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Dance teacher job growth summary. After extensive research, interviews, and analysis, Zippia's data science team found that:
The projected dance teacher job growth rate is 12% from 2018-2028.
About 159,400 new jobs for dance teachers are projected over the next decade.
Dance teacher salaries have increased 7% for dance teachers in the last 5 years.
There are over 77,008 dance teachers currently employed in the United States.
There are 71,355 active dance teacher job openings in the US.
The average dance teacher salary is $47,909.
Year![]() ![]() | # Of Jobs![]() ![]() | % Of Population![]() ![]() |
---|---|---|
2021 | 77,008 | 0.02% |
2020 | 79,063 | 0.02% |
2019 | 89,742 | 0.03% |
2018 | 86,299 | 0.03% |
2017 | 84,747 | 0.03% |
Year![]() ![]() | Avg. Salary![]() ![]() | Hourly Rate![]() ![]() | % Change![]() ![]() |
---|---|---|---|
2025 | $47,909 | $23.03 | +2.0% |
2024 | $46,986 | $22.59 | +1.2% |
2023 | $46,422 | $22.32 | +0.7% |
2022 | $46,087 | $22.16 | +3.0% |
2021 | $44,756 | $21.52 | +1.8% |
Rank![]() ![]() | State![]() ![]() | Population![]() ![]() | # of Jobs![]() ![]() | Employment/ 1000ppl ![]() ![]() |
---|---|---|---|---|
1 | District of Columbia | 693,972 | 112 | 16% |
2 | New Hampshire | 1,342,795 | 167 | 12% |
3 | Illinois | 12,802,023 | 1,346 | 11% |
4 | New Jersey | 9,005,644 | 966 | 11% |
5 | Maryland | 6,052,177 | 688 | 11% |
6 | Colorado | 5,607,154 | 599 | 11% |
7 | Minnesota | 5,576,606 | 587 | 11% |
8 | Massachusetts | 6,859,819 | 680 | 10% |
9 | New Mexico | 2,088,070 | 209 | 10% |
10 | Montana | 1,050,493 | 108 | 10% |
11 | Delaware | 961,939 | 93 | 10% |
12 | Nebraska | 1,920,076 | 169 | 9% |
13 | North Carolina | 10,273,419 | 788 | 8% |
14 | Virginia | 8,470,020 | 665 | 8% |
15 | Indiana | 6,666,818 | 523 | 8% |
16 | Kansas | 2,913,123 | 233 | 8% |
17 | Pennsylvania | 12,805,537 | 903 | 7% |
18 | South Carolina | 5,024,369 | 373 | 7% |
19 | Oklahoma | 3,930,864 | 282 | 7% |
20 | Vermont | 623,657 | 42 | 7% |
Rank![]() ![]() | City![]() ![]() | # of Jobs![]() ![]() | Employment/ 1000ppl ![]() ![]() | Avg. Salary![]() ![]() |
---|---|---|---|---|
1 | Brandon | 1 | 1% | $46,461 |
2 | Baltimore | 1 | 0% | $52,807 |
3 | Dallas | 1 | 0% | $36,998 |
Tiffin University
Hope College
University of Washington
Temple University
Washington University in St Louis
University of Nevada - Las Vegas
Duke University
San Diego Mesa College
Texas State University
Northwestern State University of Louisiana
New Mexico State University
Hope College
University of Washington
Emory University
University of Northern Colorado
Barnard College
University of Arizona
Southern Methodist University
Amy Wilkinson PhD: Dance instructors must be skilled in whatever discipline they are teaching, so it is important to continue to train by taking dance classes by other excellent dance instructors as well as practicing self-care in terms of nutrition, sleep, and other forms of exercise/cross training. Dance instructors should also be skilled educators which means developing a teaching philosophy, having a working understanding of learning theories, and having numerous pedagogical approaches available to them. Dance instructors often teach long hours on their feet. They also move frequently from location to location - So being organized and good at time management, having clear lesson plans or learning objectives and lots of energy is important to the job. Depending on the teaching context, a dance instructor’s day might look something like this: 1. Take professional level dance class or workout 2. Teach a morning dance fitness class at a gym/dance studio or rehearse with a professional dance company 3. Break for lunch 4. Plan evening classes - determine learning objectives, develop progressive combinations, select music, create choreography, etc. 5. Teach several hours of dance classes for different level students. 6. Late dinner
Amy Wilkinson PhD: In an age where AI and other forms of online technology are becoming more ubiquitous in various educational fields, there will always be a need and desire for human in-person dance instruction. So - in the right place, being a dance instructor can be a stable career. Being a dance instructor also allows artist educators to pursue their passions and to share their love of dance with others. It is a field that encourages embodiment and community building. Lastly, for many professional performance artists or folks with other career interests, it is a flexible job that supplements income from other professional work.
Amy Wilkinson PhD: Most dance instructors love getting to share the beauty of dance with others. They love the physicality of moving their bodies and celebrating students’ growth. Dance instructors get to be creative and teaching dance, simply put, is often really fun. Many people also appreciate the flexibility of the position. Challenges include having to be mobile and moving between lots of different studios or teaching locations. In addition, dance instructors work nights and weekends. Lastly, unless you are teaching in a school setting, dance instructors typically aren’t employed full time and thus don’t get benefits like health insurance and retirement.
Tiffin University
Visual And Performing Arts
Dr. Stephanie Opfer: Unfortunately, teaching as an adjunct does not pay well. Students should keep their full-time jobs and teach part-time until they find a full-time job at a college or university. That part-time teaching provides them valuable experience and connections that make them more competitive candidates for full-time positions because they'd also be competing with candidates who have PhDs. So adjunct work is more of a long-term investment rather than an immediate return. Also, even full-time teaching jobs don't pay particularly well, so they'll really need to love teaching if they want to do it full-time. If they don't like teaching as an adjunct, they won't like doing it full-time.
Lindsey Hanson MFA: It's great to do something that involves face to face physical connection especially in a time when most people are working with devices. It's refreshing to put your phone or laptop away and be 100% present with others in a space. I love that at my job as a dance professor, I get to be creative every day.
Lindsey Hanson MFA: Sometimes there are physical demands on the body that require a level of athleticism that could result in frequent overuse injuries. However, the ability to use your body for your job every day is a wonderful way to stay healthy and connected to your body and artistry.
Lindsey Hanson MFA: Day to day, a dance instructor will develop a clear structure within a lesson to accomplish whatever their movement objective is for the class, and it also depends on the dance style. Different objectives could be: performance quality, musicality, polyrhythms, improvisational skills, body alignment, strength, flexibility, skill progressions, coordination or working on material for an upcoming performance. There may also be several meetings with students to discuss their progress and give one on one strategies for improvement. Dance professors also have many production meetings to help facilitate department performances. A dance professor is also expected to facilitate independent research in line with their area of expertise.
Christopher Kaiser: That is a great question and it's something I want to learn myself. I would say try and build your CV during grad school with things like service, choreography, and research. The more robust your profile, the more marketable you are.
Christopher Kaiser: I think student choreography during a composition class is still being explored and is extremely important for undergrad students to explore. Also, Teaching Methods for undergrads is vital because so many students are starting to teach while in school and should have some guidance. Selfishly I want to say partnering. It is an art that is difficult to master but most choreographers incorporate it in their work.
Christopher Kaiser: I would say to be very open to all opportunities like choreography, service, and even a lunch date with a professor or a fellow grad student. Also, try and be organized. You will have your foot in many projects at the same time and it's key to prioritize time management
Jillian Harris: Students within dance today feel significant pressure to cultivate a stronger digital presence via social media platforms, personal websites, etc. While I do feel being skillful with technology and marketing one's work is important, I believe strongly that those who thrive in the future will continue to focus on cultivating strong oral and written communication skills. One must find clear language to successfully frame their ideas. When choreographing, attention to the crafting of one's content, its visual, sonic, and kinesthetic elements, will always be important. Likewise, aspiring dancers must also consider what artistic ideas they can contribute within the creative process. Studio environments, particularly within contemporary dance forms now, are highly collaborative.
Jillian Harris: Maximizing your salary potential requires research. Make use of resources provided by organizations like WAGE (https://wageforwork.com/about#top) which aim to establish more transparency in pay negotiations and establish a tier structure of fair artists fees relative to organizations' resources. Look into the actual budget sizes of the companies to which you are applying and initiate private conversations with others who are in similar roles within these companies or equivalent companies. If you are working for an individual, try to identify someone else who has worked with that person and can provide an assessment of past salary offers.
Jillian Harris: Establish a clear strategy for your job search, determining a set of criteria that align with your values. For example, when I began my career, any job I pursued had to do at least one of three things: (1) provide access to people, opportunities, and/or resources that could help me grow within my field and expand my network, (2) pay enough money for the hours of work required, and (3) challenge me with inspiring projects that broadened my skill set. Even though many of my early jobs rarely fulfilled all three criteria, this strategy helped me be more mindful about what work offers I pursued and accepted. I also encourage recent graduates to draw upon networks they have already cultivated when considering their focus in the job market. Take advantage of opportunities to reconnect with anyone with whom you have crossed paths in the past and make use of both your university's career center and alumni network. If you know a specific job you are interested in pursuing, find someone with that job and ask them questions about its day-to-day reality. I have found that people often appreciate having an opportunity to mentor and share their insights.
Washington University in St Louis
Dance
Antonio Douthit-Boyd: Dancers are truly remarkable individuals, embodying incredible resilience and creativity. Their ability to inspire us to be better and instill hope and positivity is truly remarkable. As a teacher, it is fulfilling to nurture this mindset and witness the moment when a student begins to see all the pieces falling into place. On the other hand, it is disheartening to see students not reaching their full potential or when they eventually have to move on to conquer the world, making it difficult to bid them farewell.
Antonio Douthit-Boyd: The dance teacher carefully considers each student's needs and skillfully designs a class and curriculum to assist them in reaching their technical and artistic goals. It is my understanding that a new dancer comes into the field hungry to learn and ready for any task set before them to grow. Taking classes and observing others to help influence their artistry is a daily to-do.
Antonio Douthit-Boyd: I have the opportunity to shape and mold dancers into critical thinkers, helping them understand their influence both in the classroom and in the field.
Cathy Allen: In the Dance World you will want to be skilled in many forms of dance to be more marketable and maximize your income. Choreographing and performing in one area of dance or teaching dance on the side can allow you the financial freedom to pursue other artistic dance endeavors to build your resume. It is essential to develop a wonderful reputation; someone easy to work with, who embodies the movement beautifully, and who is loyal and dependable. No one wants to deal with a diva if they have other good choices. Reputations spread like wildfire. You will accrue jobs or lose jobs by your reputation alone.
Cathy Allen: For Broadway, large hotel showrooms, or cruise line productions, professional dance jobs are secured through word of mouth and open auditions or "cattle calls". However, many agents and choreographers have worked with individuals that they already intend to use. But if someone in the open calls is extremely gifted, striking, and memorable, you will get work.
For the private sector artist, marketing oneself online through social media and individual professional websites is the resume of this generation. Agents are looking at online materials to find dancers, companies, and dance instructors. Become tech-savvy. Know how to generate a video reel of yourself and how to edit and post in all the right places. You must attend workshops, conferences, and festivals to produce the interest you hope to establish. You have to develop a thick skin but also you need to develop a constant public persona. Be easy to find and respond quickly to texts and emails. Grants and benefactors continue to be important in the world of dance companies, university programs, and studio or solo performers. Make a secure connection with a studio or school that will allow you space and time either free or at a minimal cost for you to create work to send out for performances.
Cathy Allen: In the field of Dance, it is essential that a professional dancer maintain dance class participation on a weekly if not daily basis. Keeping your instrument (the body) in excellent physical condition and the mind sharp for picking up movement material is imperative. Taking "dance class" also connects you to the pulse of the dance community in your area along with audition posts and networking.
Duke University
Dance
Sarah Wilbur Ph.D.: Artists need to unapologetically advocate for themselves and for other artists in all areas of production, employment and opportunity,
An artist’s ability to explain to strangers how dance works is a vital survival skill that pays value forward because whoever learns from this advocacy can make more nuanced invitations, going forward. Dancing and dance skill in whatever areas of specialization or cultural tradition is expected, but talent is almost never enough on its own. Dance work is advocacy work.
Sarah Wilbur Ph.D.: There are very few promised jobs, and even fewer shortcuts. This reality is why people flock to more economically stable careers – that said, artists can work for love and money if and when they learn to find the communities of practice where their values are honored and matched.
Sarah Wilbur Ph.D.: To work in dance, in my experience and in my research, is to work in a *number of jobs*, in a *number of diverse roles,* and in a *number of relationships* to industries, cultures, and publics. In a field as unstandardize-able as this one, my very best advice for someone who has successfully pursued an academic dance credential and has graduated from the US university is for them to become a passionate, lifelong student of dance history, dance labor, and dance value across all kinds of fields. There are very few promised jobs, and even fewer shortcuts. This reality is why people flock to more economically stable (and sometimes soul killing) lines of work, in the US.
Elizabeth McPherson: Job salaries are often set, but certainly for teaching or administrative kinds of positions, one can always ask if there is any "wiggle room" in the salary you were offered. Choreographers and dance companies are usually working on tight budgets, so there likely may be no room for more pay at the time one is hired. One way to increase salary potential in teaching positions is to earn advanced degrees. I worked on earning advanced degrees throughout my performance career which supported me in better paying teaching positions when I moved into dance teaching as my primary career.
Elizabeth McPherson: Be gritty. In the performance field, there are often more "no's" than "yes's" in auditioning for dance jobs. Don't let the "no's" get you down. Keep going to auditions, taking class, and building connections. Try to keep your side jobs in the field, like teaching or arts administration, because each of those connections builds your community.
Elizabeth McPherson: Versatility and adaptability. Because there are major shifts happening in the field, being able to roll with the changes and stay relevant is key.
Donna Flournoy: I advise a graduate student to continue networking with the faculty and students they have worked with. This will provide a solid foundation to support their dance journey. I suggest they continue training in all dance genres and cross-train regularly while maintaining good mental health. They should challenge themselves by reaching out and doing things that may not feel comfortable initially but will add to their dance story later. Always strive to be your best self and find your unique dance voice. Additionally, they should surround themselves with like-minded individuals who support them and will keep them accountable when things get tough. Lastly, taking time to stop, breathe, and enjoy the journey is essential.
Donna Flournoy: Having a dance career is a lifelong journey. The lessons taught in the classroom by various instructors and the "Aha!" moments experienced as a teacher, choreographer, or dancer are valuable for a persistent career. It is crucial to continue learning and growing to maintain a successful dance career.
Donna Flournoy: To increase your salary, staying up to date with all aspects of the arts is essential. Consider volunteering or interning in various areas to enhance your value and prepare for future opportunities. You'll need to play multiple roles as you progress in your career. For example, if you're a production manager, you should be familiar with both on-stage and off-stage aspects. You can broaden your horizons by pursuing certifications in Pilates, yoga, and different types of dances. Be willing to teach all levels of movement. Learn how to market yourself effectively so potential employers can hear your voice. Determine how you want to present yourself and maintain a positive outlook. Keep working towards your goals with a clear vision in mind. "Do the work".
Michelle Nance: Students of Dance acquire and practice many skills relevant to their field, in addition to an array of transferable skills that will prove beneficial for any career trajectory. The most important transferable skills for Dance graduates include self-discipline, initiative, reliability, and adaptability in an ever-changing global landscape.
Important skills specific to Dance include:
Technological skills - proficiency with music and video editing software, in addition to an understanding of skills needed to produce dance (knowledge about lighting, music, costume, and set design; as well as how to communicate with these artistic collaborators).
Physical skills - for the future performer, knowing how to prevent injuries and maintain ones' body instrument is critical. Working knowledge of anatomy and kinesiology, as well as experience in somatic practices and body conditioning, will help the dancer maintain their instrument. Additionally, technical skills in several dance genres make the aspiring performer more versatile and prepared for opportunities. Learning and remembering movement and stylistic nuances quickly helps tremendously during auditions, as well as busy performance seasons. For the hopeful professional dancer, the #1 priority is remaining healthy and strong.
Self-Promotion and Resourcefulness - creating a brand for yourself on the web and via social media outlets with high-quality content (photos, videos, artistic statements, teaching philosophies). The courage to attend many auditions and receive many rejections is paramount to landing an opportunity. Gone are the days when one dance company could sustain a company of dancers on a full-time, year-long contract. Such opportunities are extremely rare in the U.S.A. Dancers and choreographers need to be willing to move from "gig" to "gig," taking advantage of a single performance or seasonal opportunities and may need to juggle more than one simultaneously.
Creativity and adventure - for future choreographers, the willingness to step out of one's comfort zone to participate in a creative project that might not line up with your aesthetic or stylistic taste is important. Collaboration skills are very pertinent when creating new dance works. The choreographer often works with other choreographers, designers, and directors, as well as performers who bring unique inspiration to any project.
Teaching Skills: most dance professionals will need to teach in order to sustain their career (whether full or part-time). Training and practice in dance pedagogy are critical to success as a dance professional. Dancers can earn good money as master class teachers and guest choreographers.
Inclusivity and Diversity Awareness: it is vital that a dance professional possess an understanding of cultural, racial, gender, sexual orientation, and ability differences; and sensitivity for traditionally unseen or unheard voices in the field of dance. The dance professional will encounter and work with a spectrum of differences and needs to know how to develop, encourage, and practice an environment of respect and inclusivity in the studio, on the stage, and in the classroom.
Northwestern State University of Louisiana
Department of Theatre and Dance
Brett Alan Garfinkel: Education/Training, Years of Experience, Styles comfortable teaching in and ages of students.
Brett Alan Garfinkel: Professionalism, Respectful and Reliable.
Brett Alan Garfinkel: The ability to communicate and teach all students of different levels and backgrounds. The ability to be relatable and available to all students.
Brett Alan Garfinkel: The ability to be open and listen to others. Being a collaborator who can work with other faculty and artists.
New Mexico State University
Department of Kinesiology
Amy Wright: Currently, some things that I can identify as most sought after for dance educator jobs in higher ed would be the ability to teach in many vernaculars and areas rather than one isolated discipline, the ability to engage in work that bridges the performing arts with conversations around social justice and equity issues, and the ability to integrate technology into your creative research and pedagogy.
There is also a current trend in dance in higher ed that seeks to integrate more non-Western and diasporic forms- especially African and Afro-Caribbean forms- into programs that have previously been focused on a more "traditional" classical style of training.
The most successful educators in the arts right now can be flexible and innovative; are able to collaborate across disciplines; are able to seek opportunities for recruiting, networking, and fundraising throughout their community as well as globally; and can adapt to a dramatically changed landscape from the one in which we were educated.
Hope College
Department of Dance
Matthew Farmer: Experience and Versatility. Today's dance market is vast and wide, and therefore the more styles and techniques that a dance instructor is qualified to teach (notice I used the word qualified), the better. This being said, don't ever put something on your resume that isn't accurate for this moment in time. For example, if you are willing to learn how to teach a specific style/dance form but don't actually teach it currently, then don't put it on your resume. Also, if you have limited experience, then start now by taking dance forms and classes outside your comfort zone. Ask teachers if you can "study under them," and stay after class to discuss pedagogical reasons for why the instructor has taught the class the way they have. If you want to work in today's market, you have to be versatile and adaptable.
Matthew Farmer: Appropriate behavior and instruction. I cannot stress enough how much professionalism and workability determine the career path and trajectory of a dancer, choreographer, and dance teacher. What is "acceptable" in any given field and what is "professional" are two different conversations. A professional, and especially a young professional, should choose/act in a manner that is "professional" over what is "acceptable." This includes showing up not just "on time" but early. Always keep your emotions in check. Making sure the way you verbally communicate is clear, concise, appropriate for the environment, and being willing to take and give constructive criticism.
Matthew Farmer: Be able to "do the thing" being asked of you. A colleague of mine uses this phrase all the time, and I love it, as it doesn't limit what "the thing" is. Rather than state, you have to be able to do so many turns; being able to "do the thing" opens up space for all dance forms and environments. Again, depending on what "the thing is" will be completely dependent on the section of the dance field a young professional enters. You must be able to physically execute that which is being asked of you. This could be determined by a specific type of physical prowess, but it also bleeds into areas such as picking up and retaining choreography quickly and maintaining and implementing corrections in a timely manner.
Matthew Farmer: Nothing can supplement time and experience - which take time. Just like any professional field, the longer an individual is working in a particular field (thus building their skills, reputation, experience, and knowledge), the more they will begin to be sought and paid a higher wage (i.e., make more money). I stress this to young dance professionals all the time: 99% of the time, you will not be paid as much as someone who has been in the field for years ahead of you. So, understand that time and experience are the keys, then what skills help you earn more? Well...go back to #2 and #3 above - these will ensure that you continue to get hired and thus build your skills, reputation, and resume.
University of Washington
Department of Dance
Rachael Lincoln: Substantial experience both practicing and teaching the dance form(s) the applicant is applying to teach; a breadth of offerings. Can the applicant teach technique and something else? (Theory, history, Dance-making?) Do they have the capacity and desire to develop additional courses?
Ability to talk about and contextualize the history/development of the form(s) they will teach, including culturally relevant and responsive teaching
Rachael Lincoln: Experience and consideration of diversity, equity, and inclusion in dance are essential. Ability to serve on/chair committees, mentor students, navigate the tenure process, balance teaching with service and research.
Emory University
Department of Theater and Dance
Sally Radell: Skills that stand out include teaching various styles of technique, including really popular forms like hip hop and African. Also, any administrative skills (i.e., writing press releases, marketing) can be useful as they make an instructor more employable beyond teaching. Also, teaching to a wide variety of age levels is always valuable to an employer.
Sally Radell: Good interpersonal skills are always critically important. Also, always showing up on time and preferably early and always prepared shows a strong sense of responsibility and commitment.
Sally Radell: The knowledge of different computer programs and budgeting experience can be highly desirable for someone running a studio looking to employ an instructor who might eventually contribute beyond teaching. Also, any experience in addressing dance injuries (i.e., first aid medic) is always valued.
Sally Radell: A very valuable skill is grant writing. Studios are always looking for new funding streams. Also, in general, the more skills you have in teaching various styles and age groups and being able to choreograph and direct a concert will always make an instructor a desirable hire.
University of Northern Colorado
School of Theatre Arts & Dance
Sandra Minton Ph.D.: I do not know if there will be a lasting impact on dance and dance teaching from the pandemic. Time will tell. However, we have been doing a lot of our teaching on-line and remotely so there may be more content offered through such platforms in the future. Our conferences have been successful when presented remotely.
Sandra Minton Ph.D.: The opportunity for dance teaching jobs depends on the state. The states with dance certification are most likely to provide teaching opportunities in the public sector. There are also many ancillary job possibilities associated with dance training such as Pilates practitioners, physical therapists, dance therapists, massage therapists and arts management, all of which require added training.
Sandra Minton Ph.D.: Earning potential is increased if one can be hired by a public entity. Such positions are usually accompanied by benefits.
Katie Glasner: In the dance field, live performance has been shut down since NYC closed down Broadway live theater on March 12, 2020. In the interim, dance has exploded on digital platforms, from established companies like Paul Taylor American Modern Dance to New York CIty Ballet opening its archives to the public. Dance educators, dancers, and musicians have figured out solutions to maintain virtual training, and dance makers have shifted their work, by in large, to the filmic format. I suspect that dance writing has been flourishing. The biggest trends in the dance markets will continue to be digital work, that monetizing that work will be challenging at best and that in the carefully intentional move back to live performance, productions and audiences will be substantially scaled back. If the arts could use the model of any of the professionalized athletic events and garner advertising support, that would provide financial stability. Dance professionals have a wide scope of skills that can be put to use in any situation - organization, attention to detail, understanding a big picture, collaboration, respect for deadlines, knowledge that presentation is as important as what's being presented - and many have moved on to other income producing sources as a result of the pandemic.
Katie Glasner: -The ability to have a conversation in person.
-The importance of follow through in communication.
-The knowledge that there isn't one clear path to a goal and the understanding that strategizing for the long haul can be useful.
-Patience. Humor. Grace. Generosity.
Katie Glasner: Salaries? What salaries? For those in the live performing arts, income is a thing of the past. For educators in institutions, salaries remain as the institutions/jobs remain and salary freezes/hiring freezes are currently the norm. For the freelance dance making and doing community, grants are imperative. For writers, commissions and advances are imperative.
Chris Compton: The dance hubs in the U.S. are also some of the hardest hit by the pandemic. New York, Los Angeles, Chicago, Dallas, etc. I think that some of the smaller, regional markets may recover sooner. For those graduating in May, it may be a few months before I would move to a major market. I would hope for a September/October turnaround for NYC, and Chicago, but it may be longer for Los Angeles. It also really depends on what you're looking for. The states with the fewest restrictions may be able to provide you with a job sooner, but you would have to be comfortable working in a state with fewer restrictions. And vice versa. Again, the market for dance educators is a little more open, right now. But it's the same idea. You need to establish your comfort level with each state's handling of the pandemic, and look for jobs in those markets.
Chris Compton: In terms of live performance, sadly, we've seen a (necessary) halt due to the pandemic. We have, however, seen a surge in virtual and online performance. Companies and artists have gotten very creative with their output, and I think we will see that model continue to surge through 2021, and into 2022. Artists who are adept at the online/virtual model, I believe, will find success sooner than those who may be focused solely on theater/proscenium work. Dance-on-film work has really picked up, and that is a great area of exposure for young dancers. As far as dance education is concerned, we are starting to see that pick up again as schools are adapting to the COVID-19/Social Distance model.
I believe the market for dance educators will recover a bit sooner than the market for dancers. It's difficult to remain patient, but I believe that we will see a turnaround in 2021. One way that dancers and dance educators alike can tread water until then is through the online experience of dance. Many dancers/educators have found success on social media by teaching virtual classes, whether they be in dance or fitness. As you wait for the market to rebound, that might be your best bet. The number one thing, though, is to stay active. Keep creating work, keep taking classes, and keep your foot in the door.
Chris Compton: Versatility, and problem-solving. Many companies that are hiring are looking for dancers/dance teachers who can perform a variety of tasks. Can you handle the company's social media? Are you good with administrative work? Are you a videographer? Are you good with film editing? Can you handle book-keeping? Can you teach classes for the company? With some companies consolidating positions, being versatile will make you more attractive to a potential employer.
Christopher Dolder: The hiring of graduates to teach virtual classes from a safe and small cohort-based studio.
Christopher Dolder: Gap year students should focus on the skills that will help them become the artist they envision. Acting skills, voice, multiple dance techniques. Work on self-health, yoga, meditation, etc.
Christopher Dolder: Do not put a timeline or a specific definition on what it means to be successful in dance. Just approach areas of dance that are your current interest.