technological change, changes in style and taste, economic change, and /government action) and emerging occupations in dance: notator, reconstructor, and autographer. Three- professional associations are listed and an appendix lists nearly 50 dance job,titles. (1T)

*********************************************************************** Documents acquired by ERIC include many informal unpublished' * * Aaterials not available from other sources. ERIC makes every effort * * to obtain, the best copy available. pevertheless, items of marginal * * reproducibility are often encountered and this affecs the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied by EDRS are the best that can be made from 'the original. * *********************************************************************** Exploring Dance Careers astudent guidebook

U S DEPARTMENT OF NEALTH, BY EDUCATION &WELcARE NATIONAL INSTITUTE OF RICHARD CORNELL EDUCATION THIS DOCUMENT HAS BEEN REPRO MARY LEWIS HANSEN, PROJECT DIRECTOR DUCED EXACTLY At RECEIVED FROM THE PERSON DR ORGANIZATION ORIGIN ATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY

TECHNICAL EDUCATION RESEARCH CENTERS, INC. 44 BRATTLE STREET CAMBRIDGE, MASSACHUSETTS 02138 2

U.S. Government Printing Of f ice ; Washington: 1976

For aalo by tbo Superintendent of Documents, U.S. Government Printing Nike, Washington, D.C. 20402

Stock No. 017-080-01638.9 1,ewi:lored and disseminated pursuant .;tp Contract No. DEC-D-74_92s;

for Curriculum Development Branch Division of Research and Demonstration Bureau of Occupational and Adult Education U.S. Office of Education Department of Health, Educati,n and Welfa,e

i under

Part 1. Curriculum Development in Vocational and Technical Education Vocational Edui.xzion Amenaments of 1968

. Law 90:576

Discrimination Prohibited Title VI of the Civil Rights Aet of.1964;states: "No person in rt..: United States, shall, on the ground of race, colt,. or na- tional origin, be exclUded from participation in, be denied the benefit of Or be subjected to discrim- ination under any program oi,activity receiving fed- eral financial assistance." Therefore, the Vocational Education program, like all other programs or activi- ties receiving financial aSsistance from the Depart- Anent of.Heaith, Education and Welfare, must be oper- ated in compliance with this law.

The project presented or reported herein was per- formed pursuant to a contract from the U.S. Office of Education, Department of Health, Education and Welfare. However, the opinions expressed herein do not necessarily reflect the position or policy of the U.S. Office of Education, and no official endorsement by the U.:,,,!!ce of Education should be inferred.

U.S. Government Printing Office Washington: 1976 Photo Credits: p. 1 and cover, Ririe-Woodbury Dance

Company; Salt Lake City, Utah; p.-6, loan from U.S. . Office of Education, DHEW; p. 11, The Boston Ballet; p. 15,-Arena Stage, Washington, D.C.; 17, New Orleans Center for Creative' Arts, JOhn Clifford Roland photo; p. 20, Gallaudet College, Washington, D.C.; p. 24, Bureau, New York, N.Y. TABLE OF CONTENTS

INTRODUCTION 1

Carol, Mike, Janice, and Laurie 4 Four Different Careers

Summary 9

DANCE PERFORMANCE CAREERS 11

What are the Different Styles of.Dance and How are the Careers Different? 12

Ballet 12 Modern Dance -- 13 -- 14 Ethnic Dance 14

Choreography 15

Unions 16

DANCE EDUCATION 17

:Dance Therapy 18

Job OutlOOk 20

EMERGING AND FADING OCCUPATIONS .21

Change 21

Technological Change 21 Changes in Style and Taste 21 Economic Change 22-- Government Action 22

Emerging Occupations in Dance 23

Notator 23 Reconstructor 23 Autographer 23

ASSOCIATIONS PROVIDING CAREER INFORMATION 25

APPENDIX DANCE,JOB TITLES' 17

5

iii DANCE

INTRODUCTION

Of all the career fields in the troupes. The point behind all performing arts professional these numbers is to show how small dancing must be the smallest. the world of professional dance is Only about 7,000 people worked when compared to the world of as dancers in 1974. Of course theater or symphony. .f many more people danced as ama- teurs, and many more worked as In order to give a complete pic- dance teachers, but only 7,000 tuie of the dancer's world we must earned income by dancing. add to these 7,000 performers many teachers, dance therapists, dance That same year, 1974, the Ford historians, researchers, notators, Foundation made a study of per- and managers of dance companies. forming arts groups with budgets Some of these people may not actu- of $100,000 or more. Their sur- ally dance themselves, but gain vey included 27 theater groups; their livelihood because of an 31 opera companies, and 91 sym- understanding of dance, or a deep phony orchestras, but only nine interest in dancers. ballet and eight modern dance

6 Where do dancers work? Per- the movements on his own. Although formers work either as part of an he isn't sure when or how, Mark established company of ballet or became the only boy in an other- modern dancers, or assist in other wise all girl ballet class. performances such.as musical shows In school the other boys. always television, or films. The dancers teased him about taking ballet themselves are usually part of the lessons and called him names like - the ensemble of "twinkle-toes," but because Mark dancers - or they may be featured could always run faster and jump /as soloists. Soloists can work higher than anyone else in his as featured guest artists with class, the other boys accepted him companies other than their .own. in sports. Dance companies also need teach- During the early grades Mark ers and choreographers. Dancers took weekly Saturday morning.les- in a company must train daily to sons. During junior high school, stay in form and to learn new dan- he alse went to an afternoon class ces. The daily training is the on Wednesdays. By the time he was responsibility of the teachers, a freshman in high schoolhe-had who are usually master dancers made up his mind to be a profes- ith long years of experience. sional dancer. Choreographers create new.; they also need years of experi- Mark went to an.audition and ence as dancers and teachers. took some tests, and was accepted by a special high school for per- What iS it like to become a pro- forming arts in his city. This fessional performing dancer? Let school gave classes in different us find out by following the ca- kinds of dance every day for sev- reer of one dancer from its begin- eral hours along with academic ning. studies important for dancers These included French (the inttr- Mark's Career national language of ballet), English- literature and world his- Markls career\as a dancer began tory (to help a dancerinterPret almost as an accident when Mark dramatic scenes), music (u: help was only six years old. His moth- with rhythm and timing), as well er used to take his oldersister as other high School courses. Ophelia to ballet classes on Sat- Mark-was'very proud to be in this urday mornings, and many times special high school where perform- Mark was dragged along. On nice ing arts:were treatcA seriously days Mark and his mother would go and notas leisure time, extra- to the zoo, or to the river to curricular activities. watch boats until Ophelia's class was over; but when the weather When Mark was almost 17, and was bad, they would stay and ready to graduate from high scheol, watch the class. his ballet teacher suggested that he try a professional auditionlor Mark used to sit by the pianist, an opening in a resident.ballet fascinated.by the music and-the ,company in the city. Mark des- rhythmic movements of the class cribes the audition-this way: reflected in the mirror. At home, Mark would try to remember 3

There were around 100 dancers teaching on the side he would be

trying to get this one job. 1 able to get by on his dancing was number 37. While number 36 ability. For Mark this was a

was on stage I was as nerVous moment of triumph. as a paratrooper bailing out Now,-Mark has a career of profes- over water-at night. I did every stretching and relaxing sional dancing ahead of him, at least until he is into his thir- exercise 1 know; still, the ties. muscies in m.ylegs were tied After that, he will be con- sidered quite old for professional in knots. The manager called. dancing. Teaching and choreogra- my number. 1 danced 'for... 'maybe two minutes when he be- phy are two possibilities open to gan to clap his hands loudly. him, although he could retire at a young enough age to pursue an 'Thank you, we'lllet you know. Number 38!' he said. That was entirely different kind of career. With experience Ind know-how, and 'it! 'My first pro audition. I some financial and political sup- didn't even get warmed up. I didn't dance very well... and port, he could start another dance company, or a school for dancers. 1 didn't get the job either.

But 1 learned something about The life of a professional dan- taking an audition! cer is full of risks, hard work,

- and a lot of competition. It Finally, after several more takes a person of great confidence, auditions,. Mark got a job with a strength, and an ability to over- %I.balletcompany -- not a famous come the odds. As in many of the one, not a great paying job, but performing arts jobs, survival as a job. As long as he did a little a dancer is success.

8 CAROL, MIKE, JANICE, AND LAURIE Four Different Careers

Dancers have careers verydiffer- Mike, and Janice were 17 years old ent from one another. On the at high school graduation,but following_time line, there are Laurie was 16. four careers. The major events Comparing the four lines on_the in_each career are placed oppo- time line and reading the four site the age when they happened. life sketches points out many dif- For instance, everyone started ferences and similarities about public school at age six. Carol, careers in dance.

Time Line

LAURIE Age CAROL MIKE JANICE

Public school- Public school Public school Public school England 7 Ballet school 8 Ballet lessons

9 Dance lessons

10

11

12 Moved to N.Y.

13 Public school Professional and ballet performances 14 classes 15 H.S. graduation 16 H.S. shows

17 H.S. grab. H.S. grad. H.S. grad.

18 Job in drug College. College store 19 Summer play- Spanish major house 20 Audition for Folk 'dancing Ballet Study in SpainGraduate school 21 Saskatoon Internship 22 Ballet - corps College grad. Year away de ballet and N.Y. auditions College grad. Master's degree 23 solo roles Musical shows 24 Marriage ensemble Job in State 25 Choreography Office work hospital 26 Instructing young dancers 27 . , Courses and 28 Son is born seminars in 29 different therapies 30

35 Retires from and starts school Carol

Carol, together with her husband Sam, is the founder, owner,-and operator of a school-of ballet.

Carol was born in England where' While working with the Canadian she went to grammar school and company Carol found time to get ballet school. -When she was 12, married and have-a son. Almost 15 her family moved to New York. In seasons of performance passed be- this country she soon resumed her fore Carol retired from the Saska- ballet lessons after school. Dur- toon'Ballet. Returning to New York ing high school she took class to be near her parents, Carol and three afternoons a week and Sat- her husband Sam, also a ballet dan- urday mornings, but she practiced cer, started their small ballet dancing on her,own every day. studio where other professional When she graduated from high dancers could train. school she took class every day Carol does most of the teaching for many months, working at a herself, hires (and fires) pianists, part-time job in a drug store to schedules classes and lessons. Her pay for lessons. Her ballet teach- husband keeps track of money mat- er arranged for the directolr of ters and hundreds of other details. the Saskatoon, Canada, ballet He hopes to be able to hire some- company to audition Carol and sev- one to help run the business so he eral other girls in his class for can be free to do more teaching, an opening. The director of the but he can't pay for such an assis- Saskatoon Ballet had cc:ale from tant yet. The school they started Canada to New York to find a will probably never make very much trained-ballerina, and in Carol money, but as ballet dancers Carol -he saw.the qualities of poise and and Sam are used to having not very self:confidence he wanted as much much money. What is important about as the perfect . the school is that it keeps Carol After several seasons with the and her husband in daily contact with the art of ballet, which will Saskatoon Ballet both as a member always be the focal point of their of the corps de ballet and as a , Carol was asked to in- lives. struct young dancers in the ballet school-run, by the company. She discovered that she loved teaching

10 6

Mike

Michael is a dancer and choreographer for musicalshows. How did_he get where he is?

In school Mike was always an out- came along, he learnedit. going and friendly person. He Mike became the best dancer in admits that often he got into his school, and was very popular. trouble from talking too much or Although he was a good student in making funny comments at the general, his favorite subject was wrong time. English because 11 liked to read When he was nine or ten, his plays and stories. In high school mother took him to a dance school. Mike usually had an important role At classes after school, and some- in all the musical productions. times on Saturday mornings, he When he was a senior, he made up would learn many different kinds all of the dance routines for the of dancing, such as tap, ballroom, musical. and older styles of dancing -- Mike went to a college that.had Charleston and boogie-woogie. a special theater departmentwhere He also learned the latest popu- he studied acting, dancing, sing- lar dances -- twist, the funky ing, literature, and history of the- chicken, the frug, or the mashed theater. Part of his college train- potato. As soon as a new dance ing was performing plays in the 7

college theater. During the sum- Variety. He danced at-many audi- mers he worked at resorts -- once tions before he finally 2ot an as a singing waiter, later as an --opportunity to prove his abilities actor in a sumMer theater. When on a New York stage. he- graduated from college with a Now, Michael has enjoyed success- Bachelor of Fine Arts degree, he ful perfotmances in New York.and already had the experience of work- other cities- Many of his,thost ing in more than 25 productions in recent jobs have been in newly and out of school, opened dinner theaters in a sub- Mike knew that there was a tre- urbs. Because Mike is often the mendous amount of theatrical ac- best dancer in the_cast, he is be- tivity in New York City, so he ginning to 'do more choreography, went to try his luck. Mike fol- making up dance routines and teach- lOwed.auditions and results of ing them to the castY-- auditions in trade magazines like

Janice

Janice has a college degree in a foreign language. How did she become a -dancer?

Janice went to a public school home, did temporary office work, like any other public .school. and, of course, spent dll her She was a good student whose best spare time folk dancing at a near- subject was Spanish. No one was by university. surprised when she decided to One night at dancing, Janice met major in Spanish in college. a woman who directed the Folk Dance However, no one could have fore- Ensemble, a group of serious folk seen what happened to Janice when dancers who gave concert perform- she_got to college: folk dancing. ances. Soon, the.Folk Dance En- Janice had never danced much when semble invited Janice to join them she was younger. Only once or as a performing danoer. Janice twice.a year was there square turned down theinvitation because dancing in the physical education she wished to finish the college classes, and she cogldn't remem- education she had started. ber having quite as much fun. After cGllege, Janice did join She especially liked the East . the Ensemble buts.'Secause the.dan- Egropean dances:from Hungary, cers were not paid, she had tO get Yugoslavia, Qreece,.Macedonia, a 13aying job also. The practice and Bulgaria, places she had teaching she did in college had never thought about before..,,,, .ccinvinced_hei that teaching Span- 'During her junior year of col- ish was not.what she wished to do. lege, Janice went.to Spain to with her life. Folk dancing was' study her major language in its what she wanted. home environment. When she re- Now Janice. has a_daytime office turned, she decided to stop going job doing typing and filing. She to school for a,year. Janice Went

.12 recently left the Folk Dance En- who have formed the folkotChestra. semble to srng with.a new folk She'is saving her money for a tour music orchestra. At niccht she of the countries whose dances and folk dances and rco traditions she has learned. 'folk songs wit]:

Laurie

Laurie was destined to be a great'ballerina or was she?

.Laurie Was praCtically A child background andher training in psy- prodigy, a child star. Her bal- chology. After further College let training began shortly after study and an internship at a large.- she turned eight. By thetime State mental hospital:, Laurie was she was in the ninth grade she awarded- a Master's Degree in PSy- had.already performed in profes- chomotor Therapy, the degree.award- .sional produCtiOns,..By'thp time ed to 'clualified.dance therapists. 'shegraduated froM high' school, A job as a dancetherapist waS a professional ballet career impossible for LauHe to find. seemed the surest rOad for Lau- Only'the.largest hospi..pls have _ . rie's success, paiddance,therapists.''She did, ButLaurie began to have inter' however, find a low-payingjobas ests other thandancing. Applause assiStant;ocCupational therapist and famewereet eVerything. in-a4State hospital that had no a liberal arts college,she hoPed: dance'iherapk...LaUrie hopes,to . Tind patients .who.Can be helped-by to figure out what. she-would.do , with her life. The coursei that dance therapy, and start her own interested her most were psy7i dance'therapy program.- chology and philosophy, and,.of :laurieJs also interested in. course, She, still loved to dance: OthetAinds of thei'apy, and is When Laurie_heatd'about a pro- 'taking seMinars an&courses to gram in-danCe'therapy, she thoUght leaili,more about how'to help the she had found the answer. Dance. therapy would give heran--oppor- - tunity-to use both her dance SUMMARY

Carol, Mike; Janice and Laurie Mike and Carol have been follow arefour people who Ire follow- ing their careers in a very direct ing careers inliance. Carol and way. Both trained to be dancers, Mike are paid profeSsional per- worked as performers, and taught formers, although,Carol is now dancing. Janice, however, trained -teaching. Janice and Laurie aru as a Spanish-teacher, became a per- 'not paid,performers;..in.fact, as forming dancer, and-worked in an a dance therapist,iLaurie'doesn't office to.support her unpaid Ca..; perform at reer in dance..Laurie headed to- Carol, Mike-, and Laurie all ward'a long and successful profeS- siohal ballet career, but as other began their/training very early in.life. /Early training is the interests became more important -to rule among profeSsional dancers, her, she changed the direction,of especially in ballet,. Janice her career. Now that Laurie is was almost ten years older than becoming interested in other kinds of therapy, her career may still tbe Others when'she-began her change further. informal-folk dance training:

5 -Careers are as different as people. The four careers of,Carol, Mike, Janice,. and Laurie are'as different as careers can be, but dancing is the central feature' of each of ft-hese four lives'.

;-

14 DANCE PERFORMANCE CAREERS

The career of a dance performer Not all. dancersifollow the same.

, often flows through these stages-: career pattern, of course. .Differ- ,student, dancer, choreographer, ,ences in.dance careers arise from. teacher. it is usually difficult diffetentAance StYles^and from . .to tell when one stage stops:and the different'settings in which another begins. Students perform, they are perforthed For instance,, occasionally in the same company the atmosphere at anight,club as professional'dancers. Per- featuring jazz dance routinesin formers often teach. Teachers a reVieW is very different'from choreograph new dance works for the atmosphere in.a theater where theirAtudents: Choreographers' a ballet is being performed. In areoften their Own dancers, and A night club; people want to be / . dandets are often their own chor- entertained, relaxed, and having eograPhers. One thing common to a'good time. Cigarette smoke and all dancers_at all stages', is that alcohol are part of the icene, and . /

/all remain s.tudents of the dance . thedancing iS a temporary diver- / throughout their careers. Even sion. Ata.ballet performance, / the most gifted and experienced the danders' art is the center of ballet dancers "take class" on attention, nd the'audienee con-. a daily basis. centrates on,every move.

1-5

-11 12

.Performance setting is not ifie stage is different-fordifferent Even physical only difference indance career.s' styles of dance. Training is different in different requirements differ among dance styles of dance. The number of styles.' yearS a dancer can perform on

WHAT'ARE THE DIFFERENT STYLES OF DANCE, AND HOW ARE TUF CAREERS DIFFERENT?

Ballet

Ballet as we see ittoday devel7 by age 15. or 16. Professional Oped froithe dancingin'courts:' companies audition dancers for pro- of.the kings._andAueens of Europe. fessionaljobs.when the dancers, Ballet's classical forms are based are 17 or 18. on,a highly developed andrefined The rea.on for early.training is techniqUe.. As one dancer put it, that the body of a-dancer should "Ballet tries to Make the unnatur- growinto the techniques needed in al seem effortless and. natural." dance: Great ballerinas can re- of A 's training must Inain almost forever on the tips 'begin very early in'life. 'Pre- their toes orily:because of expert ballet training' can start befoi.e and careful.instrdCtion from an age eight. train- early age.. The sensational leaps ing requires classes more than of ballet dancers are the result once.a week. A balletdancer has of years Of studv and da.IT prac- . to make a lifctime careerdec1sio7' tice,.not only phYsical effort. ,

Usual Timetable of a Ballet Career

Age- 8 - Ballet lessons weekly

12 - More serious study of dance .

14 - Lessons 'three or four times weekly / 16)- Decision: ballet career \ I 18 - PrOfessional audition, begiiNqnnng of performance

28 - (or age 30 or 35) Retirementfrom i 'dancing in performances 30 - (and on). Teaching/choreography /

16 13

The ballet dancer appears on and Canada need new dancers, New the stage as a performer during York is often the,first place they the yearS in which the body is at look. its-peak of strength and.vitality. The outlook for occupat.ional op- Professional athletes,have similar portunities in ballet is not at tiMetables,for their careers. The all clear. dancing part,of a ballet dancer's Audiences for all forms of haVe increased career is often,coming to an end dramatically in the past few years. just as many oifierta'reersare However, most ballet companies beginning. (Thereate of Course (also theaters, symphonies, and many exceptions zO:.:this pattern operas), are unable to meet their of early retirment. , r instance:temains costs. Depending on genercius foun- one of our greatest ballerinas.) dations and government agencies

suc..h asthe NatiOnal Endowment fOr. . Today, as in the past, the bal- the Arts-, :ballet companies need let world is dominated by great contribUtiOns to temain in business. European companies frot.capitals The general.economy/and the actions like LOndor., Faris, Moscow. In' ' of State and Federal legislatures the United States, tost.of the .will "have a powerful effect on important ballet schools and com- therfaure.of American ballet !rtnies are based im New York City,. dancers.. _-len ballet companies in the U.S,

Modern Dahce

ymm2, dancers with early iSyrovided in neighborhood stu- bg:llet vfaining wish to enter the di.68, indance company-sponSored feld 0 modern dance. Modern sChopls, in specialized schools 031, .s an'American7boin art for the arts, as well-as in col-. One of the.first dancers leges and university programs. laodern times to break with the Sote modern dance experience is cassical traditions of ballet provided in public schools, usu- 1,41 1:,adora Duncan. The new spir- ally as part of the physical edu- it she breathed into dance is cation program. s 1, very much alive today/in The training of a modern dancer mc.lern dance. The technique of can extend 'through several years mout.rn ,Ance is somewhat freer of college, and:the performing of.ballet.'.. A great career often continues longer than ch:A of discipline and long, hard that of ballet. Because a great study is still needed to.become deal of creative imagination is a good modern dancer. Both styles needed to deal with the freer tech- ,of danc use some_of the same I niques of modern dance successfully, well?rounded education including --Mr4can_danca_is very pOpular on literature, languages, visual arts, colJeva: campuses, where degree and music, as well as dance.courses, prozs are offerea to dance ma- is useful to modern dancers._ jors. Training, for modern dance

1 7 14

The world of modern dan*Ce is multimedia presentations and the dominated by Americans., with the creation of new art forms, not just greatest amount of activity cen- damCe works. tered in New York. New companies Modern dan6e companieS depend on are formed every day, and old ones sponsors even more heavily than dissolve. It is a constantly' ballet companies.'. The outl.00k for shifting scene in which experi- the continued growth of profession- ment is very important. Modern al modern dance depends on the ac- dancers have close associations tions of State and Federal legis- with avant garde composers and latures, on the 'general economy, conceptual artists. A great num- and n the millingness of univer- ber of dancers are involved with sities and other institutions to sponsor dance companies:

Jazz Din&e'

.Most dancers working on the music- are few oreariized companies since comedy stage,:in night clubs, MoSt jazz dari8P'is work as indi- dinner theaters, Motion pictures-, vidual freetlancers audition/ing and television:Variety shoWsare for every new shoW. ,Inthis, high- trained in jazz dance: Most of' ,:-.1.y,coMpetitive end of7the dance these dancers have had Some train' laorld,.younger,dancers haAre a ing in_ballet,.taP, popular,mod- definite advantage. Oncgain, ern, and ethnic dance styles, as' -.New:fork is whore most work, well as acting'and singing, ''There' originates.

Ethnic Dance

Dance styjes assoCiated with a Training,in ethnic dance styles tl particular People and tulturd is available in a feW private come under the heading of ethnic' dance stUdiOS,...pr\thioUghollegei .dance. .Companies specialize in 'folk 'dance Clubs,:.bi,recreational -European folk dance, Spanish centers such as.Y.MtA:: dance, African, Afro-American; One.form ofethnic dance is'. Native American, Balinese, or American square dancing. SqUare one Of many other national styles. dance clubs.are.se widespfgad that:, Unfortunately, very few oppor- there is, a constant need%for goad tunities exist for performing. caller's and teachers. While.square theseAances on a professional dance callers can make sOme Money basii. Most of the ',dancers in calling dances,. they usually hold other ,jebs duringfthe dayand sup- such companies dance because they ,

love dancing..:JVhatever money is . pigment their income by calling earned usually goes --square-dances at night, cestS and expenses,.andnot to Pray the dancers.' c.

18 15

\ CHOREOGRAPHY

Many dancers in ballet, modern, working with a composer who writes jaz'z, ahd ethnic dance go op to- new music, too'. -, The' choreographer work as choreographers when the usually notates his'ideas in s et- performance part of their careers ches or s, ols ahd using the s is over., Many.dancers combine: bols as a guide, teaches the dan- choreography and performing. cers their parts. ifter many re- Nearsals, the perfected dance may. Working as a choreographer, a become part of the company's dancer creates new dances, often rerrtoire.

1 9 .16

More Facts About Professional Dancers

Professional dance attracts many more women than men;

in fact, professional dance is 90 percent women. . Nevertheless, Most dance companies requkce'equal.num7 bers of both sexes. The crowded,danCe world is hignlv competitive for men, but nine times more competiVu for women. In both ballet and modern dance, employment is irregular and seasonal. Even the most established dancers can look forward to only 36 weeks of employ7 ment per year. The most famous ballet and modern

, dance stM.s earn only a fraction as much as stars in other fields.

UNIONS

Most of professional dance is concentrated in the areas of ballet, modern dance, and jazz dance. Rrofessionals 'in these areas belong to the follow- ing unions:

American Guild of Musical Artists Ballet, modern dande, opera dance companies

AMErican Federation of Television and Radio Artists ancers on television

Actors Equity Association Stage musicals and dinner theaters

American Guild of Variety Artists Night clubs and variety-shoWs

- DANCE EDUCATION

It is reported that a NatiNe A can, on I ng a mrmhor ther tribe, would .Ay, you:" but ri hL r,"Mlat do you dance?"

, t.,.

tr

Dance is a significant part,of In our society, fulfilling the eOrY.cultureoftelijnseparabIe need to dance, or to move crea-. .;froM its literature, mUsic and tively,'is becoming easier and mytholpgy. Therearetales:of easier. 'Amateur dance companies, long-vanished native American "movement centers," dance prbgrams

;tribes that went "dance crazy" at adult education centers, and . leaving work undone in the fields dance clubs, as well as the many and dancing all Over the World. private dance studios, are pro-. The perforffiance of a dance iS viding dance opportunities in all -often the central feature of some styles for people of all ages.

of the Native American's tbst . Each of these oppoitunities pro- profound religious ideas: The vides jobs for teathers, callers, Sun Dance of renewal, and later, or choreographers to organize and the Ghost Dance. It seems as if direct dance programs. This iS humankilid Las-a-d:efi=rite need-to one-as-prect-dttcree-educ-ati- dance.

2,1

17 18

By 1,r Ike .A dance teachin ing in colloge usually need.a mas- takes place i. private, indepen- ter's degree=and knowledge not only dent dance studios. Teachers in in performance, but in dance his- these studios are dancers with tory, dance notation, and.dance professional experience, or some- educatio4. College-trained dancers times accomplished amateurs. are more' aPt to enter.dance educa- Some specialize in.ballet, or tap, tion fields than the more competi- or modern dance. Other studios tive wOrld of performance. ..Some offer a wide varietOff classes: conservatories have diploma programs :in all styles of dance. Many of in dance which emphasize professien- .tbday's professional dancers be- al performance.experience and train- gan their training in neighbor- ing more than dance education.. hood danee studios; The studios public schools have not suppor-. are extremely impertant to ama-- ed dance programs nearlyas well teUrs who might otherwise be un- as music and art program's.. What: able to experience dance as an dance is available in Public art form. schools.is generally part of the in addition to private studios, physical education prpgram-.and '.dance....sehools are often.maintain7 usUally only girls participate. ed by .established danCe companies.. Only a-handful of states even A ballet company will: use the reCognize dance teachers for li- facilities ofits own rehearsal.' censing or certification, as they/- 'space to operate a school for the' do.othertedchers: The few danCe/ training of its own and other progtams:thatdo'exist are taught Some of .the best stu- in specialized schools for the : dancerS., dents in such a school can gb arts, or special magnet school : directly, into professional- work programs.. - With the continued de.7. with the sponsoring company velopment of-magnet schoc4s, and if'more states certify danee Colleges and universities:hire teachers',.the job outlook for dance teachers with advancedcol- dance teachers in publicsChOols. lege degrees to teach andadminis- could improve. ter dance courses.- Teachers work7

DANCE THERAPir

Dance thela.py is the use of move- not words, are the primary/toolof ment as a healing. process-The a dance therapist. dance therapist uses the patient's ' 'Because somepatients require . own creative movements as a way' individual-attention, and others. of promoting emotional order and need groUp activities,'dance thera- physical coordination.. SOmetimes pists must be.able towOrk, with = dance therapy is classified with" any number of patients ina.variety

. art.and music therapy asthe Of situations. The dance therapist '"creative art therapies."Medi- . does not work.alone, but with a

refer to

.1.egular meetings are needed to Laurie's work experience includes discuss the progress and treat- her job as an office receptionist, ment Of each patient. Some dance and as a dance counselor in a sum- .therapists work with.patients in mer camp. She attended a four- ,an institution like a State-or year college as a psythology,majOr *ivate hospital or corrational and graduated with. a. Bachelor of institution. "Others.work in clin- Arts degree. After post-graduate

, ics or out-patient departments,- study, including an internshipin or in private studios where doc- a large hospital, Laurie won a tors send:them patients. Master of Arts in Psychomotor Therapy. Good dance-therapists have a strong background,in beth dance There are very few positions 'and pSychology. In addition, available to dance therapists-. they have'developed skills in Most are in large cities, princi- the techniques of dancetherapy.. pally in_New York, Wasliington;:and Training of a dance therapist Philadelphia. -Laurie sent her usually involves the folleWing:% resume to many f4Tge city hospitals and,many State hospital systems. DanCe training.from an Then she made many followup, vis- early age its and-telephone:calls; but to"no avail. Dance-therapy_is..a.new pro- ? High school diploma fesSion. Many.members.of the medi- Four-year college, cal profession are skeptleal about bachelor's degree, with the worth' Of non-'verhal tIlerapies. major.in dance or psy- Because of_the'lack ofjobs'Laurie chelogy had to settle for a related job in a Iarge'State.hospital as. recre

. Graduate Study in spe- ational,therapist. ciali'zed dance therapy prograM, graduating with In order to work as" a dance thera- a Master's Degree in' pist, she explains; shewill have Psychomotor Therapy to arrange.to findjoatients for whom dance therapy,is appropriate. Supervised internship; Then She will need permission'to working closely,with a wOrk with them and demonstrate the :professional danced' .uSefulness of'her work.. Then, if therapist. the doctors are impressed,,she may receive more patients. Many' dance Education alone:does not a-dance--- therapists-uSe_thisinfiltration" therapist make. Other experiences technique to create their Own-jobs can be very important, such as' where none are counseling, teaching; working.With childrenand other.experiences Laurie lists ae'se abilities and needinvinvolvement with people. qualities as important in a dance therpist: Laurie is a trained dance thera- pist,..but she isinow 'working as a 1. -Tolerance -reereational therapist in a State , hospital where there is no dance 2. Ability to work,n an atmos-

thwi.apY_position. Her experience phere of chaos . iS common because of limited job, Opportunities.

2 3 2-0'

3. Must be creative enOugh Job dutlook to work without supplies, must be resourceful Dance therapists must overcome the resistance of members.of the medi- 4. Physical and emotional cal profession by doing.morere- strength search. At this time "finding fi- 5. No serious disabilities. nancial.help for researdh is dif- ficult. As research helps educate medical Workers, more job positions may be established by pioneering and resourceful dance therapists.

2 4 EMERGING AND FADING OCCUPATIONS'

CHANGE

Occupations eMerge.and fade. Today's dancers are the first gen- Work that was common and in de- eration of dancers able to watch mand years ago is no longer need- videG recordings of their own

. ed.--0-Ccupations that seem to us performances. necessary and important may not Technological change, however,, have existed a few years ago.- In has eliminated some of2the routine dance, as well as in other arts, tasks of rehearsal pianists. Bal- factors which affect the emerging let companies may now use the tape- ...and fading of occupations are: recorded score of Nutcracker ,Suite,

Changing technology , in rehearsals rather_than hire.a pianist to play, the score.- Al- Changing style and,taste though the tape recorder is a boon

. Changing techniques to the ballet company, it takes work, and therefore money, away, Changing economy from the pianist, and pianists -6 Changing government usually don't make very much money. policies. Changes in Style and Taste Technological Change Changes in style and taste have a In the working world, profound effect on artists' lives always becoming more or less im- and incomes. A dramatic example portant. In our own time we can is the development-of modern dance. see-examples of work done by hand In the early days the public was in 'the past, noW being performed largely indifferent to the new by machines. As machines are re- form of dance. Gradually, through _placing'unskilled workers, and the efforts of dance critics. and making the.jobs.of skilled workers educators,,and the dancers them- easier, machines are also creating selves, the public has become more new jobs for people withup-to- enthusiastic, creating more oppor- date skills. tunities for dancers to develop in the new style, and also more Changes in technology not only places where dance is welcome. affect the lives and jobs of-work- Recently, more people than ever ers on assembly lines; artists, are attending modermdance per- including dancers, have felt the formances - especially on college impact of technological change. campuspg_

2 5 22

Government Action' Economic Change w As the economy rises and falls, Dancers and loyaldance supporters dancers and artists are affected are active in State and Yederal just as much as everyone elSe. government agenci-es such as CoUti77 A recent survey (Americans and- oils on the Arts. Arts.councils the Arts, Associated Councils.on are an.important ,source of hel.p . the Arts, 1974) shows hat more for dance companies..- The councils.. than half of Americans believe .receive money from the legislatufes that cultural organizations in- to-give in the form of grants,:and cluding dance companieS"either fellowShips to.dance17:companieS and make money-or break even. The schools ofthe,dance.4.:.Attrcoun''':, truth is that they lose money and oils also sponsor programS designed theyliave to rely on contributions. to develbpnew audiencesfor the In hard economic timbs,Jewer work of dancers. people can.give money todance companies, so they haVe to give fewer perforMancesand employ fewer dancers. .-BuSiness managers, along with arts minagersand.directOfs of dance companies face-the chal- lenge of finding enough moner to support their companies. Their jobs, include advertising and pub- lic-relations.work, applying to foundations and corporationS.for help, soliciting- wealthy-individu- als, deciding ticket.prices, and general miracle-working:

f

26 7,3

EMERGING OCCUPATIONS.IN DANCE

When the system of music notation Bureau, with individual danc,,-; com- was developed, several new jobs panies, or with-dance departments were created along with the new of universities. notationsyat-em. Included were wotkers who notated music in the . Reconstructor new system, workers who could teach,others to read 'and perform The_task ofa-reconstructor is to .pieces ;iotated in the new system, train a company to perform a dance and workers to make copies and notated in score form. A recon-' preserve them for future use. structor should-have had a career A System for'notating dance in professional performance and 'movements-in graphic symbols, should.have the ability to direct people. known aS Labanotation, has created A reconstructor should several new occupational oppor- have extensive training in the system of notation. tunities for dance workers. The new occupations are similar"to Training,for reConstructors is the ones.created by music provided in a 's nctation. workshop, conducted by the Dance Notation Bureau. Notator Autographer The Dance Notation Bureau, of New York, describes the task of the From the notator's handwritten notator as retording the dance score the autographer puts.the no- in Labanotatibn, thus producing tation in a form that can be used a graphic.score. The score in- for publication.-Recently, a:type- cludes the graphic-notation of writer element has been developed the movement, music, costume which makes the autographer's job

sketches, background notes, and . easier. The new typewriter ele- as many details as are needed to ment also permits access to com- restage the performance at a later puters. Both 'typewritten and com- time.. puter-prepared scores will help . make Labanotation available to Notators need basic technical more dancers. These new develop- training in dance; hut do not ,have to be professional perform- ments will also lead to new areas ofresearch and artistic experi- -ers. :Training in the,techniques ments.

Of Labanotation is availableAn . 96 college and university courses and in special training schoola throughout the cOdntry. ProfeS- sional notator trail,' lso, be_obtained at the ion Butead. Trained p i. no-

t...MOTs can fin-d-workas 1; no= tators for the .Dance Nota7.on

,

2 7

\J 24

What Does Dance Notation Look Like?

Wh t does dance notation look like? Labanotation, the system,used here, is read from bottom to top. The central line corresponds to the central line of the body. SyTtrols on either side of the lineindicate movements of the feet, legs, arms, etc., and the rhythms as well. Prepared with the Labanptation- IBM Selectric Typewriter,Element by Billie Lorant, Dance Notation Bureau, Inc.

Prisms by Shirley Ririe

2 8 25

dance notation has Questions about publishing and made. iL A.e for choreograph- royalties in music have created a ers -:() ,.-_ivantage of publica- need for legal experts versed in tic% -formance-rights under copyright procedures. As dance the f law. That means notation comes into its own, dan-

that . ::::--grapher will receive cers and choreographers will seek payme= _ iomeone buys a.pub- legal advice, copyright registra- copy of his/her tion, and library or archival ser- -dance someone performs a vices. Growth in these directions dance -- choreographer has could make organizations_like the creatji Dance Notation Bureau extremely important and busy places.

Jobs in dance are always changing

ASSOCIATIONS PROVIDING eAREER INFORMATION

American Dance Therapy Association

1821 LaCoronilla Drive . Santa Barbara, California 93:09

Dance Notation Bureau _ 19 Union Square West New YorR, New York 10003

American Association for,Health, Physical Education, and Recreation Dance Division 1201 16th Street, N.W. Washillgton, D.C. 20036

2 9 APPEND_ DANE_ JOB

Prformance anid Cretion Prodc .ion and AtTliCation Choreographers Troductaon Management T Bailet ager, Dance Company Modern dance C_mera, Lights, Sound Jazz dance Theater S-7.age Set, Properties Film Cc.stumes, Hairstyles, Makeup Television Night club Dance Business Folk danCe ensemb: Arts Business' Management: Dancers Concert Management Ballet Sales Modern Jazz Manager,. dance Studio Popular SaleSpersondancing Theater instruction Film Professional Associations 7elevision and Organizations Night club entertainers Dance Notators Leizal and Financial Services NOtator Dance Education Reconstructor Autographer Teaching Musicians School, college Private studios Designers Folk dance societies Stage scenery designer Ballroom studios Lighting designer Costume-designer

27 28

Comm': .ty Arts ServIces Writers ard il?e:earchel. cs Libr-:_lry services Bureau Dance crit ofriiance Notation Dance hist, ..L.ans

'lance 7herapy Government. Services State and cgional [tio Ltals ics Councils u the Arts C.:9r ectionat institutions City officers of cultural affairs

31

*U.E. \:,r=Fnr air E.F.41,7- F-1-' 'ONG OFF 17976-- A.O73I58 Companion Documents in this CE p1oration Series:

Student Guidebooks

EXPLORING MUSIC.CAREERS EXPLORING THEATER AND MEDN EXPLORING VISUAL ARTS AND C7WT: :AREERS EXPLORING WRITING CAREERS -EXPLORING CAREERS IN THE HUN4 7ES

Materials for Teachers and Cou:E,Ilors

391 WAYS TO EXPLORE ARTS AMC JMANITIES CAREERS: CLASSROOM ACTIVITIES IN DANE.. MUSIC, THEATER AND MEDIA, VISUAL ARTS AND CRAFTS, WRIN-G, AND -iiUMANITIES

EXPLORING ARTS AND HUMANITIE- 7AFEERS IN THE COMMURITY: A PROGRAM PLANNING GUIDE

AN ANNOTATED BIBLIOGRAPHY OF :ELECTED CURRICULUM MATERIALS IN THE ARTS AND HU ANITIES

A PRELIMINARY EXPLORATION OF :CCUPATIGAS IN THE ARTS AND HUMANITIES