Category: dance

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business

Your dance-business set-up

a brainstorm of work fields with some of them marked with color

We already talked about the abstract work that needs to go into the creation of your sustainable dance business and rolled up the most common options you can put work into.

Today I want to explore how to set up your activities for a balanced way of working. I hope you made a list of the things you consider possible for yourself, as suggested in my last post. It will make the following step much more accessible. If you did not, consider going back to this post and take a few minutes to compile your list.

What you are looking for is a combination of activities that a) provide a steady flow of income, b) you love to do, c) that synergise well and d) can support you even when you are not able to dance for a while.
The most common combination within the people that I know is the Performing, Teaching combo with an added secondary work field that has benefits for the other two.

Examples are Performing, Teaching and Event Management or Performing, Teaching and DJing/Music Production. I ran with Performing, Teaching and theatre and movie production for many years before the birth of my daughter.

This combination is prevalent because performing is one thing that most dancers love, and teaching is the most reliable source of income. When you pair them with event-management, you are doing community building, which pushes your reputation and makes more people come to your performances and classes. When paired with DJing/music production you can book a gig at dance events or sell your music to dancers. We are searching for these synergies.

Look at your list of things you can do. Define one primary activity that sounds like reliable, steady income (making the obvious choice of teaching here is not a bad thing). Now pick the one that you really want to do.
If you think that this combo can provide enough money for you, you are already good to go, when you have big balls. I recommend incorporating a secondary work field that plays into your primary ones or simply helps you build your name. You can also work with two secondaries, but you should have a reason to do so.

I will use my current situation as an example:
After the birth of our daughter, I stopped travelling for dancing because I wanted to be around. This immediately stopped my income stream from performing. I also was not able to teach on a regular schedule anymore. (We had a hard start due to medical conditions). What I did was starting to write, as I had the opportunity to do so for Rookies at Work, the agency I was with from the beginning. Here I had my secondary work field covering all the expenses from my family and me. As I write exclusively about dance topics, this work is definitely based on my dance knowledge. Now, as the child starts to go into daycare and my wife and I get used to our new parent-lifestyle, I develop some in-depth workshops so I can start to teach again. I also plan to publish some literature about dance topics. Finally, when the time comes, I will start a new movie project. In that case, I would have one primary field and two secondaries. The reason for that is that I value the time with my family more than being away for rehearsals and performances all the time.

Another point to keep in mind is that your decision is not final. You can always adapt along the road and change your activities, when new circumstances demand a different treat. But as long as you go with a set-up, you should be commited to make it work.

TL;DR: Pick a combination of 2 to 4 activity from your list from my last post and choose which combination works well by considering the following criteria:

  • what provides a steady income (you need one)
  • what do you love to do (to keep you hungry)
  • what can you do to add people to your active activities or build your reputation

Be courageous and share your setup in the comments.

Categories
dance concepts

The imaginary material of the floor

Another idea that helps you explore new possibilities and transform your freestyles or choreographies is to work with imaginary attributes of the floor.

What this means is you style your movement with the goal to create the illusion of dancing on a certain kind of underground. It can be defined through simple adjectives like:

  • sticky
  • slippery
  • muddy
  • hot
  • cold
  • dusty
  • unstable
  • magnetic
  • burning
  • everything you can come up with

or by a more vivid image:

  • dancing on raw eggs
  • in a swamp
  • in the desert
  • on a frozen lake
  • stepping on chewing gum
  • and whatever more you can imagine

You will execute your moves in a different way if you immerse yourself into the idea. This concept is very close to storytelling, but it gives you just one idea to work with, instead of a whole plotline.

The only tricky point in this one is that it only works if you commit and believe in the image that you want to create. That is not a thing for everyone, but I strongly recommend you give it a try, as being able to believe in your concept/story/idea will help you to improve your performance-abilities a lot.

Categories
business

The 4 elements of running a dance business

4 colooured pillars and the headline "four elements of running a dance business

Most people who are into dance, flirt with the idea of becoming a professional dancer from time to time. While this is not the right thing for everybody, it is not too hard to pull off for someone who really wants it. With discipline, dedication and honesty about what oneself can do, it is doable, even without any talent. (Talking about myself here, not you :-p)

Being successful in your dance business is no matter of luck. There are four key components you have to take care to create a sustainable income. Only one of them is directly related to dancing. Invest time in all of them and you will see results in a matter of months.

  1. Honing your craft.
  2. Providing value.
  3. Finding your audience.
  4. Building your network.

If you have it all, you will be successful. Let me explain in a little bit more detail.

Honing your Craft

You need to be good at what you do. This is an essential rule in every business. You deliver bad quality, you are out – even when you have everything else down.

Put in the hours into your dance skills, your understanding of the music, your knowledge on how to create shows and how to present yourself. You want to create the illusion that everything you do is super easy and comes naturally to you. Every great dancer delivers this illusion and it is imperative that you can do it too.

This also goes for secondary dance workfields like organising events, judging, or anything where your knowledge and experience as a dancer is the key. But those are a topic for another post.

Providing Value

Giving the people something they crave is the key to success. If you think about it, it is obvious. Nonetheless, it often happens that people try to “sell” things that nobody really needs. Don’t fall into this trap.

The best methods of providing value to peoples lives (from a business point of view) are:

  • teach them
    If someone wants that move but does not get it for years and you help him finally get it, you can be sure you added some value to his life. This goes for everything you can teach dance wise: steps and moves, musical understanding, groves, concepts, choreography, …
  • enlighten them
    If you spark insights that give them an understanding of how they can improve by themselves. This is very similar to teaching but deserves its own place. You can introduce are a certain kind of thought process or sources of inspiration that may help their development. It is more like telling them where to look instead of what to do.
  • entertain them
    Entertainment is one of the biggest industries right now and dance can do it very well. People want to be distracted, they want to be amazed and see things they have never seen before. If you create that show that can take them out of their regular lives for even the shortest amount of time, you will earn your place in the hearts of the people and that is where you ultimately need to be.
  • touch them emotionally
    Connecting to people in a way that you can take them on a journey through more emotions than just enthusiasm is even better. You know the feeling when a movie or music takes you on an emotional rollercoaster, right? That is where your audience needs to be. To be honest: it is not easy and takes a lot of work and/or talent. There are very few dancers and choreographers out there that can do that. If you find out you can do it, look no further for what you should do.

Find your Audience

Jeff Goins writes in his bestseller Real Artists don’t Starve: “in order for art to have an impact, it must first have an audience”. This is another no-brainer if you hear it from somebody else. Building or finding your own audience is still one of the things that a lot of dancers neglect. Dance is art and art is a matter of taste (as soon as a certain level is reached of course). So the people that enjoy your dance might not be the same that enjoy the dance of some of your colleagues and vice versa.

You should take the time and research the people who love to watch your work. Create a place to present what you make and make it easy to find. Luckily today that is not as hard as it used to be. The internet is your best friend. These are some of the tools you can and should use:

  • Your Website
    There is really no excuse to wing this. On your website, you can introduce yourself, show your work, post events or shows you are attending and give people all the info about you. If you have things to sell, you can put it up there too.
  • Social Media
    Social networks help you connect with the people that like what you do. You go there and direct the traffic to your website, where they can learn everything about you. Don’t make the mistake to promote all the time. Spamming people will not bring you sympathy. On social media, the goal is to engage with your audience and build a relationship. When people are comfortable around you, they will care about your promotions as well.
  • Word of Mouth
    Still the strongest form of an ad! If you are recommended to someone by a friend of theirs, your chances are really good that they consider checking your stuff out.
  • Meeting in real life
    If you can meet people and make a real world impression, that is the way to go. The only disadvantage is that you can only be at one place at a time. This means it does not scale well.

Building your Network

This is the same work as building your audience but for a different group of people. Your professional network are the people that you collaborate with or that help you do what you do. It is imperative to have healthy relationships with them and to never let them down as long as they treat you right. Here are some examples of people you should have in your network (depending on your work fields not all may apply):

  • other dancers of course
  • choreographers
  • producers & directors
  • composers
  • musicians
  • booking agents
  • event promoters
  • festival directors
  • photographers
  • videographers
  • an accountant (if you are not into accounting yourself, this one is crucial)

You might not need all of them and depending on your personal niche there might be many more.

Here we have them: the four crucial elements to running your dance business. When you are planning to start your dance business, or you are already earning money with it, I encourage you to grab a notebook and think about all four elements in detail. List your strengths and weaknesses. What value can you offer to people? What do you know about your audience and in which ways do you connect with them? Make a list of your collaborators and see if you miss anyone. There is power in the clarity that you gain from seeing this base-line study in front of you.

From there, we can start to level up.

Categories
dance concepts

Four Corners

A sketch of a square with the titlle "four corners"

Four Corners is a concept that helps us to break free of a static front and helps us to explore different directions and rotations within a step or a freestyle round.

Here is how it works:

  • We envision ourselves standing inside a square or rectangle.
  • When dancing, we try to hit the corners of the square with every move.
  • The order of the corners does not matter.
  • In the strict version, we need to hit every corner before we can hit a corner a second time.
  • Sometimes it’s also ok to chill and hit corners multiple times, when you are not in the mood to keep track of which ones you already touched.

When you want to drill one specific move: take only this move inside the rectangle and find all directions and rotations possible.

Or be free in the selection of your moves and use it as the design criteria for your freestyle.

The concept is very similar to the Pendulum, that I covered earlier. Both give you a guideline for your dance by defining the directions. If we look at this idea close enough we see that the geometric shape does not make a difference. You can use a triangle, a star, an octagon or whatever with the instructions above. Play with it or make it a group activity and challenge each other.

Categories
dance concepts

The 8-ball concept

sketch of a figure 8 pattern on the floor

The 8-ball is a concept to create new patterns of steps based on figure eight. I heard about this idea the first time from b-boy Alieness who taught an 8-ball six step at Circle Prince Croatia. I can not remember the exact year, to be honest.

While there are multiple different 8-ball steps (like the aforementioned 8-ball six step), the concept follows only one simple rule:

You take a series of steps/moves and combine them in a way that they flow in both directions without interruption.

In the original idea, the creators tried to emulate the figure eight as a path on the floor. Today most people consider a step to be an 8-ball when you follow the rule above.

And because it is easier to understand when you see it, I embed a video from Poe One, from Style Elements crew, below. He demonstrates multiple steps that were created with the 8-ball idea in mind.

Poe One teaching 8-ball footwork

This concept is a perfect match if you are looking for a way to drill your footwork both ways.

Categories
business

Fact-checking for the Win

Google search mask with the text: "is it true?"
Fact-check 101 - step 1: google it

In my early days of blogging I was known for sarcastic rants about every topic I disliked. I stopped this because I did not do any good. Today I have a relapse because I need to get something out.

There is one thing that gets more and more uncommon in our society which leads to more and more stupid things being said and later to even more stupid actions happening. This rare thing is called fact-checking.

It means that you don’t run off to tell everybody everything you heard without checking if it is true. I am guilty of this as well sometimes, but at least I try. When the BC One Cypher UK went down, I heard that B-Boy Sunni lost in the first round and I told it to other people. Later I heard that he won the first round but pulled out of the competition due to being sick. So the guy who lost against him could continue and win the whole competition. This second version of the story is the truth. Approximately a dozen people heard that he lost in the first round and this info was out. But it was wrong. Luckily, in that case, no real damage was done. But I was responsible for that false information being around.

Dance teachers, battle dancers, promoters, everyone who might be a role model in our scene: there are people who look up to us and treat everything we say as the truth. It is our responsibility to check that the stuff we spread is true.

Everyone has a right to his own opinion, but nobody shoud abuse this to spread lies or fake news. So when we have something we want to rant about: breath in and check

  • if you have the news from somebody who was acutally involved
  • if there is maybe the same info from different independent sources (me and my cat saying the same thing are not different sources as my cat gets the info from me)
  • if you are not entrapped to believe something because it plays well into a story that you want to believe
  • if you want to get this out because it fits well into your agenda

More often than not a shitstorm on social media happens because someone says something wrong and then the mob jumps onto it without checking or reflecting. If it’s wrong on purpose – means a lie – or just because this someone doesn’t know, does not make a big difference in the end. Don’t tell/post stuff that’s not true. If you don’t know, don’t post it. Don’t jump on a hate-train and demand to stone someone without checking if the claim is valid.

Shit like this happens enough in politics and the economy. Hip-Hop can do better than that. We can do better.

Categories
dance concepts

Using Constraints to spark creativity in Dance

Stop sign from a crossroad in Salzburg City
Constraints in dance help to spark creativity

When we want something but have limited resources to make it happen, we usually find creative ways to get what we want. That is the essence of creating artificial constraints for our dance practise.

Artists and creative entrepreneurs use the technique of artificial constraints to spark creativity in their work with great success. To use this method in dance we give ourselves limited options of what we can do. Depending on the purpose of our practise we can either delete some things from our repertoire or only allow very limited options..

As an example: Most of us have so-called fallback moves. There are the moves that we know in and out. The moves we can execute perfectly, no matter the circumstances. If those are too predominant in our freestyle we give ourselves the constraint of not using them at all.

There are a series of constraints that are common:

  • You might not use specific parts of your body
  • You might only use specific parts of your body
  • no/only moves while standing up
  • no/only jumping moves
  • no/only moves while crouching
  • no/only moves on the floor
  • hands might not touch the floor or must always touch it
  • same with the feet
  • hands and feet must always touch the floor
  • certain ways in the space are a must or forbidden
  • the phrase must always turn to on side or it must not
  • one part of your body is glued to the floor or another bodypart
  • every movement must be initiated with the same part of your body

This list is of course not complete and it can never be, because you can come up with your own constraints and you should. It’s your dance, not somebody elses.

Let us know your favourite practise constraints in the comments.

Dig deeper into dance concepts with the following posts:
Basic questions to ask every Move | Conquer the Space | Pendulum

This concept and 35 others can be found in my first book Dance Smart, which is now available on Amazon.

Categories
dance concepts

The Pendulum Concept

A pendulum over a hand
photo by sassi via pixelio.de

photo from sassi / pixelio.de

Pendulum is a pretty easy concepts that is very similar to Equilibrium. A pendulum goes from one side to the other and back again. So this is what we use as the guideline to create our dance.

I use two versions of pendulum:

Basic Pendulum: You make a move or a way to the one side, come to a stop and go to the other side. That is all you need to start creating with basic pendulum. The reach, the way to go and the speed are all yours decide. And don’t forget to dance your ways from one side to the other.

Turning Pendulum: Here are no ways or moves to the sides but we use rotation instead. You are doing a rotation to one side, stop and continue to the other side. You decide how far and how fast you turn. I tend to do most of the rotations slow to give me the time to fill it up with a lot of moves, but that is only personal preference.

This is an easy one, enjoy it and get creative without thinking to much. The concept stuff is here to set us free in the dance, not cage us.

Categories
business

Let people do their Work

Bernd Christian Gassner / pixelio.de
Foto by Bernd Christian Gassner / pixelio.de

Photo from: Bernd Christian Gassner / pixelio.de

A lot of artists that are building their reputation are used to do a lot of stuff themselves, even stuff that is not really their core competency. We get so comfortable with doint it all, that there is a risk of thinking we can do everything that is related to our work better than others.

Most of the time this happens due to us not having the money to hire experts for some parts of the production. Later when we might have the money or we find people that can do the job, we think it is needless. We overlook that there is a big difference between a job done because we can do it and a job done by an expert who is really good at it.

I just saw this in the festival distribution of our movie Elsewhere. I have sent the movie to festivals myself and we got some screenings. Now a festival agency is taking care of that and within the first month of the cooperation we had new screening and won an award.

As a reminder to myself and everyone who finds himself in the situation from time to time: if you let people do the work they are good at, it pays off.

Categories
understanding music

Why we must be able to count our music

How to Count Image by FraGue
How to Count

One question that comes up frequently in beginner classes or even some intermediate classes is: “why do we have to count the music?”.

The answer is very simple. Counting is THE way to navigate inside music. All western music that is based on notes (and this is at least 99% of the music that we use to dance) is created on a numeric system. Musicians give numbers to bars and notes. These act like a gps or a map. So everybody can play the music together.

For us dancers, it is the easiest way to communicate the relation between our moves and the music. And while you can learn a part of a city or a piece of music by heart, as soon as you move to new territory counting will come in handy.

If you only dance solo for yourself, then you can skip counting because you can work with your intuition, but as soon as you want to dance together with others you need to count. When you want to learn or teach choreography you must be able to count. When you want to talk to musicians, you must be able to count to get somewhere fast. If you want to make dance your job, you must be able to count.

It’s not hard. We will cover the basics soon. Don’t wing it.