This system has been created for a number of reasons. The positive: It gives dancers more time to grow and develop into artists. It can create space to support dancers in learning to cope with the stresses of professional dance. These post-grad years can also give dancers time to find a good fit. Rather than jumping into a high-stakes contract right out of school, trainees can observe how companies operate. They can then determine which environment suits them best.

The negatives: These programs are (at times) cash cows for companies where they collect high tuition without any intention to hire their trainees into the main company. Some provide little company experience or dancing. Finally, some offer little support in helping dancers take their next career steps.

There is a way to win at the trainee program game. You can break free from what can feel like an endless cycle of unpaid positions or roles where you’re actually paying to participate.

Avoid the hamster wheel: picking a trainee program that fits your goals

Consider your future goals and gather enough information before you choose a trainee program, or you may trap yourself in this cycle. Before we get to the decision making, a quick note on auditions: you need to plan ahead and cast as wide a net as possible.

The best outcome of audition season is one where you end up with at least a handful of options to choose from. Then you can align your traineeship decision with your goals. Do you hope to eventually dance with a bigger company? Is your main goal to get into a paid job as quickly as possible? What do you hope to gain, as a dancer and person, from these next couple of years?

With clarity on your goals, reach out to the trainee program directors and ask a lot of questions. Find out how often the company lets trainees dance, how frequently it promotes trainees into the 2nd company or main company, and what kind of career advancement resources or support it provides through the program.

Program size matters

Some trainee programs have grown to be 50 to 60 dancers. As far as career advancement goes, these are not usually great options. A program with 20 to 30 dancers max is a much-preferred scenario.

You have to consider that if the trainee numbers are huge, you have that much more competition, that much less opportunity to dance with the company, and that much lower a possibility that they’ll be able to really get to know you and support you in your next career steps. 

If you’re in this situation, all is not lost. Finding support in career strategy and mindset can be key in finding your path in this challenging and competitive field. For audition support, click here. 

4 ways to utilize your ballet company trainee program to the fullest benefit to you

1. Request feedback

Hopefully your trainee program will provide you with annual or semiannual progress meetings. If not, it’s important to ask for a sit-down so you can get a more in-depth perspective on feedback and progress. Go into these meetings prepared with questions. 

Ask if they think you’re at a professional level. If not, ask what can you do or improve in order to get there? 

2. Notice how you’re doing

There are signs. Beyond what they tell you in the day-to-day or in a sit-down meeting, you can gauge how you’re doing based on what’s happening. While casting isn’t the be-all, end-all, it can impact your potential to get to the next step within a given company. If you’re not being cast in main company productions while other dancers are, you need to consider that. This may not be the best fit or level of company for you.

Now, at the same time, I don’t want you to sell yourself short. Dance is so subjective that you might be loved at one company and not favored at all in the next. One of the biggest challenges in the early career years is finding your best fit.

3. Asking for career development support

Get opinions from everyone around you about what companies or level of company they think you should aim for. They don’t have a crystal ball, and they can’t say for certain, but based on other dancers they’ve known or past experiences with certain companies, they may have suggestions. 

Beyond their thoughts and suggestions, request references and letters of recommendation early. Don’t wait until they’re inundated with 30 requests. Ask early and ask when they can have a recommendation letter written by. Without a deadline, it’s easy for people to keep putting off your request. 

4. Truly leverage your new relationships

If your current trainee or 2nd company director has connections in the dance world (which they usually do), ask them to reach out to people for you. Consider your top companies and ask if they know anyone at each. Then, ask if they’d be okay with you CC’ing them on your submission emails or reaching out to someone directly.

A lot of times, these connections exist, but dancers are afraid to ask others to leverage them. Don’t let fear stop you from making a connection or having a respected person in the dance world give you a positive recommendation.

Taking the next step

Each year’s audition strategy should be influenced by the previous year’s outcomes or experiences. While video submissions are a helpful way to make company auditions more accessible, not everyone comes across strongly on video. If you’re a dancer whose energy is more palpable in person, make a commitment to save up to invest in your future with audition travel and in-person auditions.

You should also be improving your mental game each year. If you were super nervous in auditions and could barely move, work on your mindset and confidence now. If you felt insecure or judged your body, start working on your body image and self-perceptions now.

Every year that you go through the audition process, which might be 2 to 3 years in a row or more, you should feel better than you did last year. If you’re struggling to facilitate career advancing changes on your own, schedule a complimentary coaching consultation. It’s not easy to change your mindset, confidence, and career strategy in one fell swoop, but with support it is possible.

The post Don’t Get Stuck on the Trainee Program Hamster Wheel appeared first on The Whole Dancer.

Dealing with casting in dance can be a challenge…

We’ve all been there. The cast sheet goes up and you walk over feeling hopeful. Then, you read the list and are totally disappointed with your roles.

At just about every level, dancers experience the doubt and insecurity that comes with casting decisions by artistic staff. Dealing with this can be difficult.

As you move along as a dancer from pre-professional training to (sometimes) college to company life, casting sheets can be a big source of anxiety.

All too often, we begin to quantify our value based on what roles are bestowed upon us.

Managing casting, friendships, and comparison.

In college, my best friend Alice was consistently cast in better roles than me. Beyond being close friends, we were the same height with similar body shapes. It got to a point where I expected that outcome and reinforced the story in my head: “She’s just better than me, there’s really nothing I can do about it.”

When we started auditioning for companies, I began to realize that I was basing my thoughts about myself on the opinions of one group of people: my college professors. What I failed to notice is that the artistic staff at every company Alice and I auditioned for assessed our abilities in totally different ways.

When they made cuts throughout auditions, we were rarely kept for the same length of time. Sometimes she made it to the end, and sometimes I did. We each got different offers. I finally realized that while we were the same height with similar body types, we were different people and had different strengths.

Feel empowered even when you’re unhappy with your roles.

Even if you work to cultivate a healthy perspective shift when it comes to your strengths, you may still face casting disappointment. That’s when it’s important to take your power back and boost your confidence. 

Boost confidence before the cast list goes up.

Dancers tend to see what’s wrong. For many years, or even decades, you’ve been training your brain to use the mirror as a tool to tell you what you need to fix. Rarely does a dancer look in the mirror with joy and admiration for what they’re capable of.

That’s a great place to start…

The next time you’re in class or rehearsal, rather than constantly nitpicking, make it your goal to pick out the things you’re doing well. Where’s the beauty in your movement? What is unique about you?

Recently, a client was telling me that she just didn’t have anything that might draw someone’s eye. When we discussed it further, she was able to connect with the fact that she is a unique person and has a unique joy for dance that she can communicate through her movement. 

Connecting with your joy for dance is what gives you that intangible quality that is enjoyable to watch. 

Remember that every role, no matter how small, is an opportunity to grow.

It sounds cheesy, but it’s true. Are you playing the maid in the Nutcracker? Even that small part can have a story. How will you convey that story to the audience? How can you make this character role your own? Is there a way to hone some acting skills?

Use this as an opportunity to start a discussion.

If you’re disappointed with the casting decisions, you can use this as an opportunity to start a discussion on your growth. Set up a meeting with someone on the artistic staff who you trust and know has your best interest at heart.

Ask them if there’s something more you could or should be doing to improve. Is there a way they’d like to see you develop technically or artistically that would lead to bigger roles or more responsibility? 

Having these talks can be scary, but they can also bring to light things you would have otherwise stayed in the dark about. It also might lead to more opportunities. Consider asking to understudy something you weren’t originally cast to understudy.

Reassess the energy you bring to the studio.

Are you too comfortable in your current environment? Are you relying too heavily on your talent or facility and not taking things to the next level on your own? Would you benefit from setting more goals around your dancing?

Remember that you can’t control the roles and opportunities you’re given, but you can control the energy you bring with you. Casting may be out of your hands, but the work you put in is very much up to you. Start approaching your corrections with more fervor and focus, and see if things shift.

Create supportive routines to facilitate your best dancing.

Making adjustments to your approach to food or cross-training could have a huge positive impact. These adjustments are not about changing how you look, but rather, they’re about increasing your confidence so you dance more freely.

Some food swaps and cross-training switch-ups can make a big impact on how you perform. Have you started relying on too much sugar or caffeine for energy? Instead, put some attention on increasing the length and quality of your sleep. Incorporate lots of simple and complex carbs for consistent energy throughout the day.

If you’ve been doing the same cross-training for years, you might benefit from trying something new. Experiment with weight training or employ a trainer who works with dancers to see if there’s a weakness you haven’t addressed.

Taking better care of yourself will give you a better experience in your dancing regardless of casting. 

You might not be dancing at the best company for you.

If you’ve been plugging away at the same company for a few years and haven’t been getting the response you had hoped for or the roles you were promised, it might be time to move on. I’d encourage you to open up a conversation first, but then be willing to accept that maybe you haven’t found the right fit yet.

Be honest with yourself about the company environment you’re in. If they reward weight loss or constantly give you feedback on your body shape or size, it might be time to look elsewhere. Even if you are getting desired roles, it’s worth considering what sort of environment you’re in and how that impacts you. Roles should be determined based on your skill and hard work. 

Unhealthy extremes to fit the mold of a particular company is not a sustainable approach to a dance career. If you’re struggling to find a healthy approach to your career, or you’re unsure if you’ve found it, it may be time to seek help. Many dancers benefit from support in nutrition, body image, and even career mentorship to confidently determine when they’re at their healthiest. 

Check in with your mental well-being.

Has dance left you feeling drained? Have you been in the trainee or apprentice spot for a while and started wondering if you’ll ever move beyond it? Check your mental well-being.

If you’re constantly telling yourself you’re not good enough or that all the other dancers are so much better, it will feel nearly impossible to progress. Once your thoughts start to improve, I guarantee you’ll feel changes within yourself and your dancing. 

As I was able to connect with the fact that my friend Alice and I had different things to offer, it afforded me some freedom in my approach. I started my first company job believing I was meant to be there. 

Ultimately, you need to retrain your mind for confidence and expect success! Those shifts in mindset aren’t an overnight endeavor or a quick fix. It takes time, dedication, and support from someone who understands the industry specific challenges you’re faced with. 

Don’t forget, it all takes time.

Pursuing dance at the professional level is a process — and an arduous one at that. Every dancer develops at a different rate. Your friend might skyrocket to principal while you’re working away in the corps. It’s helpful to trust the timing of your life.

Don’t compare your journey to anyone else’s. You’ll learn so many lessons along the way as long as you’re open to them. If your love for dance is strong and you stay committed, you can reach your goals. And don’t forget: success is a concept you get to define. So, maybe define success as doing what you love. Perhaps you’ve already achieved that.

Looking for support?

If you’re feeling particularly challenged by your experiences with the cast sheet, and you know you’d benefit from support from someone who has been there, schedule a complimentary coaching consultation. CLICK HERE to book your free introductory consultation. This is the first step and the best way to determine if health, nutrition, and lifestyle coaching is a good fit for your needs.

The post Dealing with Casting in Dance appeared first on The Whole Dancer.

Beyond their reviews, Ballet Help Desk has a podcast and blog that connects you with industry experts. Brett and Jenny had so much to share that we’re posting this article in 2 parts. Here’s part 1, keep your eyes out for part 2!!

What is the Ballet Help Desk?  Can you tell us a little bit about your mission/what you do?

Brett: Ballet Help Desk’s mission is to serve as the definitive guide online for parents of dancers about to embark on the path of serious ballet training. Jenny and I launched Ballet Help Desk in April of 2023 in response to all the questions we had been getting from parents of younger dancers. 

Since both of our kids are now dancing professionally, parents kept asking us the same thing: “How did you do it?” Jenny and I kind of looked at each other one day and realized that we had amassed a ton of knowledge about ballet training. 

We also realized that there was almost no transparency around ballet education. Unless you had grown up in that world, you were kind of locked out. So, we decided to start documenting all of the steps dancers typically go through on the path to becoming a serious dancer. That was really the beginning of Ballet Help Desk. 

We offer all the resources parents of dancers need to guide them down the serious training path. Jenny has really been the creative and strategic force behind what we do and how we’ve grown. It was her idea to launch the three things we’re most proud of — our podcast, our summer intensive reviews, and our year round training reviews. 

In the spirit of bringing more transparency to the ballet training world, we thought the lack of reviews was a big missing piece, and we’re thrilled to now have over 1,200 reviews that cover almost 200 programs worldwide. We also offer rich content in the form of articles and podcast interviews with leading experts in the ballet training world.

We try to group our content offerings around key milestones in ballet training, and the information is available in written form as well as through our podcast. We have deep content on subjects like ballet competitions (which is always a hot topic!), injuries and cross-training, college and university dance programs, full-time training programs as well as post-graduate ballet programs. 

In addition, You can also find a comprehensive guide to summer intensives, called our Summer Intensive Boot Camp. It’s been a wild ride so far, and we’re excited to see where things go in the next year.

Jenny: BHD was borne out of frustration with the lack of transparency and feeling woefully lost on how to help my kid navigate the path to X.  Being ballet parents with zero performing arts exposure is like trying to navigate a maze in the dark without a flashlight. Everything in ballet is an oral tradition: the training, the path, the secrets to success, how to do it, when to go away for summer, how to take the next step, the casualness of how offers are made. And above all, there’s no network to tap into. 

It all was foreign to us. While our kids were in ballet class, Brett and I would hike several times a week and have the same conversation over and over about how this path is shrouded in so much secrecy and vague innuendo.  

We started to formulate an idea that there has to be a better way to do this, and finally, Brett gave me the push and said, “Well, let’s just try and see what we come up with.” A few months later we launched Ballet Help Desk. Think of us as your ballet best friend. 

You are both dance parents… Did you ever struggle knowing how to support your dancer? 

Brett: All the time, and I still do today. Because I had a male ballet dancer, support was limited. There just weren’t very many boys in our area who were dancing, much less doing ballet. It was always a delicate dance between getting really involved and then stepping bac

Every day was a balancing act. Looking back, I think I underestimated how much support these kids needed. I always said that I just drove and wrote checks. But, whether we like it or not, ballet demands parental involvement. 

That may mean volunteering at your dancer’s local studio, driving props to the theater, working backstage, or fundraising. And then there’s the mental load! Is he good enough? Is he getting bullied? Does he have any friends at ballet? Is he happy? I always asked myself if I was too involved or not involved enough. Hopefully, I was able to strike a balance, but you’d have to ask Sam if I was successful at that!

Jenny: Not having a resource to look at or rely on. My husband, Frank, and I were always really worried that we were making too many mistakes and that her trajectory would suffer due to our ignorance. I would have devoured a resource like the Ballet Help Desk if this was available while Abbey was going through training. 

Over COVID, Abbey developed a bilateral impingement in her heels that was misdiagnosed by her original team of doctors.  It wound up being a 2.5-year nagging injury that, in her final year at San Francisco Ballet School, she and the school decided that she should have surgery right after Nutcracker and the doc thought she would be back dancing in 6–8 weeks give or take. Well, the surgery wound up being much more involved, thus her recovery was much slower than anticipated, so 6 weeks turned into 5 months. 

The school said they wanted to handle her PT and created a reintegration plan for her. Frank and I were not included in the discussions or planning of this rehab plan.  Abbey had to advocate for herself to receive the treatment that the school promised her. She begged me not to get involved and said I would only make it worse. It was very difficult to sit on my hands and do and say nothing because she wanted to handle her recovery plan with the school. We supported her and talked her through how to have a productive conversation and who she should follow up with. In the long run, it has given her some great life skills, but it was really difficult at the moment. 

I think Frank and I were not prepared for the extreme cutthroat nature of very high-level ballet training. Every year so many of her friends were cut from her program that it seemed like she had to make a new batch of friends in the studio. We struggled to figure out what kind of support she needed from us to help her navigate this type of learning environment. The pressure in ballet training can be astronomical. 

We struggled to help Abbey navigate her new friendships where many of whom come from a very different world than we do. We are not wealthy people. We made and continue to make financial sacrifices to support our children.  We cannot afford a closet full of Yumiko leos, Lululemon/Alo/Aviator Nation cover-ups, or buying condos in San Francisco for our 16-year-old to live in.  We did what we could to help her feel like she fit in, but we had to have several hard conversations about what we as a family could afford and where we put our financial priorities. 

What is some advice you have for other dance parents? Things you wish you knew or would have done differently?

Brett: There are so many things I would have done differently. First, I would have said no to more things. In ballet, everyone feels like it’s a huge sprint to the finish line. So, you sign your kid up for every master class, winter intensive, summer intensive, you name it. 

There is this belief that everyone is running full speed and if you don’t do the same, your dancer will fall behind. In fact, doing this led to a fairly serious injury with my son, along with some pretty intense burnout. By the time he was in his last year at San Francisco Ballet School, it was 50/50 that he was going to stick with ballet. So, my advice is to slow your roll. You don’t need to have your kid in ballet every minute of every day.

In addition, I would never have allowed him to move into an apartment with no supervision at age 15. We were just coming out of COVID in the fall of 2020, and he simply wasn’t ready to handle living on his own while managing full-time ballet training as well as online school.

Ironically, Sam and I have talked about all of this in detail and he tells us that, despite everything that he went through, he wouldn’t have changed anything. I guess we’ll just have to agree to disagree on those issues!

Some other advice I would give all parents is this: This is your child’s journey, not yours. It’s fine to be involved and it’s great to be supportive. But, too often, I hear parents talking in the “we.” What I mean by this is, “We are auditioning for these summer programs,” or “We are going to this school.” 

This is your dancer’s story to write, not yours. I know it sounds harsh, but when parents are overly involved, it can put undue pressure on kids. Let them walk this path on their own. Cheer for them, console them, drive them, and even pack a lunch or two. But let them fly on their own — they’ll thank you for it when they’re older.

Jenny: I prefer to say I have some hard-won information I’d like to share. First, enjoy every stage of their dance journey. Everything builds on itself, so celebrate when they are a mouse, a rock, a clown, or a lamb, not just when they are Clara or the Sugar Plum Fairy.  

I was beaming with pride when Abbey was 10 and an angel in Cinderella (she was on stage for 30 seconds at the end of the wedding). She was so excited! We went out to dinner, and so many friends came to watch. It was an incredible experience. We did not downplay it or dismiss the excitement because it was a tiny part. She did not feel like she had to earn our approval because she was cast in a part worthy of our attention. 

This past year she tried to dissuade us from coming to one of the programs in her season because she only had corps roles and “Isn’t doing anything special.” We continue to show up and cheer her on when we are able because she has value and is worth cheering on. The sentence I say to her before every performance is “I love to watch you dance,” and in the end that is what it is all about. Supporting your kid doing the thing that they love. 

My friend who was on Broadway and taught at ACT in San Francisco for years gave Abbey some fantastic advice when she was just starting ballet. She said, “Be easy to work with. There are lots of talented people. If we decide between two artists, the director’s question to us is: which one is easier to work with? Also, know your part and everyone else’s part so you are useful and if something happens last minute you can step in.” These are pieces of information that she follows to this day. 

Your dancer is never too good for a role. Your dancer is never too good for a class or a level. There are always things to work on and nuggets of information to mine from every class level or experience.

Say YES! You never know where yes will lead to. Abbey had so many opportunities because we said “Sure, why not?” including her audition at SFBS.

Come back for part II next week and in the meantime, check out Ballet Help Desk here!

The post Ballet Help Desk: Part I appeared first on The Whole Dancer.

For the purposes of this post, I’m going to define The Whole Dancer perspective on dancer success. It’s about reaching your dance goals in a healthy, sustainable, balanced, and intentional way. If your goal is to make it to the paid level of a corps de ballet, true success would mean that you care for yourself as you do the work to achieve that goal.

By taking care of yourself through the process of getting to your goal, you’re going to thrive on the path towards that achievement. Unfortunately, a lot of dancers take an extreme, non-supportive, potentially harmful approach to reaching their goals in dance. This can lead to unhappiness and eventually burnout or complete loss of love for the art.

Make your health and well-being the top priority.

In order to find success in dance and do it in a sustainable way, your health and well-being need to be your top priority. This doesn’t mean you aren’t disciplined or hard working. It means you are connected to your personal needs and listening to your body, mind, and soul.

Prioritizing your health means fueling adequately even if it means your body is not the tiniest version it could be. For health, and injury prevention, you must put your health above aesthetic goals. 

This doesn’t mean you don’t feel strong, capable, and confident in your physical shape. It means that you are doing the work to accept that your best shape and strongest body for dance may be bigger than you think it “should” be.

As much importance as you put into having a healthy body, the same is true for your mind. To be a successful dancer you need immense mental strength. Not so you can endure harm or undue pain but rather so you can advocate for yourself and those around you to make this artform a healthier place. 

Stay connected to your mind, body, and soul.

The most successful dancers have found a true connection to their mind, body, and soul needs and prioritize them with the same or greater priority than their needs simply as a dancer. 

Your mind

The mental aspects of dance and performance are undeniable. Beyond that, a dancer’s self-perception and body image need to be in a solid place in order to not just find confidence but also to feel joyful in the dancing process.

Many dancers tell me: “I figured all dancers feel badly about their bodies.” Or, “Don’t all dancers struggle with body image?”

And while yes, I agree that most dancers have moments of struggle, I also know for certain that you can get to a place of body image resilience — where body image challenges arise and you’re able to move through them with ease.

Your body

Through your years of dance, you were probably at some point encouraged to ignore or push through pain. You may have gotten into the habit of rehearsing or dancing with very little in your stomach. 

As much as dancers can be very aware of how their physical body is working and moving, many are incredibly disconnected from what their body needs.  

The most successful dancers are committed to honoring and caring for their bodies as more than their instrument — as their home. This means again prioritizing your physical well-being over any aesthetic pressure or aim.

Your soul

To truly reach your highest, most successful level as a dancer, you need to connect to yourself on a deeper level. Knowing who you are, who you want to be, and what you value in this world is going to direct your dreams in full alignment. 

Making a soul connection could mean exploring religion or spirituality. It could also mean connecting to nature or the universe. Finding the bigger forces outside of yourself that resonate is going to allow you to view the world outside of dance with awe. Then, you’ll be able to bring big, aligned energy into everything you do.

Nourish yourself holistically.

Food is a key form of physical nourishment. However, to nourish oneself holistically means to address all aspects of your physical, mental, and emotional well-being.

Many dancers don’t pay great attention to their sleep habits, hydration, morning, or nighttime routines. Each of these areas has to be addressed, and the most successful dancers have very clear and supportive practices in place. 

If you’ve not spent much time really addressing your needs, then pick one area and commit to making some significant changes. Sleep is often a great place to start, so we’ll address sleep as an example. First, consider how many hours of sleep you’re getting. Most dancers get somewhere between 6 and 8 hours, but most dancers would benefit greatly from 9+ hours of sleep. 

To start improving sleep, commit to putting your phone away much earlier in the evening. If you use your phone as an alarm clock, invest in a sunrise alarm clock or another traditional wake-up device. Include things like journaling, reading, or meditation in your nighttime routine and you’re going to set yourself up to sleep better and therefore to perform with more precision in dance. 

Set boundaries, seek support.

The dancers who find true success and longevity in this career aren’t afraid to seek support from outside their current circle. Successful dancers know that simply getting by isn’t enough, and to thrive, you might need someone else to help you identify blind spots. 

That’s where coaching can provide a transformative stepping-stone to finding true, sustainable success in this career. I’ve had the honor of working with soloists and principal dancers at top companies. And also with pre-professional students at the start of their professional journey. 

In each of those cases, the dancers knew that they had another level they could reach and support from someone who truly understands the challenges of dancing at a high level would help achieve their biggest goals. 

Are you ready to get to the next level?

Is it time to create a path that’s not just about surviving but thriving?

Do you want to create happy, healthy, sustainable success?

Take the next step and book your free, coaching consultation call here.

The post How to Be a Successful Dancer appeared first on The Whole Dancer.

For more from our ambassadors, follow The Whole Dancer and each of them on instagram.

Alessia Braggiato, Aspiring Pro Dancer

click here to follow Alessia on Instagram

I’m Alessia, I’m 21 and I currently live near Chicago pursuing my dance career at Ballet 5:8’s Second Company. Originally from Houston TX, I trained with Intempo Dance Ensemble and later moved to San Antonio and Joined Decruz Ballet PTD program before moving out of state. I mainly did a lot of ballet, contemporary, and jazz training, but contemporary has my heart.

Being part of The Whole Dancer community truly opens up your mind to a better mindset, and a better mindset leads to faster improvement, not just dance wise, but in terms of mental well-being as well. I believe the hardest part of one’s dance career is stepping their foot into that professional door, and finding a balance between who you are as a person, and who you are as a dancer.

My absolute favorite self-care activity would be making hot, herbal tea while playing relaxing music, and lifting my feet up on a wall, wearing a face mask.

Courtney Nitting, Boston Ballet

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About Courtney

Courtney started dancing at the age of 3 years old. She trained at the New Jersey School of Ballet for nine years before attending the School of American Ballet (SAB) for six years until she graduated. Throughout her training period she went to summer intensives including Central Pennsylvania Youth Ballet, American Ballet Theatre and Boston Ballet. 

After graduation at SAB, Nitting went on to freelance for a year in New York City. She danced with Eglevsky Ballet, Neglia Ballet and Tom Gold Dance. She then was hired as a part of Pennsylvania Ballet II in 2017. The following year Courtney received her first full company contract under Kansas City Ballet where she danced for five seasons. 

She had many opportunities dancing coveted principal, soloist, and corp de ballet roles. For the 2023-2024 season, Nitting most recently made a career change and is now an artist with the Boston Ballet. Courtney hopes to continue her journey as a professional ballerina with the mindset of living a balanced life both on and off the stage.

Being a Whole Dancer to me means not only knowing the tools you need in order to help achieve goals you’d like to accomplish within the art form of dance and in life, but having the strength, confidence, vulnerability and security within oneself to put those helpful tools to use on a daily basis. 

Life is a journey and how you enjoy the ride is up to you; I find this thought to be much more important than getting to the final destination. Feeling whole within oneself applies to many aspects deeper than what we see in the mirror at the studio everyday. It’s how we feel inside and how we make others feel around us. Being “whole” to me is something you constantly are developing, growing and learning more about each and every day. It is the perfect meaning to live life to its fullest but with the guidance and outline of what you personally found most helpful for you and your own personal journey.

My favorite self-care activity would have to be journaling. This is a habit I have now implemented into my weekly routine. As dancers, our minds are loaded with so many thoughts, feelings, ideas, and emotions. It is the nature of being an artist and even more so a human. However, sometimes all of this can be overwhelming. Once a week, to take the time and sit down in a cute coffee shop with a chai tea, journal about my week or whatever I might have going on in my mind is something that not only brings me peace but also allows for my brain to relax and stay clear. Sometimes I write less than other times, while certain weeks I may pull out my book and write more than once a week; it just depends. This habit though that I have now as a constant in my life makes me feel secure and strong within myself and helps to check in on me, and that is something we all need to be aware of. Journaling does all this plus much more. Hope you’ll give it a try.

Sarah Yoak, IU Ballet Theater

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I grew up in a small town in West Virginia dancing recreationally. At 16, I was offered a traineeship with Ballet Met and spent two years there, followed by a year in the Professional Level Program with Indianapolis Ballet before COVID sent us home. I then moved to Miami, FL and trained with Magaly Suarez at The Art of Classical Ballet and also spent time at Miami City Ballet School. Following that, I quit ballet for what I thought was an indefinite period of time to pursue academics, but I only ended up “quitting” for a little over a year. I moved back home and ended up taking ballet class for my heart which turned into a season with my home studio, and now I am a ballet major and full-time college student at Indiana University Ballet Theatre pursuing a Bachelor of Science in Ballet with an Outside Field in English and a Minor in Psychology. 

In my commitment to being a Whole Dancer, I take the title as a promise to never let ballet take up 100% of my brain space. I know that sounds contradictory, but I had a teacher who I loved tell me that “ballet is life, but life is not ballet.” This is so true— Possessing the ability to enjoy and seriously pursue a professional ballet career without letting it wreck your self-worth, body, and mind is the secret to true happiness in a career built on analyzing your setbacks and flaws.

What a tall order, I know, but after quitting ballet and letting the constraints of it leave my mind for so long, I gained perspective on how little your worth as a dancer relates to your worth as a person. So many dancers, myself included, convolute the two and forget that we do ballet because we love it, not because we hate ourselves. In the love is where the wholeness resides. 

My favorite self-care activity is journaling all of the “bad thoughts” out, taking a hot shower, calling a loved one, and watching my favorite movie with a snack and a glass of nice wine! 

photography credits go to Nir Arieli

Abby Nyugen, Professional Dancer

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I’m originally from the Bay Area in California, where I grew up dancing at a small, local studio. After high school, I moved to New York City to attend The Ailey School and Fordham University. I’ll be graduating in May with a BFA in dance and psychology, and I’m excited to continue my dance journey post-grad! 

To me, being a Whole Dancer means investing in all parts of myself and my health. As much as dance is physical, it is also mental, emotional, and spiritual. Putting energy and care into all of these elements makes you a better person and dancer, and it makes it easier to experience all the joy dance can bring! I’m super excited to be a Whole Dancer ambassador and share Jess’ work and message! 

My favorite self-care activity is doing my hair and makeup in the morning. I put on some music, sit by my window, and have a moment for myself. It’s a fun way to start the day with something I enjoy, and it helps me feel more individual and confident in the studio! 

Ken Shiozawa, Professional Dancer

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My name is Ken Shiozawa (they/them) and I am currently a company artist with Minnesota Dance Theater based in Minneapolis. I was born in Japan and grew up in Irvine, California where I trained at Maple Conservatory of Dance under the artistic direction of Charles Maple. I have also trained at Pittsburgh Ballet Theatre and received a BFA in Dance Performance from Butler University in 2020. 

Previously, I have danced with Minnesota Ballet and have guested with various ballet companies throughout the US. I am also pursuing my Masters Degree in Guidance and Counseling in Clinical Mental Health from the University of Wisconsin. 

To me, being a Whole Dancer is somebody who is able to not only do what is asked of them physically in the dance studio, but also be able to take care of themself mentally, emotionally and spiritually. How we treat our bodies and view our bodies plays just as much of an importance in our success as dancers and finding ways to optimize and promote our health and well-being provides us with the best chance of dancing and feeling our best. 

My new found favorite self-care activity is meditation!  

Tanya Chauhan, Dancer + Performer in India and NYC

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Hi, I’m Tanya Chauhan, a professional dancer born and raised in Delhi, India and currently residing in New York. I started dancing at the age of 15 in Delhi where I was training in Jazz, Ballet, Contemporary, India martial arts – Kalaripayattu and after I moved to New York I took ballet, jazz – theatre/precision, tap, modern seriously. I’ve been a professional dancer for over a decade now and I am thrilled to see my journey as a dance professional in New York City. 

Being a Whole Dancer means so much beyond just being a dancer. For me it has everything to do with  being a human first and then a dancer. I want to move from a position of self awareness and purity. To me, being a Whole Dancer means that I’m  aware of myself and every day I’m trying to move my own needle forward positively by discovering more and more about myself so as to always move from a point of purity! 

I love to start my day slow and I do  journaling in the morning which is a big self care activity that I do everyday other than that I really enjoy sipping my tea at night which is a self care activity for me and CLEANING MY ROOM – I feel cleaning my room also organizes my thoughts to some level. 

Sarah Westbrook, DBDT: Encore!

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Sarah Westbrook, originally from Virginia Beach, VA, began her dance training at a local studio in Hampton Roads and went on to study at the region’s performing arts high school, The Governor’s School for the Arts. From there, she attended The University of Oklahoma and received her BFA in Modern Dance Performance in 2022. It was there she was able to perform works by Rena Butler, While in school she also furthered her training with Oregon Ballet Theater, Parsons Dance, and Wylliams/Henry Contemporary Dance Company.

Currently, Sarah dances with Dallas Black Dance Theatre’s second company, DBDT: Encore! She has performed works by renowned choreographers such as Sidra Bell, Rena Butler, Gregory Dolbashian, Tommie Waheed-Evans, Christopher Huggins, Jiří Kylián, Joshua L. Peugh, Katarzyna Skarpetowska, and Take Ueyama. In addition to performing, she also teaches dance to children in a range of styles. She is currently on staff at Texas Ballet Theater School, Dallas Black Dance Academy, and Highland Park Dance Company.

To me, The Whole Dancer is all about helping dancers find balance. I know I’ve struggled with nutrition, body image, cross training, and stress management, especially as it relates to dance, and The Whole Dancer helps dancers to take a holistic approach to handling these issues. The content and resources that The Whole Dancer shares has really helped me take note of the mindset in which I am approaching my dancing, nutrition, etc, and that has helped me just as much as changing my actions. I am so thankful for this resource and so excited to share this brand with other dancers in my community.

Getting a massage or an epsom salt bath is my favorite self-care activity.

Colleen Underriner, Ailey/Fordham BFA Student

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Born in 2006 and raised in the Chicago area, I began dancing when I was 5 years old at the Wilmette Park District. Then from ages 7-11, under Krissie Odegard Geye at the Dance and Music Academy in Glenview, IL, I was introduced to and developed my love of performing, competitive dance, and musical theater. In 2018, I moved with my family to Charleston, SC. I continued my dance training at The Dance Conservatory of Charleston under Lindy Mandradjieff Fabyanic, Jenifer Ringer, and James Fayette where I was accepted into the pre-professional ballet program in 2020.  

In addition to ballet, I also studied precision jazz, jazz, tap, contemporary, modern, and hip hop. In 2021, I began rehearsing and performing with The Palmetto City Ballet’s Broadway Company under Stephen Gabriel. In 2022, I returned to the theatrical stage with Charleston Academy of Musical Theater under Courtney Sarre and Diana Flaherty. And in the fall of 2023, I made the exciting move to New York City to continue my dance and theater training as a student in Steps on Broadway Conservatory’s Professional Training Program! My goal is to one day dance on a Broadway stage and/or as a Radio City Rockette!

To me, being a whole dancer means finding balance in all areas of my life: training, nutrition, social life, and overall health and wellness, so that I may live a full and well rounded life inside and outside the studio! 

My favorite self care activity is taking a hot bath after long dance days!

Marley DeRouen, Aspiring Pro Dancer

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I started dancing when I was five years old doing various types of dance. At age nine, I decided to concentrate on ballet where I studied at a small studio and then later transferred to a pre-professional program at The Nutmeg Conservatory, where I study currently. 

Being a Whole Dancer ambassador is really important to me as a young dancer since I believe it is crucial that we share our experiences with other dancers and for our voices to be heard.

In my free time, my favorite self-care activities would be shopping and relaxing.

Kaidence Vance, Collegiate Dancer, Aspiring Ballerina

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Kaidence has been dancing since she was 2 years old. She grew up at Synergy Academy training as a competitive dancer in all styles. The last two years she has been the Captain of her High School Ballroom Team. She has attended multiple Summer Intensive Programs including Ballet West and the University of Utah. Kaidence is currently pursuing ballet pre-professionally at Utah Dance Institute. Next year she will be going to the University of Utah to pursue a degree in Ballet and Physical Therapy. 

Being a Whole Dancer Ambassador gives me the opportunity to do something I love: share about dancer wellness! As both a student and teacher of dance, I have seen and felt a lack of resources to help with mental and physical health. The Whole Dancer is an amazing program, and it stands for everything I am passionate about! 

Favorite self care activity: Epsom salt baths!!

The post Introducing the 2024 Ambassadors for The Whole Dancer appeared first on The Whole Dancer.

In the beginning, dance is about joy. You love to do it, so you take more classes and spend more time in the studio. At some point you may decide you’re going to pursue it professionally because the love is just that deep. 

Many dancers experience a time when their perception of their body is skewed. This happens in puberty for a lot of young women. This can alter your relationship to your body and dance in massive ways. Sometimes, a loss of joy begins at this point and stays with you through your dance journey and career. 

A life filled with dancing should be joyful! Even if it’s your job, there should be more joy than pain. If you’re in physical, mental, or emotional pain as you pursue dance, something is off, and it may very well not be you.

What it feels like when you might need a break.

There are a lot of possible indicators that you need some time away from dancing. If you’re struggling to feel inspired or excited for classes and rehearsals, that’s a big (often first) sign. 

You may not feel the same motivation to push yourself in class. It’s possible you’re engaging in coping mechanisms outside of dance that don’t feel particularly positive. You might be turning to food for comfort (this isn’t always a bad thing). Or, you might be disengaging from other things in your life that typically bring you joy.

A lack of balance in your dance-life experience can be a signal that your current dance pursuits aren’t serving your well-being. This may be temporary, or it could signal a need for longer-term change.

When you’re not the driver of your goals.

It’s possible you got in too deep because of the love your parents had for your dancing. Maybe it was the thought of everything your parents invested that kept you going.

If you have natural facility, it’s possible your teachers favored you or pushed you more. They might have inspired you to go pro without it really being about what you want. 

A life in dance really isn’t sustainable when it’s about everyone else. You have to be the driving force behind your dancing. Your own growth and passion have to be the things that motivate you. Is it possible for those things to wane and for you to still be on the right path? Absolutely! A feeling of heaviness around dance does not necessarily mean you have to quit forever to be happy again.

But you might need to give yourself time and space to figure out what will reignite a dimmed flame.

When you’re not fulfilled.

If you get into this career and find it’s not living up to your expectations, you might not feel fulfilled. 

A decision that’s made at such a young age might be based in fantasy over fact. 

The truth of this career is that it’s very hard. Dancers are often underpaid, undervalued, and mistreated. All of that being said, you can find fulfillment in dance, but you might need to shift a lot about your approach.

If you’ve only experienced one company or a single dance environment, it might be worth exploring other companies.

It’s also worth considering whether you’ll be able to find fulfillment elsewhere. Reconnect to why you started dancing in the first place. What was it that made you want to pursue dance as a profession? The environment and people around you will have a big impact on how you feel about dance.

A lot of dancers tell me they can’t imagine dancing if they aren’t doing it at their highest possible level. As someone who has transitioned into a more recreational space with dancing, I can assure you there’s tons of joy and fulfillment to be had with that shift. 

Before you can find fulfillment, you have to prioritize your well-being and joy. 

Should you move on completely or take a break?

This is not an easy question, and the answer is definitely dependent on lots of individual factors. As scary as long breaks can be, it’s something many dancers would benefit from. If you decide you’re not ready to be done, you can return to dancing professionally — even after a long break. Taking 3–12 months off doesn’t have to end your career. 

Having taken a significant break from dancing (I didn’t step foot in a studio for a good 2–3 years) and returning with more joy, self-assurance, and even experiencing more technical growth than I had before, I know a break doesn’t have to be the end. Since I started working with dancers back in 2015, I’ve seen other dancers take time away and come back stronger mentally, physically, and emotionally.
Through coaching, you can gain clarity around your career and work through the food, body image, or life-balance challenges you’ve been facing. If you’re contemplating a break or ending your dance journey altogether, schedule a coaching consultation to see how coaching can support you to take your next steps with confidence.

The post When it’s time to move on from dancing…or at least take a break. appeared first on The Whole Dancer.

There’s certainly some variation in the different stages of life and career, but there’s also a big constant: the audition process sucks. It’s long, it’s stressful, and it’s full of uncertainty. This process leaves you questioning your body, your ability, your potential, and just about every decision you’ve made in your life.

So, there’s a mantra I share with my coaching clients that I’d like to share with you too…

May it be this or something better

The dancers who get through audition season without it destroying them develop the belief that they’ll find a path forward. They might not know exactly what the path looks like, and it might be different from what they’ve been envisioning for years, but they see a way to keep going.

With each audition experience, say to yourself: May it be this or something better. This allows for a couple of important things. It allows you to imagine that perhaps even if you’ve dreamed of some “ideal” scenario, you might not actually know right now what the best outcome is for you. When you approach a time of uncertainty with a belief that you’ll create something amazing with whatever comes your way, that’s an empowered approach. 

Take your power back

The lack of control and the seemingly split-second decisions artistic directors are making in the audition process can leave you feeling very disempowered. Piles of rejection emails and in-person auditions where 200 people show up doesn’t make you feel like you’re valued or worthy.

This is where the power of your mindset and self-belief are essential. Not every audition class is going to be perfect, and you definitely won’t be selected to be talked to after every audition experience. There are going to be lots of rejections. One of my clients was recently feeling discouraged after only receiving rejections so far. So, I asked her how many she had received. She said, “Five.” 

I acknowledged her feelings, but then I told her that it’s much more reasonable to expect 20, 30, or more rejections before getting to your YES (and you only need one yes). Preparing for the reality of the process is going to allow you to keep a more level head. 

With each no and every rejection, you want to remember that there’s always a path forward. What’s your inspired backup plan? Come back to your value, your intrinsic worth, and your potential. If this audition season doesn’t go as you’d hoped, how will you continue to pursue dance? It’s up to you when you stop, and there is always a way to keep going if you want to.

Your “something better” may be unconventional

You might not end up in a trainee program or full-time company contract. Maybe you’re going to find ways to support yourself financially, find an incredible teacher to train with 1:1, and invest in audition coaching so you can go into a new audition season with more energy, resilience, technical skill, artistic prowess, and self-belief. These things will all support you to make it to the next level in your career and dance journey.

Whenever the thoughts of doubt and concern come up when you’re in the audition room, continue to affirm: May it be this or something better. Then trust that your something better will come; it might just look a bit different from how you imagined. 
If you’re struggling to find a positive mindset or an empowered path forward, reach out! The coaching I offer is holistic. It’s not just about food and your body. When I support dancers, they’re often in need of a shift in how they approach their lives and careers. If you’re ready to explore the power of support on your dance journey, book your complimentary coaching consultation today!

The post An Audition Season Mantra to Get You Through It appeared first on The Whole Dancer.

Reflect on your past Nutcracker experiences.

Think about Nutcracker’s past. Consider what worked and what didn’t. In the moment, it’s possible you felt a bit of just gotta get through it and survive.

How would you like to feel through the Nutcracker and holiday seasons? Pick out a few desired feelings. Maybe you want to feel inspired, energized, or happy. What can you do to help yourself achieve those feelings through all the rehearsing, performing, and holiday parties?

If, in the past, you struggled to find time to prepare meals that help you feel your best, consider when or how you’ll work in some meal planning or preparation. There’s still time to make soups or meals ahead of time and freeze them so they’re ready to go. Easy options like canned soup or frozen meals will also be a great benefit to you during this busy time.

Do you want to make more time for socializing this season? Maybe you need to create time and space for household chores. If you have jobs outside of dance, you might have to be very direct in asking for schedule adjustments, or maybe you can decrease your hours during this time. Find ways to advocate for yourself to make your schedule as balanced as possible. 

Consider the things that help you feel happy, grounded, and inspired through the holidays.

What lights you up this time of year? If you’re someone who loves the holiday decor or watching holiday movies, find ways to include those things in your life. 

Think about the extras in your schedule that might not serve you during this time, and prioritize the things that help you feel your best. If you find yourself constantly scrolling on social media, it might be a good time to delete those apps so you can be more present and productive in the limited free time you have.

This doesn’t mean you aren’t giving yourself down time, it means you’re giving yourself more intentional downtime. It can be very helpful to include things like meditation or restorative yoga this time of year. That way, you can de-stress and connect with yourself on a deeper level.

Prioritize your individual needs.

Your needs are unique. The things getting your friends through the Nutcracker season may not be the same things you need to feel and dance your best during this busy time of year. 

We all have different energy for socializing, being out of the house, and non-dance activity. Lean into what feels best for you, and when you find you’re comparing to other dancers, connect back to the benefits of honoring your personal needs.

When you fuel yourself according to what you need, you’re much more likely to eat adequately and feel as energized as possible. By honoring your preferences with socializing, you’ll be able to maintain calm and better cope with stress. Doing the things true to who you are strengthens your confidence and empowerment in dance and life. 

Stay aware of what you’ve got coming up next. 

The keep your head down and get through it mentality can sometimes help in the case of Nutcracker. However, if you’re going to be auditioning in the new year, it’s really important to take care of some key tasks to feel as ready as possible for that process. 

Make sure you have a clear vision for what you’d like to achieve in the new year. Having an idea of what you’d like to do and how you’ll get there is going to help you look forward to the process instead of dreading it.

Draft your email for audition season. Every email you write that includes your photos, resume, and video links should be a cover letter. It’s true, most companies don’t actually ask for a cover letter, but that email should communicate all the things a cover letter otherwise would. This shows maturity and readiness for the next step in your dance journey. And if this is already drafted, you don’t have to worry about it when you’re recovering from Nutcracker.

Finalize your company list. Research companies, reach out to current and former dancers, and find the places you feel excited to work with. Make sure your list includes at least 40 companies, and have a range of big, small, and mid-sized companies. 

Create or at least plan for audition videos, photos, and your resumé. Have dates and studio rentals ready to film your video footage and to take photos. Reach out to teachers and ask them to write you a recommendation. 

Consider your mindset. It’s one of the most common mistakes I see. Dancers go into audition season with all the obvious resources but without addressing mindset, confidence, body image, or audition performance strategy at all. Do some journaling to gain clarity now. What are the areas you are confident in? What are the things you might struggle with through the audition process?

If you want to approach audition season with strategy, confidence, and intention, sign up for the free audition success workshop. 
You’ll find the details and can sign up here: https://www.thewholedancer.com/audition-success/

The post Planning for a Balanced Nutcracker Season appeared first on The Whole Dancer.

Many dancers see their bodies as the main problem. If only your body were different, you’d be getting jobs, offers, company class invites.

That line of thinking isn’t supportive. It doesn’t allow you to focus on your dancing abilities and strengths as an artist. It also can create a mentality where you’re constantly tearing yourself apart and blaming your body for each opportunity that doesn’t pan out. 

Start to build awareness around your body perspective.

How do you feel in your body right now? For how long have you felt this way? If you’re someone who has been struggling with negative body image for many years, it’s going to take time to stop blaming your body shape, size, or look for the challenges that come up in dance. 

How would you feel if your body wasn’t to blame? Then what? I’ll often ask dancers these questions and the response is usually something along the lines of, “Well, then it would be about my dancing.” That’s a reality that you can look at with sadness and disappointment or one you can look at as inspiration and possibility.

Instead of fixating on your body or what you perceive to be “wrong” with it, you can instead focus on improving and growing as a dancer and artist. Let that empower you to show up and do the work and get to a place where you feel incredibly confident in your dancing by the time you’re auditioning. Then, you’ll know you’ve truly done all you can while still prioritizing your health. 

Making changes to feel better in your body for auditions (and life).

In your teen, growing years, you should be focused on eating adequately. You need plenty of fuel to grow and thrive. It’s not a time to make any big changes to your food plan. It’s a time to eat consistently and to incorporate variety.

Many of those concepts always hold true, but when you’re done growing and you’re in a professional environment, it is possible to make food adjustments from a healthy, body-goal-oriented place with the intention of feeling your best and fueling from a place of self-care.

Before you can change or adjust anything, you have to feel confident that you have a healthy and positive food relationship. For more on food relationship, read this post.

It’s very possible that you’d benefit from support in order to make healthy, sustainable changes through the audition process. Consider a coaching program that can provide a holistic approach to your body goals for auditions. Elite Best Body Coaching might be the commitment that finally allows you to feel your best in your body for dance. If you’re wondering if it’s right for you, set up a complimentary coaching consultation here.

Some questions to ask yourself as you assess your fuel plan for dance:

1. Are you fueling yourself in ways that serve your needs?
2. Are you eating from a place of balance and nourishment?
3. Is your food relationship balanced and happy?

Crash-dieting before audition season.

I’ve been there, I’ve done it, I know how tempting it can be. The name says it all. If you crash-diet, even if you think you’re reaching some aesthetic goal, there will be a crash. That might be an injury, low energy or fainting, and ultimately lacking power in your dancing.

When you show up for an audition you want to be a powerful dancer. Not one who looks frail and weak. If you put yourself in a restrictive state, you might not notice the damage you’re doing until it’s too late. You might not notice until you sustain an injury.

Check out this article I wrote for Pointe Magazine: 5 Tips for Achieving Your Healthiest Body in Time for Company Auditions.

Support a more positive self-image as auditions approach.

Something I encourage every dancer to do before audition season kicks off is to write a list of 50 things. This list should detail all the things you have to offer to a company as a dancer and a person. Some things on the list will be technical: I’m a good turner. Others might be about who you are as a person: I’m a supportive colleague and friend in the studio.

Before every audition, you’ll come back to your list of 50 things and remind yourself that you are a valuable asset to any dance company. 

If you want to have a low-stress, more successful audition season, save your spot for the FREE Audition Success Workshop here: 

The post Auditions and Your Body appeared first on The Whole Dancer.

It’s not ideal, but you might find yourself dancing in an environment that’s not super supportive or, on the extreme end, is truly toxic. Unfortunately, we can’t always know before getting there whether an environment will be good for us. 

It’s also easy to be blinded by big-name schools or teachers and to convince yourself that training with them will be worth any potential pain or struggle.

Dancing in toxicity.

Let’s say you’re there. You’ve started training somewhere new and little by little you start to see some red flags. Teachers give corrections harshly or in a belittling manner. Maybe they’re making blatant body-shaming comments. 

Sometimes the environment among the dancers is actually the most challenging part. Perhaps, dancers are making hurtful comments to one another or questioning each other’s food choices. 

As recent stories have brought to light some truly shameful actions at some big schools around the globe, maybe you’re questioning the places you’re dancing. 

Surviving a toxic dance culture.

You can survive, but the resulting wounds and impact on your mental health can cut deep. It can lead you to a place where you hate this thing you used to love. Sometimes, you feel like you have to fight to survive. Living in survival mode might lead you to cope with the struggles by restricting food or harming yourself. 

If you find that your mental health is being impacted, it’s time to get out. As quickly as possible, look for an exit strategy. If you’re in a training program, talk with your parents about coming home and exploring other training options. If you’re dancing professionally, you might need to break your contract. It might feel extreme, but there are times staying in a toxic environment will cause much more damage than it’s worth, even if it means having a gap in employment.

Your dance experience will shift seismically when your top priority becomes supporting your own health and well-being. When a dancer says to me, “I’ve realized my health is the most important thing,” that feels like a winning day. 

Thriving in a toxic dance culture.

If you’re well enough to stay in a toxic dance culture, you have to look for ways to proactively support yourself. 

Focus on what you can control. 

You can’t control how the teachers or artistic staff choose to run the school or company where you find yourself. Any pre-existing culture among the dancers is also out of your control. It’s up to you how you show up and what you engage with.

You also have the power to give their toxic words or actions weight or to ignore them and do your best to move on. I’m not saying this is easy, but with work and practice it is possible. Their opinions do not define your worth. 

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Build your self-awareness.

When we find ourselves in challenging situations, a potential response is to shut down or to ignore the big feelings that might be trying to surface. Rather than hiding from what your mind or body is trying to tell you, lean in. 

You’re receiving messages about what you can and can’t tolerate and you’re honing your ability to listen to and follow your intuition. Self-awareness is a golden and often ignored part of building a balanced food relationship, feeling at home in your body, and prioritizing your well-being in every facet of life. 

Seek support.

Trying to thrive through toxicity alone can feel impossible at times. Working with a therapist or a coach who understands the dance world can be totally game changing. You’ll not only have the opportunity to talk through and process your experiences, but you’ll have support around how to react to the situation. 

You’ll gain tools and strategies to protect your mental well-being, and you’ll have accountability to ensure you’re still caring for yourself — mind, body, and spirit. 

Set boundaries for your safety and well-being.

If you’re making the choice to stay in a toxic environment, you can and should still have boundaries. Part of boundary setting might mean pushing yourself out of your comfort zone and speaking out when you see an injustice occur or when something happens to you directly.

If you’re a minor, you might report an incident to other staff members at the school or to your parents. In extreme cases where threats are made or your physical safety is compromised, you might involve the authorities. If you’re at the professional level, speak with human resources, administrative staff, or others. Make sure these situations are documented via email and in writing

Look for an exit strategy.

Can you thrive in a toxic dance environment? Maybe. However, it shouldn’t be a long-term thing. Start actively and seriously looking for other options and commit to exploring them as soon as possible.

You should not stay in an environment that may be causing you damage even if you’re not fully conscious of it at the moment. There are supportive dance environments and places that will be a healthy fit for you and your needs. It may take a couple of tries to find those places, but it’s a very worthy endeavor.
If you’re in a toxic dance environment and you’re struggling, seek support. Set up a coaching consultation call here to see if coaching is a good fit for your needs.

The post Dancer question: Can you thrive in a toxic dance environment? appeared first on The Whole Dancer.