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| Cover of the Occupational Outlook Handbook for the years 1963-1964 |
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Dancers
Nature of Work
Dancing is an ancient and worldwide art, having many different forms. Dancers may perform in classical ballet or modern dance, in dance adaptations for musical shows, in folk dances, or in tap and other popular kinds of dancing. In the classical ballet, movements are based on certain conventional or stylized “positions,” and women dance en pointe (on the very tips of their toes). The effect sought is one of effortless grace. In modern dance, movements are much more varied but are nonetheless carefully' planned and executed to follow a pattern.
In all types of dance productions, most of the performers dance together as a chorus. However, a group of selected dancers may do special numbers, and a very few do solo work. The number of ballerinas and other top artists is, of course, much smaller still.
Many dancers combine teaching with their stage work or teach full time in schools of the ballet or in colleges and universities. A few dancers have become choreographers, who create new ballets or dance routines. Others are dance directors and train the dancers in new productions. This statement does not include instructors of ballroom and other social dancing.
Where Employed
In 1962, there were about 20,000 dancers and dancing teachers in the United States. It is estimated that over half of them were teaching in private schools of the dance and in schools and colleges. Most of the other dancers were primarily performers on the stage, screen, and television. A few trained in dance therapy were ployed by hospitals to work in this new field used in the treatment of mental disorders.
Dancing teachers are located chiefly in large cities, but almost every town and city has its school of the dance. The great majority of performing dancers are in New York City, Los Angeles, Las Vegas, and Chicago.
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| The illustration in the handbook |
Training and Other Qualifications
The traditional way of preparing for a dancing career is to begin serious training in a professional school by age 12 or earlier. Girls wishing to become ballet dancers should begin taking lessons at the age of 8. In either case, 2 or 3 years of prior preparation is needed before the young girl should start dancing “en pointe.” Professional ballet training typically takes from 10 to 12 lessons per week for 11 or 12 months in the year, and many additional hours of practice. The length of the training period depends on the student's ability and physical development, but most dancers have their professional audition by age 17 or 18.
The selection of the professional dancing school is important for two reasons. First, the school must use expert judgment in setting the pace of training since too early and too severe exercise can permanently damage the legs and feet. Second, the school's connections with producers may help the students in obtaining employment on the stage, screen or television.
Because of the strenuous training program in the professional schools, the general education received by students in these schools is not likely to exceed the legal minimum. However, really great performing artists have to be more than technicians. Many people competent to judge therefore believe that a dancer's education should include such subjects as music, literature, and history to aid him in his interpretations of dramatic episodes and of music.
Approximately 70 colleges and universities confer bachelor's degrees on students who have majored in physical education and have concentrated on the dance, and some give graduate degrees, the M.A. and Ph. D. A few colleges and conservatories of music also award degrees (usually in the fine arts) to qualified students who major in the dance. Labanotation, which is the method of writing dance routines and is comparable to writing an orchestral score is one of the advanced courses taught. Knowledge of this is especially important to choreographers.
A college education is an advantage in obtaining employment in teaching professional dancing or in choreography. However, the girls who postpone their first audition until graduation compete at a disadvantage with younger girls for openings in classical ballet. On the other hand, they can compete successfully for openings in modern dance performances which do not generally require a proficiency in toe dancing.
For teaching in the professional schools, experience as a performer is usually necessary; in colleges and conservatories, graduate degrees are generally required, but often experience as a performer may be substituted. Maturity and a broad educational background are also important for teaching positions.
Excellent health and unusual physical vitality are necessary for a dancing career. Height and body build should not vary much from the average. Good feet with normal arches are required. These physical qualifications must be accompanied by unusual talent for dancing.
For women dancers, employment in ballet companies is very difficult to obtain after the age of 30, except for a few outstanding stars. Women past 25 are rarely hired for Broadway shows unless they have already had experience in such productions.
Men who are ballet dancers, and men and women who perform in modern dance productions, can usually continue somewhat longer. After the employable age as performers has passed, some dancers teach in schools of the ballet in colleges, or conservatories, or establish their own schools. The few who become choreographers or dance directors can continue working as long as people in most other occupations do.
Employment Outlook
The keen competition and irregular employment experienced in this profession for many years are likely to persist. The supply of trained dancers has always exceeded the demand, which has been decreasing year after year. The number of stage productions has decreased because of the competition of the motion picture industry, which in turn has been adversely affected by television. Very few stage shows have a run of 26 weeks or more, and many “fold” after the first week.
On the other hand, there is a growing trend toward using professional dancers at industrial exhibitions, such as auto shows. Also, a few new professional dance companies are being developed around the country.
Nevertheless, employment opportunities for dance performers will remain limited. The number of musical shows produced for the stage and motion pictures, will probably continue to decline. Although television will offer some additional employment opportunities, technical problems must be solved before this medium can be fully satisfactory for large-scale dance productions.
Civic and community dance groups are increasing in number and opportunities for dancers will expand as these develop into professional groups. Most of the openings for dance performers in the years ahead, however, will stem from the need to replace dancers who leave the field.
The employment outlook for dancers who have the personal and educational qualifications for teaching will be much better than for those trained only as performers. The growing interest in the dance as one of the fine arts is contributory to the demand for teachers of dancing. The increase in college enrollments will be another factor which will tend to enlarge teaching opportunities. (See statement on College and University Teachers.)
Men dancers face less competition for employment than do women dancers, since fewer men than women seek dancing as a career and nearly equal numbers are needed.
Earnings and Working Conditions
Dancers who perform professionally are members of one of the unions affiliated with the Associated Actors and Artistes of America (AFL–CIO). The American Guild of Musical Artists, Inc., is the union to which dancers belong who perform in opera ballets, classical ballet, and modern dance. Dancers may also belong to other unions depending upon the field in which they perform. (See statement on Singers and Singing Teachers.)
Minimum salary rates, hours of work, and other conditions of employment are specified in basic agreements signed by the unions and the producers. In addition, the separate contract signed by each dancer with the producer of the show has to be at least as favorable in the matter of salary, hours of work, and working conditions as the basic agreement.
The minimum salary for dancers in ballet and other stage productions was $110 a week, as of mid-1962. The minimum rate for rehearsal time was $80 a week, except in small ballet companies which provided $60 for a rehearsal week.
When a show goes on tour, salaries are increased, since dancers pay their own hotel bills. The employer pays the cost of first-class transportation. If a dancer signs a contract for a brief appearance — for instance, for a performance on television or a few days’ work in a movie—the minimum rate is higher, relative to time worked. However, this difference is offset by the brevity of the engagement and the long period likely to be spent waiting for the next one.
A few performers, of course, have much higher salaries. For principals, choreographers, and stars, salaries in stage productions ranged from $200 to over $2,000 per week in 1962.
Because most dancers are employed as performers only a small part of the year, their annual earnings are much less than would be expected from these weekly rates. According to union records, about half of all dancers employed in 1962 earned less than $3,000 from all professional performances on the stage, in motion pictures, and on television. Only about 3 percent earned more than $10,000.
Some dancers qualified to teach in the technical schools of the ballet are able to combine this work with engagements as performers. A much greater number have to supplement their incomes by working in offices, waiting on tables, or babysitting, while waiting for a new contract.
Salaries of teachers in the technical schools of the ballet vary with the location and prestige of the school. Dancers employed as teachers in colleges and universities are paid on the same basis as other faculty members. (See statement on College and University Teachers.)
During a rehearsal week, the normal workweek is 30 hours. During a performance week, the normal workweek consists of eight performances plus 12 hours for rehearsal. Extra compensation is paid for hours worked outside the normal workweek. Most stage performances are, of course, in the evening, and rehearsals may require very long hours, often on weekends and holidays. When shows are on the road, traveling over the weekend is often required.
Dancers are entitled to some paid sick leave and to various health and welfare benefits provided by their unions and to which the employers contribute.
Where To Go for More Information
Information on colleges and universities and conservatories of music which provide for a major in the dance, or some courses in the dance, and details on the types of courses, and other pertinent information may be obtained from the Dance Directory, 1963 edition, compiled by the American Association for Health, Physical Education and Recreation, a division of the National Education Association, 1201 16th St. NW., Washington, D.C., 20036.
Information on hours, earnings, and working conditions may be obtained directly from the unions which organize dancers in the various entertainment media.
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