We are moving out of the age of the all-purpose artist and into the age of the unmistakable one

I recently posted a submission notice looking for teachers and choreographers. I received a lot of fantastic reels and bios. I also read many (many) emails stating that they teach “contemporary, jazz, hip hop, ballet, modern and tap” or a similar laundry list of styles and disciplines. I absolutely understand that many of us are trained in all of these styles and disciplines. Just because one CAN teach all of those classes, doesn’t mean that one SHOULD teach all of these classes. Reading a list of wildly varying teaching styles is the first sign that I am reading an inexperienced bio. This casting notice was for New York City creatives; we are in a major market. When booking teachers for guest teaching, we are looking for teaching artists and creatives with a distinct voice and vocabulary. It is no longer enough to do everything; artists need to be known for something.

This idea is the same for performing artists. When I was auditioning, I was trained to “do anything”, to be well rounded, to “be anything” I was asked to be in an audition or rehearsal. I understand why this was the “rule” I was taught. I understand why some people still follow this. It is fantastic to know a dancer that can move from mood to mood in a work, to be able to dance in a serious piece and perform in a fun, light piece later in the concert. Having a wide range of skills is great. It will serve you as a performer. But if this wide range of skills is the performers’ strongest selling point, this could be the reason they are not getting booked.  Today’s working, professional concert dancers move with a point of view.

They are coachable and adaptable, but they possess an artistic identity.

Walking into class with an open mind, open ears, trust, clarity and intention will lead to a clear point of view. This takes practice. Practice leads to progress. Find teachers that teach and direct intention. They will lead you through the coachable and adaptable part as well as offering a safe space to try on artistic identities until you find your distinct point of view. Distinct doesn’t mean different than everyone else. Distinct, in this context, can mean clear and well defined.  What in your movement is well defined? Strong focus? Breath and airy?  Sharp angles? Textured gestures?  Low and grounded movement? Light and free action?

Notice your strengths, pay attention to your values and you will find your point of view.