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.

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From the time you start taking dance seriously, the focus is honed in on technique. Your teachers help you to work out all the little technical details . The best teachers create an environment for healthy dedication and improvement.

However, a lot of dancers are criticized for not applying corrections quickly enough. The assumption might be that they’re lazy or not dedicated. Perhaps they lack focus or attention in class.  This post will delve into how to deal with criticism in dance.

The reality is, if a correction is not applied quickly, it may not be understood or prioritized, by the student, teacher, or both. For some dancers, anxiety gets in the way of mental focus in class. Still, other dancers are so hyper-focused on trying to pick up combinations that applying corrections becomes too much to handle.

As a dancer, you can be empowered by knowing that you are the keeper of your destiny. By taking care of your body, being open to feedback or corrections, and working hard every day you can get where you want to go. You can reach your goals.

It might take some additional focus on applying those things that you hear in class or staying present to remember the intricacies of each combination. If you want to really get ahead, consistently create additional personal benchmarks to make your improvements measurable.

This is where goal setting and accountability come in.

Most of us have been in a situation where it felt like a teacher just really didn’t like you for some reason. Those can be some of the most challenging, disheartening experiences.

Here’s a personal story, major criticism in dance…

When I was 15, I went away for my second summer program. I was put into the highest level, but worried it was a mistake. I don’t think I was ready for that at all, and apparently, neither did the former New York City Ballet *star* my level worked with most closely.

This former NYCB principal dancer (we’ll call her Ms. M) was one of the people I was most excited to work with. I never had any Balanchine training so I was looking forward to experiencing her perspective and learning some incredibly beautiful Balanchine choreography.

It became clear on day 1 that Ms. M was not impressed by me. She would often single me out and give lots and lots of corrections in a very mean, degrading way. I was not totally alone in this. Ms. M was harsh in general and called out a number of ladies in my class with lots of yelling.

Then, there were her favorites. The ones who could do no wrong. Were they working harder than me? Applying corrections more quickly? Simply better?

I cried to my mother on the phone every day that I had class with her (which was almost every day of that summer program).

Ms. M threatened to demote me to a lower level. I secretly wished she would, just so I wouldn’t have to take her classes anymore. In the beginning, I was determined to win her over. Tis’ the plight of the determined dancer I guess. I tried to work harder. Then, I tried to disappear. 

Honestly, that experience informed a lot of my future confidence and actions as a dancer.

When I think back on that experience the pain is still quite palpable, even though it was so long ago. When I revisit some of my dancing experiences after that summer, I see myself hiding. Doubting. Worrying.

This is where the importance of taking on responsibility for your own success comes in. You’ve got to assess yourself and work towards your goals, regardless of these sometimes negative, studio experiences. If you’re not sure how to deal with criticism in dance, you’re not alone.

Don’t let your dancing be defined or defeated by one person’s opinion. Here’s how…

Luckily, I’ve had lots of different teachers over the years and many supporters. I’m glad I only dealt with such a defeating experience for four weeks. If you’re dealing with a challenging experience on a more consistent basis, you may need to take bigger action. 

It might be in your best interest to seek new training or teachers in your area. If you plan to pursue dance professionally, this is going to make a huge difference in your levels of confidence and therefore chances for success.

In a temporarily challenging time, bring your attention back to positive training experiences. Who were the teachers who supported you? How did they make you feel? What did they say that helped you see your own potential? 

During my very challenging summer intensive experience, I wrote down the choreography to every variation we learned. There’s value to writing down choreography but what I wish I had done, was set some personal goals for myself. I would have been empowered to focus on the work instead of the fear.

Clear goals can provide an outlet to turn your attention inward. They can counteract feelings of failure and help you stay aware of your big picture, big goals, and ultimate dreams. Goals allow you to be in the driver’s seat. 

Are you a goal-setter? Do you have a vision for your goals? 

Check out these posts and videos for more: 

• The Power of a Clear Vision.
• Tools of Transformation.
• Reaching Body Goals

How to Deal with Criticism in Dance was originally published in October 2015

Edited for content and clarity July 2021 

Photos of Casey by Luis Pons

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in the Studio and in Life

As a dancer, you might have decided that movement is your most effective form of self-expression. It may very well be. But there is more power within you, and when you start using it, a whole new world will open up.

There’s actually A LOT of power within you, but for the purposes of today’s message, let’s focus on one.

Your voice.

You likely started dance at a young age. Maybe you were 7 or 8, or possibly even younger. Serious ballet schools and teachers want quiet in the classroom. It’s a respect thing, and it makes sense.

When you’re young and being quiet is a sign of respect, you might decide being quiet is what’s most comfortable.

Then you decide you’d rather express yourself through movement anyway. Again, not terrible, but it might make it harder to speak up when it matters.

You should speak up when you’re lost, when you need help, and when you want to share your experiences with those around you. It’s also essential to speak up against matters of injustice. Practice this regularly, and it will get easier.

Using your voice can connect you to those around you. There’s often someone dealing with something similar, but if you don’t share, you’ll never know.

There are a lot of instances when your ability to speak up can greatly impact your development as a dancer.

When you’re learning a new piece with a guest choreographer and you’re unclear on the movement, you could stay quiet, try to figure it out, and do your best when it’s your turn to give it a go in front of everyone…

or…

Speak up, ask for help, and gain clarity.

This can make the difference in getting cast in a new piece or not.

Of course, this also applies in an audition setting. Having the ability to speak up and get clarification could make the difference between getting the job or not.

Your voice is also wildly important when you’re having meetings with your Artistic Director.

It’s tempting to sit back and just soak it in. Taking feedback quietly, accepting and internalizing it can be OK, but you also may be missing out on a powerful opportunity to learn more about your performance and how you’re perceived.

The Artistic Director will likely have an agenda for your meeting. You should have one too. Be prepared with questions about different things you’re working on.

If you learn that your contract is not being renewed, asking for advice from the artistic staff can be a game changer. They may have contacts they can reach out to or suggestions as to where you might audition.

If you’re not comfortable speaking with the artistic staff, you’ll miss out on a lot of wisdom.

All the fundamentals we go through at the barre each day make us physically stronger. In the same way,

Exercising your voice will make it stronger.

Strong spoken communication is going to serve you greatly when you’re done dancing, and since it’s hard to pinpoint exactly when that might be, start exercising your voice now.

Now is a time to speak out for equality in all things.

Black Lives Matter. The violence against men and women of color has to stop. No one should accept what’s going on.

As it relates to The Whole Dancer, I’m committed to LISTENING more than I speak and giving back and supporting in whatever ways I can. The healing and change can only happen if we move through this together.

In dance, it’s essential that the implicit bias ends. It shouldn’t be a political statement for a ballet company to hire a black dancer, and men and women of color shouldn’t feel like they only have a few options of places to dance.

Speak out about what you believe in, and be an agent of change. Be an ally and be actively anti-racist.  

Use. Your. Voice.

Photo credit: Tom Cuppens via Visualhunt / CC BY-NC-SA

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Each day we go to the studio and stare at our reflection. Yes, the mirror is a tool blah blah blah, I know. In reality, we use it as a tool to see what’s wrong.

Then, we get corrections, which are constructive (or meant to be anyway) and take those on. Sometimes, once you’re in a company, you’re mostly left on your own. You’re expected to know what needs work and make it happen.

When faced with that challenge of personal evaluation, you might thrive. Or, you might start to wonder, “why aren’t they telling me anything?”. Then your mind starts to go crazy with the super negative, hyper – critical self talk.

This way of thinking can destroy your psyche and have a hugely negative impact on your dancing.

So how do you get around this struggle? Set goals. Refer to them daily.

Pick the categories that are most important to you and add a couple that you think will be good for your overall well – being. Examples include: technique, career, body – image, physical activity (outside of dance), relationships, inspiration.

Now, start to set SMART goals for your 3 – month, 6 – month, 1 – year, 3 – year vision. SMART is an acronym for goals that stands for Specific, Measurable, Attainable, Realistic and Time bound.

Don’t let yourself be stifled by the idea that your goals should be “attainable” and “realistic”. As dancers we can be so aware of the flaws that we’re not always open to our full potential or possibility. Definitely dare to dream and be as objective as possible.

When it comes to career, you may want to ask a trusted teacher who you feel supported by, what they imagine is possible for you. However, they don’t have a crystal ball so do not take their opinion for fact.

Teachers and Artistic Staff have a somewhat narrow lens of what they’ve seen to work. Their opinions might be based in old standards and they might not consider your potential for growth.

I remember when I was in college one of my professor’s saying he had never seen a dancer make major strides after age 25 – MAX! This totally took hold of my brain and I felt like the clock was ticking. O gosh, I only had a few years left to progress as a dancer.

Luckily, this is soo not true and in fact you can continue to grow and make major improvements to your dancing as you learn more about your body and the way of working and cross – training that works for you.

Ready to make your goals a reality? Here’s how:

Break your goals down into bite size action steps and work towards them each day. Keep a journal to chart your progress and to help you get any limiting beliefs out of your head. You may not achieve them all, but taking serious action WILL get you closer to your goals.

I honestly believe that if you have received good training and you work as hard as your body and mind allow each day, anything is possible for your career. It may require auditioning for companies you didn’t previously consider or moving to a city or state you never imagined living in.

Tenacity, drive and hard work can take you a long way but you’ve got to support yourself mentally.

In The Whole Dancer Program I’ve had the beautiful opportunity to connect with each participant one on one. There have been a number of resonant messages, among those is the fact that most dancers are “people pleasers”.

We want teachers, guest choreographers, and artistic directors to like us. That’s all find and good. There’s a place for that desire and to an extent, yes, someone has to like you for you to keep your job.

BUT

I hope that one of your goals is to dance for YOU. You will shine much brighter and gain more supporters and ‘fans’ when your love for this art radiates out of your face and body each day.

XO, Jess

Photo: Lauren King, Soloist, New York City Ballet

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Sleepless nights. Breakdowns in class.

But here’s the good news :

“Proper preparation prevents poor performance.”

You’ve already seen this to be true. You dance better on stage when you’re well rehearsed. You dance more freely in class when you’re confident in your abilities.

I want to help you nail your next audition. Sign up for an Audition Success Session! These in depth 90 – minute coaching sessions will take place November 2017 thru January 2018 but you need to reserve your spot by the end of October.

You’ll learn how to :

• Create your audition game plan.
• Tackle the feeling that it’s all going wrong.
• Categorize your dance company prospects to maximize your chances of getting hired.
• Prepare your audition materials in a professional and efficient way.
• Cope with the rejection and circumstances outside of your control.
• Deal with injury during audition season.

CLICK HERE for full details and to reserve your spot!

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The time leading up to a performance is a critical opportunity to condition yourself for success. It’s surprising that more ballet companies and schools don’t focus more on the mental components of a good performance. However, they’ve already got technique, artistry, and musicality to worry about!

Dancer’s should use the same mental preparation for performance as athlete’s do for competition or training.

According to the Ohio Center for Sports Psychology – the following are required for you to reach your best possible performance.

1. Choose and maintain positive attitudes.

In dance companies and schools, there are usually some who default to more negative attitudes. This is natural for some people but it’s important to stay away from it. Staying positive even in the times when you’re not cast how you’d like or when you’re not getting the attention you desire (more on that in #2) is essential for performance.

Your mind is powerful. If you stay stuck in all that you’re unhappy with, it will drag you down and lead to poor performance. Keep your head up and surround yourself with positive people in order to move forward consistently.

2. High level of self – motivation.

Dancer’s easily fall into a head space where we need validation from teachers. This happens naturally as students – you’re young and you’re looking for approval. However, once you’re dancing professionally you easily see that it’s up to you to maintain your technique and push yourself to work.

It varies from company to company but at the professional level, artistic staff is much more hands off than when you’re a student. They expect you to bring your A – game and push through without their constant singing of praises. This is where self – motivation is essential.

3. Set high, realistic goals.

Goal setting is something you’ve heard about at The Whole Dancer since it’s start. It is SO important and it shocks me that it’s not a bigger part of dancer training! You’ve got set the next big goal to reach the next level. Goal setting is a big part of both The Whole Dancer Program and The Dancer’s Best Body Program because that’s the only way to facilitate change!

4. Deal effectively with people.

Whether you’re dancing in the corps de ballet or as a soloist or principal dancer, you’ve got to be able to deal with those around you. It’s more obvious as a corps dancer – you’ve got to be able to communicate with your fellow dancers to create a cohesive and uniform look as a group. That’s no easy feat!

When you’re dancing solo, you might think there’s no necessity to deal with people. To the contrary, you’ve got to have a clear communication style so that you’re able to work with whomever comes in to coach you. Openness and vulnerability is required as a soloist.

5. Use positive self – talk.

This is another focus of the programs from The Whole Dancer. When that little voice in your head is constantly dragging you down, how do you think your body is going to react?

When you’re able to focus on the positive, see what is working and lift yourself up through the struggle you’re going to find much greater success than if you feed into your inner critic.

6. Employ positive mental imagery.

Visualize. Visualize. Visualize. Imagine the positive outcome you’d like. See the perfect double pirouette’s you’re capable of before you even start dancing.

There was a particular section of the ballet Beauty and the Beast where I danced as an angel with a series of 3 pirouette’s that I just always saw myself falling out of. You know what happened? I fell out of it each and every time. I truly wish I could go back and visualize the positive outcome! Let me know how this works for you!

7. Manage nerves and anxiety effectively.

Whether you do some breathing exercises, journal out the jitters, or give yourself a pep talk – you’ve got to find a way to move through the anxiety.

8. Manage emotions effectively.

When you get to the studio, turn everything else off. This will be good practice for managing emotions when you need to perform onstage. Let your time dancing be the time to release any stress you’re feeling. If you can’t shut them off, channel then into your performance and let it elevate what you bring to the stage (or the studio)!

9. Maintain concentration.

Find your focus. Audiences are great, but you’ve got to be able to mostly tune them out and focus in on the dancing. If you’re dancing in the corps de ballet, use your fellow dancers to stay engaged in your character. Dancer’s have the added benefit of music to help facilitate concentration so use it! Allow the music and musicality of the choreography keep you honed in on what you plan to accomplish.

Want more on this topic? Check out The Whole Dancer Podcast episode on the needed mental preparation for performance.

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by Stacy West

Have you ever had a teacher or choreographer who said or did something that made you feel bad about yourself or your dancing?

If you are a serious dancer the chances are good that you have. If not, unfortunately the chances are good that you may someday find yourself in that situation.

Dance teachers and choreographers have long been portrayed as authoritarian figures. There’s an almost romantic notion that you aren’t a real dancer unless you’ve experienced things like bloody feet and being screamed at by a semi-unstable teacher or choreographer. Movies such as Black Swan and reality shows like Dance Moms perpetuate this idea.

While it’s true that there are standard expectations of discipline and etiquette in dance, it’s also true that some teachers and choreographers cross the line, creating an abusive environment for their dancers.

In a world where corrections are considered a compliment, it can sometimes be confusing to tell the difference between someone who is pushing you to be your best and someone who is causing damage to you, your self-esteem and your love for dance.

Being pushed by a teacher is one of the ways you can improve. But abusive teachers gain self-esteem through the humiliation or shaming of others and they regularly use their position of authority in negative ways.

What should you do if the authority figure in the room routinely creates an environment that goes beyond the norm? As a dancer do you have the right to stand up or yourself?

The answer is a definite YES! Here are some suggestions for how to deal with the situation:

1. Take a Deep Breath 

Remind yourself that personal attacks which are emotionally abusive are unjustified and that you have the right to stand up for yourself. Make the decision that you will take a calm, professional approach to solving issues that have arisen.

2. Read the situation

Some choreographers take their personal frustrations, insecurities and creative blocks out on their dancers. Observe the room to determine how your peers are feeling and what the root of the tension is. Discovering this can sometimes make verbal attacks feel less personal.

3. Ask for Clarity

Often when situations become tense it’s because something isn’t clear. Calmly and politely explain that you are trying to give what they want but you need more clarification. Others in the room likely need it too.

4. Seek the Advice of a Mentor

A mentor is someone who you trust and respect and who has a lot more experience than you do. It’s always good to have a mentor or two in your life. Use them as a sounding board when you need advice. Talk with them about your specific situation and seek their feedback on how to best handle it.

5. Express Your Concerns

 Make an appointment outside of rehearsal to express your concerns professionally and in person. This shows you have respect for the process. You can talk with the superior of the teacher or choreographer you are struggling with or you can talk with the person directly.

If you choose the latter, consider having a studio owner or artistic director present. If possible document your concerns in writing or an email. That way, if you need to pursue further action you have documentation.

6. Don’t Gossip

Nothing weakens you or your case more than gossiping. Keep your complaints professional and follow the chain of command.

7. Evaluate

Depending on how issues are handled and resolved in your organization you may have to determine if staying in this environment is the best choice for you.

Every teacher or choreographer you encounter won’t be your absolute favorite. But chances are good that if you handle the situation professionally, most disputes can be resolved and you will gain the respect of those you work with.

If you determine that the situation is indeed unpleasant but tolerable, try to learn something from it. Grow from it and take mental notes to remember when you become a teacher. Hopefully you will never make your students feel this way.

If it truly is a situation that continues to wreak havoc on you, your self-esteem and your love for dance, or if it becomes physically abusive it’s ok to walk away. It’s ok to walk away even if you thought it was going to be your most amazing dance opportunity to date.

Accept that it wasn’t and begin the process of finding the place and people who are the right fit for you. It’s out there and your next favorite dance teacher or choreographer is waiting for you to step into his or her studio.

Stacy West is the Executive and Artistic Director of the St. Louis based MADCO (Modern American Dance Company), a 40-year old professional contemporary dance company that reaches over 30,000 people annually.

Photo credit : uhuru1701 via VisualHunt.com / CC BY-SA

Photo credit: grey_barklay via Visualhunt.com / CC BY-NC-ND

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You have a lot of power in your life. Admittedly, it doesn’t always feel that way.

This weeks challenge presents a small way to assert that power. It’s all about you. This simple switch can create big shifts in how you see yourself.

You can change your mindset and alter your self – talk.

When I was dancing professionally, my artistic director notoriously hated red leotards. So most of us avoided them. You know what was sad? Red leotards were my favorite to wear!

If I could go back I would rock that leo proudly and use it as a way to assert my personal power and confidence.

If you’ve seen The Whole Dancer on Instagram, you know I pay tribute to this most weeks with #redleotardwednesday!

What change will you make today? Don’t forget to commit to the challenge by leaving a comment below!

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One year, I was told to lose weight by my teachers. This left me completely lost and devastated, but then I found Jess.

I remember one of my friends told me about the free webinars and how great an opportunity they are to learn tips and tricks from a former professional dancer, so I decided to sign up. I was completely hooked and at the end when Jess talked about The Whole Dancer Program, I immediately asked my mom if I could sign up.

Being a part of The Whole Dancer Program for two rounds has been absolutely amazing! I have learned so much from Jess, not only about how to be a better dancer but also how to become a better person.

This past year has been extremely difficult for me because as a high school senior I was dealing with the question of how to move forward after graduation. I was torn between going to college for dance (which would have made my parents happy) or auditioning for traineeships (which is what I really wanted to do).

I emailed Jess throughout the program and she gave me advice on basically everything and would get back to me so soon! My all time goal was to become a trainee with the Nashville Ballet, because I had been there for a couple of summers and fell in love with the environment.

Jess helped me keep a level head when it came to auditions and my mindset while waiting to hear if I had gotten in. When I found out I was accepted into the Nashville Ballet Professional Training Program for the 2016-2017 season, I immediately emailed Jess to let her know.

Without this program, I wouldn’t know as much as I do know about food and nutrition, stress management, organizing my goals, and how to properly cross train.

Because of Jess, I feel more comfortable in my own skin, and my height doesn’t bother me as much anymore.

I recommend this program to all dancers, even if they aren’t struggling and no matter where they are in their training!

Abby Zinsser trained at the Richmond Ballet. She is headed to Nashville to pursue her dream of a traineeship with the Nashville Ballet. Abby is a founding member of The Whole Dancer Program and took part in the program twice!

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You spend so much time in the studio and the work you do there is invaluable. It’s super important to continue to work on yourself outside as well.

Good news…The Whole Dancer Foundations Course is here!!!

With this course you get access to the audio component of each of the 4 webinar’s presented so far with special guests Shelby Elsbree of Boston Ballet and Casey Dalton formerly of Colorado Ballet and founder of Deco Dancewear.

This course cover’s Eating for Energy, Fearless Auditioning, Goal Setting and Self – Care for Nutcracker Season (or any busy performing season).

If you considered The Whole Dancer Program in the past but couldn’t afford the investment, the foundations course is a great way to start working on yourself at your own pace for a super affordable price.

Even if you registered for one or all of these webinars, I know how busy you can be dancing, performing, cross – training, etc. so I wanted to come up with a way to make this information available instantly and on the go!

By setting goals, eating well, taking better care of yourself and auditioning fearlessly you can lay the foundation to achieve massive success inside the studio by inspiring balance and empowerment.

Click the button below for the full details and to invest in your success today.

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