As a U.S.-based freelance dancer, I’ve typically puzzled concerning the alternatives and life-style of my European counterparts. Interviewing freelancers from France, Italy, Germany and Switzerland gave me a helpful glimpse into the European dance world, which in some ways capabilities fairly in another way than dance right here within the United States. Read on to seek out out extra!
Axelle Chagneau – France
In France, there’s a system referred to as intermittence du spectacle, which acts as a type of assured compensation for employees who don’t qualify for annual or everlasting contracts. Many of those employees are artists. To enter the system, you have to earn a sure variety of cachet yearly, that are every composed of 12 hours. Once you attain 43 cachet, or over 500 hours from the appropriate sorts of contracts (some contracts function extra underneath the desk and don’t earn you cachet), you obtain “employment” by the federal government and are safe for the 12 months. The minimal month-to-month wage in France is round €1,100, and underneath the intermittence du spectacle, the federal government provides artists €1,300 a month even when they don’t work throughout that month so long as they fulfill their yearly cachet requirement. The authorities primarily fills within the hole of no matter firms didn’t pay dancers to achieve their minimal wage for that month. While this standing is initially troublesome to entry, it will get simpler after the primary 12 months as a result of dancers are sometimes provided the identical contracts the next 12 months, and lots of firms in France, particularly smaller firms, are very loyal. (Bigger firms care much less about loyalty and are much less more likely to renew contracts.) Rehearsals solely depend towards cachet if they’re paid, so for some firms they depend, and for others they don’t. Outside the federal government, there may be additionally an affiliation that may assist out with issues like medical health insurance in addition to grants to attend workshops and pursue studying both in your subject or to work towards one other job.
Ballet dancers are sometimes capable of full all their hours in three months as a result of they’re working day-after-day and paid each time they work. With up to date dance, however, you may solely be paid for performances; if in case you have solely three reveals within the 12 months, you technically solely have three cachet. One flaw of the intermittence du spectacle system is that it makes it very troublesome for brand new firms and choreographers. If an organization needs to pay dancers in cachet, it prices extra for the corporate than paying in cash as a result of it requires a particular license, which is dear. If you’re a dancer in France, you should be in a giant metropolis for lessons, auditions, and so on. At the top of the day, all of the dancers are within the large locations –– primarily Paris, but in addition in different main cities like Bordeaux.
There are 15-20 large firms in France that get some huge cash from the federal government. Because of that, these firms are required to offer jobs to French individuals. Oftentimes, round 1,000 individuals apply for an audition, 300 get invited, and of these 300, just one will get a spot. These nicely funded firms are generally required to carry auditions even after they don’t want any new dancers so nobody will get employed from the audition. Tiny firms have auditions far more typically, and people are those you should hustle for. The smallest, latest firms typically make use of younger dancers who’re okay with not getting paid. More established small firms are getting their first grants for tiny productions with two to a few dates, and people jobs don’t actually allow you to get in sufficient hours. Then probably the most profitable small firms which have gotten a number of years of grants can truly afford a full manufacturing.
Axelle Chagneau is presently dwelling in Bordeaux, and touring lots to make her hours come collectively. While smaller cities pay much less, they often pay for facilities so bills are decrease. This 12 months, she is working with a number of firms on the identical time, and she or he attends 10-15 auditions a 12 months. She is in 1) Paris Opera Ballet, an organization she auditioned for and had no earlier relationship with; 2) a cabaret firm, one other job which she secured via an audition; 3) a hip hop firm whose choreographer she knew upfront and who noticed her carry out with one other firm; 4) Opera de Bordeaux; and 5) a up to date firm in Bordeaux whose choreographer can be her buddy. She takes ballet class day-after-day, and if she works lots can generally work to meet three contracts in someday. Even although it’s numerous work, she loves it and claims that that is the fantastic thing about freelance. Chagneau by no means will get bored as a result of she is uncovered to quite a lot of kinds and inventive concepts. Her contracts normally solely cowl a brief time frame, and the longer ones final round three months with some type of engagement day-after-day. She says that working with sure greater profile firms permits her to additionally do work that’s unpaid, and that dancers get into small and medium sized firms extra typically by networking than by auditions, whereas working for giant firms requires attending extra open calls.
Note: During the COVID lockdown, each dancer was paid for 2 years with out having to construct cachet as a result of they couldn’t work.
Lauriane Nabet – USA
I additionally spoke with Lauriane Nabet, a French dancer who has been based mostly in New York City for the previous couple of years. She notes a number of variations between French and American freelance tradition.
“The freelance world of New York has less of a sense of loyalty, and, as a result, you are always hustling, always working on your network,” she explains. “In France, you do that more at the beginning of your career, but then it gets easier. There are more tiny projects happening in New York, though, more opportunities to build your CV and a wider variety of things to do even if most of those things are unpaid. In France, even when you attend open calls, it often feels like things are decided in advance; companies already know exactly who they want to hire thanks to the strong network that some dancers and choreographers have. It’s hard to know how to break into that network, and people are a lot less chatty than they are in NYC, so nobody shares that kind of information. I also feel that the NYC community is less judgemental; in France, it’s more about fitting in the box, trying to match the choreographer’s vision exactly, even though in most cases (unlike in NYC), companies don’t specify exactly what they’re looking for when they hold an open call.”
Nabet continues, “France also strikes me as much more closed than other countries in Europe. There are a lot of rules and regulations, which can be difficult to manage. For example, dancers who have passed the EAT (examen d’aptitude technique, which is a practice exam taken while pursuing a diplôme d’État, a demanding degree that is not even recognized in other countries) are often seen as more valuable even though the test is not directly related to being a good performer. French employers often place a lot of emphasis on a dancer’s level of academic studies even though the work is usually not academic at all. I think this is because French society seeks comfort in rules and levels, tangible reference points that give them a sense of control. New York doesn’t seem to operate with the same level of rigidity. At least this is how I felt five years ago. Maybe things have changed since I left, but I do know that NYC’s dance environment is a better fit for me and helps me feel more free.”
Nabet is presently dancing with 1) Reaction Dance Company, a hip hop and Bollywood firm she joined by way of an open name audition; 2) Lyoness Dance Company, a cabaret/burlesque firm whose open name somebody referred her to; 3) Borne Dance Company, a up to date firm she joined by way of an open name; 4) Reza Farkhondeh, a painter who works with dancers doing improvisatory up to date dance (somebody referred her to take a last-minute spot three days earlier than the present); and several other occasion firms for gigs like weddings and events.
Giorgia Lolli – Italy
Giorgia Lolli is working as each a dancer and choreographer in Italy and overseas. As a choreographer in Italy, you’ll be able to apply to the federal government’s Ministry of Culture for funding after being established in a collective or firm for 3 years. (Individuals can’t apply for funding from public funding our bodies straight until they’ve an organization. Another choice is to get funded residencies via festivals and manufacturing homes.) You need to show that you simply’ve made a sure variety of productions, employed a sure variety of individuals and had a sure variety of performances, and so they calculate how a lot cash you get based mostly on how a lot work you do. Funding is just not merit-based however as a substitute determined by how a lot you produce, which forces individuals to continuously be making new works. There can be a push to make use of younger individuals underneath 35.
One perk of the European dance world is that touring between nations is simple (though it has been difficult by COVID). This is very the case for nations in central Europe like Germany and Italy, and fewer true for northern European nations like Finland. The finest cities to be located in are Amsterdam, Berlin, and London (though it’s a bit harder with Brexit since you now want a Visa), nevertheless it’s additionally potential to stay exterior large cities due to how straightforward it’s to journey. Furthermore, most of the finest dance colleges are European so there are ample alternatives to check underneath nice academics and choreographers. Bachelor’s levels and postgraduate efficiency firms supply many beneficial skilled connections.
“Freelance dancers are pretty much at the bottom of the pyramid,” Lolli says. “As a dancer, I used to attend a lot of auditions listed on big websites like Dancing Opportunities and au-di-tions.com. This tactic didn’t work because I didn’t know the work of the people I wanted to work with. I’ve since changed directions because I don’t think attending these auditions are sustainable for the environment or for my mental, physical and emotional health. Now, I work on getting jobs through connections, sending direct emails and so on. The scene in Italy is very conceptual, and the artist is seen as an intellectual, but I prefer more body work and physicality on stage. It used to be that you had to go to certain places in Europe for specific types of work, but now things are more fluid and spread out everywhere. Countries like Germany, Switzerland, and Finland have more money, while Italy, Spain, and Portugal are more like the underdogs of dance.”
Lolli continues, “In Italy, you get more ‘points’ in the Ministry ranking if you perform in places where there are less cultural opportunities (like Sicily, for example). Each region has its own regional network, and by getting in touch with these networks, you can gain performance opportunities. I got into the national network this year, which offers a salary of €50 a day after taxes for rehearsal and performance days. Artists are guaranteed minimum wage while working and can also apply for private foundations and other funding. Websites like On the Move offer fellowships for makers and mobility grants, and there are also competitions that help artists gain more visibility and are slightly more commercial. These are helpful if you want to be a repertoire choreographer.”
Mareike Jung – Germany
How do you discover the dance and humanities scene in Berlin? Is it extremely aggressive, or is there sufficient work to go round?
“I’ve been living in Berlin for 11 years, and doing my physical theater education here helped a lot. It gave me a starting point to get into the dance scene, and having a background somewhat outside of dance has worked in my favor as a unique selling point. Berlin’s independent scene is incredibly diverse, and I appreciate the unspoken expectation for artistic works to deal with socio-critical topics. The dance scene is super competitive, and meeting dance colleagues who brought me into it was instrumental. In Berlin, you not only need to be a hard worker, but you need to be willing to get to know people so you can start getting direct recommendations. To achieve success in the field, you need to work with known artists or big theaters or just get very lucky. If you apply for funding, you might apply 30 times before your application is successful. Once you get your first funding opportunity, however, you can start to bring in larger grants, and it’s much easier to earn money once you are established. So many dancers move to Berlin and are lost for years because there are lots of great dancers here. Salaries are low for dancers because if someone says no to low pay, there will be 50 others who will do the job for free.”
Do you attend auditions?
“I don’t go to auditions. I don’t feel comfortable with the elbow-each-other attitude and the need to prove myself in one hour. I’ve gone to some auditions for fun and to learn how they are functioning, but I really don’t like them. For my job with the Philharmonie, someone recommended me and then I was invited to a personalized audition, after which I got the job. Because of that job, I got a recommendation to coach the main actress of a movie (by an award-winning director) in dance. I know people who go for so many more auditions than me and get so much less. In my career, I’ve been fortunate to have taken some important steps on bigger stages, which makes my portfolio look professional and helps my chances at securing more jobs.”
How does the inventive course of usually perform for you?
“I’ve had very good experiences with project-based work that occurs within a limited time frame. For my recent solo work, I had a block of two weeks and a block of three weeks for rehearsals. Of course, I was thinking in between, but what works well for me and what I see here in the scene is intensive time periods of working every day that enable you to delve further into the research. The frustration is less because you’re really in it and involved. It is also easier on your schedule because you can plan around the whole thing in advance rather than having to take time here and there to create your work.”
Can you speak a little bit bit concerning the overlaps between dance and bodily theater?
“My ‘physical illusion’ company, inback, is steady income for me and pays throughout the year, but it also entails a lot of unpaid work. When you really break it down, it’s very little pay per hour. Right now, it makes up a third of my yearly income; I could push it more by touring more often, but that is not what I want. I’ve learned a lot from running my company about things like client communications, technical riders, production and what’s necessary to look professional, and what I’ve learned through inback translates into the dance scene. As a freelancer, I fill many different roles; sometimes I perform and choreograph, sometimes I am a choreographic assistant, and sometimes I direct and work with a dramaturg. I’ve done some commercial work in the past, but I’m now working mainly in the freelance scene.”
Is it straightforward to journey and work throughout Europe? What about exterior the EU?
“I’ve toured extensively with inback; we almost never perform in Berlin because the market is oversaturated and so many people are willing to perform for free. I produce my work in Berlin and then take it on tour, and it’s possible to find festivals in places like the Netherlands and China. Traveling around Europe by car or train is easy and taxes and Visas are also made simple by being a member of the EU. It’s harder to travel with a full length show that incorporates a lot of props and set pieces because then you need a theater and a technician. Usually, we tour pieces that are around 20 minutes long, and we perform them around three times per festival.”
Is there any authorities help for freelance artists in Germany?
“Künstlersozialkasse or KSK is a social insurance coverage fund for artists. You begin by calculating what you’ll earn for the 12 months within the arts. If you say, for instance, ‘I will earn $15,000 this year,’ then KSK will calculate how a lot you should pay in each month. It may be one thing like €100. Then they pay your medical health insurance, which might normally price far more than that. When you retire additionally they offer you cash for retirement and different advantages as if you had a ‘normal job.’ The extra you produce your personal artwork, the extra funding you might be eligible for. If you get one funding alternative, then you definitely usually tend to get the following. Doing your personal work additionally makes it extra doubtless that you simply’ll get to work with different individuals.
Here is a breakdown of presidency funding that I discovered on-line: ‘The Senate’s cultural administration helps Berlin’s cultural panorama with round 600 million euros (as of 2020) per 12 months. About 95 % of the finances goes to over 70 completely institutionally funded cultural establishments. Around 5 % is spent on particular person and venture funding.’ While cultural funding could possibly be distributed extra pretty and there are different points with the humanities scene in Berlin, I feel that, total, German artists are fortunate as a result of there are numerous alternatives when put next with different nations.”
Léna Bagutti – Switzerland
What is it prefer to be a freelancer in Switzerland? Is there any authorities help?
“Unfortunately, in Switzerland, we nonetheless don’t have the ‘artist status’ like in Belgium or France. Half of the individuals I do know who work within the arts are freelancers whereas the opposite half are unemployed, which signifies that after they don’t have work, they obtain assist from the federal government. This provides a way of safety for positive, which freelancers don’t have, however our standing as artists is just not formally acknowledged, so we’ve got to be registered for ‘normal’ unemployment, which isn’t actually tailored to an artist’s life-style.
There are many simply accessible associations for up to date dance in Switzerland that present numerous info to artists and may direct you if in case you have questions on contracts, freelancing or constructing your personal firm, which may be very useful. Because Switzerland is just not full of individuals in the identical approach that many different nations are, there may be loads of room to make your personal tasks and if you understand the place to seek out cash, there may be cash accessible. It doesn’t rain from the sky, however in case you learn to current your work and who to ask for assist, then you will discover cash. It is a full-time job, although, and takes up time that would in any other case be spent within the studio.”
How do you get most of your jobs? Do you attend auditions or is it extra about networking?
“I feel I can say that, on the whole, it’s extra about networking. Of course, it takes numerous effort to construct your community, and going to auditions is one a part of that course of. I’ve utilized for auditions and gotten a few of my jobs that approach, however as soon as your community is constructed and also you’ve already been employed for some jobs, they have an inclination to current themselves to you far more simply. People name you again or they advocate you to somebody. I’ve the impression that the large combat to enter into the skilled dance world is in the beginning of your profession.
I nonetheless attend auditions, even whether it is generally a irritating expertise. But I feel it’s necessary to see the audition not solely as a course of the place choreographers choose dancers, but in addition as a strategy to get to know one other strategy to motion and to judge whether or not you wish to work with that choreographer or not. It can be a approach of studying extra about what you might be looking for as a dancer, and a great way to fulfill individuals. I typically run into colleagues I met throughout my years of schooling, and I take pleasure in these encounters. While I can’t say that I take pleasure in auditions themselves, they assist me to take care of a sure dynamic with myself and throw me out of my consolation zone. They additionally encourage me to find out about new firms.”
What are most of your contracts like? Do tasks usually final a brief or very long time?
“It will depend on the character of the job. Generally, if it’s a creation course of adopted by a premiere in a theater, it lasts 5 to 6 weeks. Then there are perhaps three dates of performances, and if different theaters purchase the present, it may be adopted by a tour. I’ve seen that the reveals which are capable of tour after the premiere are those that may be carried out in other places and settings and for various audiences. For instance, on the street, perhaps in a shorter format, or reveals that have been imagined to be carried out in varied places like museums or night time golf equipment. There are so many prospects.
I feel six weeks of creation is definitely a really quick time to enter a deep course of of labor, particularly if the group of performers/dancers are assembly for the primary time. When time is proscribed, the tendency is to take a secure path that may result in a safe closing product, and I personally suppose that this isn’t a lot of a creation course of. I do suppose deadlines are necessary and helpful, nevertheless it’s a pity in the event that they don’t will let you actually dive into the surprises that creativity can convey. The downside is that firms don’t obtain sufficient subsidies to pay everyone for an extended time frame.
This is how the standard contract works, however I’ve had different jobs that have been even shorter. Five days. Eight days. For one venture, we met one weekend per thirty days over the course of a 12 months. The fact is that there are not any guidelines for the right creation course of, and generally not having sufficient time can result in wonderful encounters. I had a job for 5 days in Zürich with a Brussels-based Italian choreographer, and the expertise was wonderful as a result of the group understood one another in a short time.”
By Charly Santagado of Dance Informa.
