Dance Captain

The Dance Captain is a member of the company who maintains the artistic standards of all Choreography and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the production. The Dance Captain is a member of the company who maintains the artistic standards of all choreography and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the Artistic Staff. The Advisory Committee on Chorus Affairs (ACCA), in conjunction with the Dance Captain Subcommittee, is issuing these suggested guidelines to assist the Dance Captains in their assigned position. 1. Maintaining Artistic Standards and Technique of Original Production a. Review musical staging and choreography, give notes and/or schedule brush-up rehearsals (in coordination with the Stage Manager). Maintain all musical staging and choreography in the original style, intent, technique and energy level. (Note: All rehearsals are called by the Stage Manager as per allotted hours set forth in the contract). . Maintain original spacing and positions in musical numbers. c. Make sure condition of stage, rehearsal and/or audition space is safe and suitable for musical staging and/or choreography for rehearsals and performances. d. Within a reasonable period of time after show is set, the Dance Captain shall learn all choreography and musical staging. e. In cases of complaints or differences of opinion between cast members concerning choreography and/or musical staging, the Dance Captain shall make the decision. f. The Dance Captain may not be required to block non-musical scenes. . Responsibilities to Understudies and Swings a. assist the Stage Manager and choreographer, or their assistants, in the assignment of understudies and swings for numbers and important bits of business in musical staging and/or choreography. b. See that understudies and swings are prepared to perform assignments in musical numbers. 3. Responsibilities for Replacements a. Audition replacement Actors in regards to musical staging and/or choreography when required. b. Teach chorus or principal replacements choreography and staging of musical numbers. . Rehearse replacement with cast members involved in musical numbers prior to their first performance. d. Apprise Actors of possible technical problems they may encounter, such as quick change set-ups, involvement with set 1changes or use of props in c oordination and cooperation with Stage Manager. Work environment. Dance is exhausting. In fact, dancers have one of the highest rates of nonfatal on-the-job injury. Many dancers, as a result, stop performing by their late thirties because of the physical demands on the body. Nevertheless, some continue to work in the field as choreographers, artistic directors, and dance teachers and coaches, while a small number may move into administrative positions, such as company managers. A few celebrated dancers, however, continue performing most of their lives. Many dance companies’ tour for part of the year to supplement a limited performance schedule at home. Dancers who perform in musical productions and other family entertainment spend much of their time on the road; others work in nightclubs or on cruise ships. Most dance performances are in the evening, whereas rehearsals and practice usually take place during the day. As a result, dancers often work very long and late hours. Generally, dancers and choreographers work in modern and temperature-controlled facilities; however, some studios may be older and less comfortable. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor's degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. Education and training; Training varies with the type of dance and is a continuous part of all dancers' careers. Many believe that dancers should start with a good foundation in classical technique before selecting a particular style. Ballet training for girls usually begins between the ages of 5 to 8 with a private teacher or through an independent ballet school, with more serious training beginning between the ages of 10 and 12. Boys often begin their ballet training between the ages of 10 and 15. Students who demonstrate potential in their early teens may seek out more intensive and advanced professional training. At about this time, students should begin to focus their training on a particular style and decide whether to pursue additional training through a dance company's school or a college dance program. Leading dance school companies often have summer training programs from which they select candidates for admission to their regular full-time training programs. Formal training for modern and culturally specific dances often begins later than training in ballet; however, many folk dance forms are taught to very young children. As a result, a good number of dancers have their first professional auditions by age 17 or 18. A college education is not essential for employment as a professional dancer; however, many dancers obtain degrees in unrelated fields to prepare themselves for careers after dance. The completion of a college program in dance and education is usually essential to qualify to teach dance in college, high school, or elementary school. Colleges and conservatories sometimes require graduate degrees but may accept performance experience. A college background is not necessary for teaching dance or choreography in local recreational programs. Studio schools prefer teachers to have experience as performers. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor's degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. There are many advantages to being a dancer a dancer's life is no 9 to 5 job. Some days you may work just three or four hours, and others you will be dancing until the late hours. Your schedule will depend on the type of job you have booked. In between set gigs, you will also be working by attending auditions, as well as participating in workshops to continue learning new dances techniques. Staying In Shape In order to be a successful dancer, your body must be in superb shape. Alternate between different dance styles and stretching routines to tone muscles in all areas of the body. This will keep your body flexible to avoid pulling or spraining joints and muscles. Changing up your routine will also keep it from becoming monotonous, and open you up to new choreographic styles, as well. Being able to work out as a part of your profession will benefit your health even after you retire from the field. Travel Opportunities, Travel is one of the top perks of dance field. Travel allows you to see new places, experience new foods and cultures, and meet interesting new people. Many dance troupes get the chance to travel around the U. S. and even internationally if they are part of a company. Food and lodging are typically covered, so you won't need to cover these sorts of expenses. Working for Yourself; Being a dancer is largely a freelance job, since many dancers work for several companies on a part-time basis. This means that you work when you want to work, and you can take a break when you need to, provided you have the resources to do so. If you prefer to receive a steady paycheck, opening up your own dance studio may be the right path. You can choose the dance style you want to teach, be it ballet, tap, jazz, modern, or even ballroom or hip-hop. You will also be able to select the hours of operation and the method for enrolling students. Opening your own studio will also give you the chance to choreograph your own dance routines and pass the art form down to others to enjoy. In spite of these advantages there are also many challenges to working in the dance industry. Median hourly wages of dancers were $12. 22 in May 2008. The middle 50 percent earned between $8. 03 and $18. 82. The lowest 10 percent earned less than $7. 28, and the highest 10 percent earned more than $27. 26. Annual wage data for dancers were not available, because the wide variation in the number of hours worked by dancers and the short-term nature of many jobs—which may last for 1 day or 1 week—make it rare for dancers to have guaranteed employment that exceeds a few months. Median annual wages of salaried choreographers were $38,520 in May 2008. The middle 50 percent earned between $25,320 and $55,360. The lowest 10 percent earned less than $17,880, and the highest 10 percent earned more than $67,160. Median annual wages were $37,570 in â€Å"other schools and instruction,† the North American Industry Classification System category that includes dance studios and schools. Dancers who were on tour usually received an additional allowance for room and board, as well as extra compensation for overtime. Earnings from dancing are usually low because employment is irregular. Dancers often supplement their income by working as guest artists with other dance companies, teaching dance, or taking jobs unrelated to the field. Earnings of dancers at some of the largest companies and in commercial settings are governed by union contracts. Some dancers in major opera ballet, classical ballet, and modern dance corps belong to the American Guild of Musical Artists, Inc. of the AFL-CIO; those who appear on live or videotaped television programs belong to the American Federation of Television and Radio Artists; those who erform in films and on television belong to the Screen Actors Guild; and those in musical theater are members of the Actors' Equity Association. The unions and producers sign basic agreements specifying minimum salary rates, hours of work, benefits, and other conditions of employment. However, the contract each dancer signs with the producer of the show may be more favorable than the basic agreement. Most salaried dancers and choreographers covered by union contracts receive some paid sick leave and various health and pension benefits, including extended sick pay and family-leave benefits provided by their unions. Employers contribute toward these benefits. Dancers and choreographers not covered by union contracts usually do not enjoy such benefits. I selected this career because I believe that a career as a dance captain can be very challenging and I always ready for new challenges. I am also very concerned about being health and a career as a dancer will allow me to do what I love and keep my body healthy. I find this career to be very enjoyable because of the joy that dance can bring to others and myself and that is why I would like to be a dancer. Dance captain