© Philip Buiser
Hometown: Littleton, Colorado
Current city: New York, New York
Age: 41
College and degree: Teikyo Westmar University (BFA)
Graduate school and degree: University of Utah (MFA)
How you pay the bills: Dance creation, performing, and teaching
All of the dance hats you wear: Dancer, choreographer, teacher, collaborator, and mentor
20s: I was introduced to contemporary dance when I first started college. I was 18 at the time, coming fresh out of high school having done a lot of musical theater. Shortly after I had started training in modern dance, I found my love for it and decided to pursue it as a career.
My early 20s consisted of a lot of daily technique classes in ballet, modern, and jazz. I initially attended a small, private liberal arts college, "Tarkio College" in Tarkio, Missouri, which was an extremely small town, so there really wasn't much else to do there BUT dance. After two years, the school was forced to shut down its doors as a result of being in debt to the government, so another school, Teikyo Westmar University of Le Mars, Iowa, adopted both the Theater Arts & Dance programs. So, I attended Teikyo Westmar University for one year, but based on information given to me from my academic advisor, mentor and friend, the ballet training that I was receiving from the university was suffering, so he encouraged me to find another school. I discovered Stephens College (which was an all women's college), of Columbia, Missouri, in the spring of 1993, and quickly received an offer to attend in the fall. There was a small percentage of men who were given permission to attend the school, being that both the Theater & Dance programs needed to have males in their programs to help balance the yearly programming for each department. However, as great of a year as that was in receiving terrific ballet training, the contemporary dance training was not what I had hoped it would be. I longed to return to my training at Teikyo Westmar, as I knew that that is where my heart belonged. So, the following fall I returned to Iowa to finish my Bachelor of Fine Arts degree. It was in attending these small, private liberal arts colleges that enabled me to maintain a solid focus on my training without having many distractions. By the time I graduated with my BFA in 1994, I was approached by a representative of the University of Utah, who expressed an interest in me, and asked if I would consider attending their university dance program so that I could perform with their resident student dance company, Performing Dance Company, as well as pursue my Masters of Fine Arts degree. Initially, I was thrilled at the idea of performing, but wasn't particularly in the mind set to continue my university education. After giving it more thought, I decided that it would be the right fit. By choosing to go to the U of U, it enabled me to continue taking consistent daily classes in both contemporary dance and ballet. My mindset was that I was building incredible momentum from the previous 5 years of undergraduate training that I had been receiving, so the decision for me was a no-brainer. My late 20s involved me finishing my graduate work and then I moved into a year of freelance work, creating my own dances as well as performing with other artists/companies such as: RDT (Repertory Dance Theater), Keith Johnson, Sundance Theater of Utah, Music Theater of Wichita, and Shapiro & Smith Dance.
30s: My 30s brought me more work of the same, although I had been implementing a lot more teaching into my schedule. In 2001, I had accepted a position in Doug Varone and Dancers which catapulted me to New York City. I moved to the city on September 10th, 2001, one day prior to one of the most memorable experiences that most of us will probably ever have. It was an emotional welcome to one of the most glorious places on Earth. Part of me felt like fleeing, but truly, dance is what encouraged me to stay. I want to credit Doug Varone, as he wrote and sent a personal letter to all of his company members shortly after that horrific day, and eloquently communicated his thoughts as to what makes our lives as artists important, even though in an instant (such as 9-11) it may appear to be so insignificant. It was an incredible examination as to why our art-making and being together was important during such an emotional time. (Thank you Doug, I felt like I really learned something that day). Since then, the rest of my 30s had been much of the same --- living in NYC and I haven't looked back, enjoying being a performer, choreographer and teacher.
40s: Turning 40 (and now being 41) has been an interesting process for me as a dancer. I remember back to when the great Martha Graham once said, "It takes 10 years to become a dancer"... she was right. Experience brings so much. I am thoroughly enjoying understanding my body. Many of the questions that I might have had earlier in my life, in terms of what specific issues my body may have been experiencing and/or lacking, aren't as present in my mind. I feel more at ease with myself. At this stage of my career, as a dancer, I don't hesitate to let my intuition take over and tell me what it is that I need. If anything, I think I am now more in tune to ask questions of others, to not be afraid to dig a little deeper. Looking ahead, I will aim to never stop dancing.
© Jamscid Eb
What’s on your plate – dancewise – for 2013?
Many things! I have a work that will be premiering at the American University in Washington, DC, as they commissioned me this year to create a work which will be presented this April. I have a lot of rehearsals planned in NYC for upcoming spring events. I will be participating in the summer dance intensive at Tisch School of the Arts (NYC), Jacob's Pillow Dance Festival, as well as performing in one of NYC's most beloved arts venues, the Brooklyn Academy of Music. I've also recently picked up a new winter/spring choreography project with The Dalton School, also here in NYC, where I will be choreographing an ensemble work for fifteen 7th/8th grade level boys. Aside from those things, I have some other things in the oven, and I do hope they turn out! Mainly teaching and choreographic opportunities. I'm enjoying being more and more on the outside of things these days, but I never want to stop performing.
Photo: Doug Varone and Dancers;© Phil Knott
You have danced for many wonderful artists – Varone, the Limón Company, Andrea Miller….how many gigs have you landed through a traditional audition? If not an audition, was it a workshop, being seen in class, etc.?
One of the wonderful aspects of dance is that it is a truly closely knit community of people. The art form, unto itself, is intimate and I feel that the directors who lead these companies/ensembles are no different. I have had a good share of both attending formal auditions (where I'm given a number and asked to stand in line) as well as receiving a personal invitation to join a group. The instances that involved an invitation were a direct result of either having been seen in either a class and/or outside performance at one of the many venues of which I have performed in. Interestingly enough, I also found that some opportunities came my way from making an effort to introduce myself to people... we've all heard of this word --- "networking." It doesn't have to be a chore if you genuinely think about what contributions you feel that you can bring into an artist's life. It's what we do --- we create, and to do that your mind has to be active.
Who are your “role models” or inspiration within modern dance?
There are too many to name on a short paragraph, but I am most drawn to artists (choreographers, teachers, and dancers) who strive to find newness in what has already been created, to find solutions through problem-solving and collaboration, and especially to those that don't let ego take precedence over integrity and thoughtfulness for others.
What do you love most about performing?
I love being able to express myself fully and making a connection with people through that process.
What do you love most about the rehearsal process?
I love seeing the languages of dance get pieced together through the many trials and tribulations of dance making.
On training and care of the body…..
I love the adrenaline rush of feeling alive after having exerted a lot of energy or to have executed the perfect relevé... it is a true natural high. Now, on the other end of the spectrum, I love the simplicity of letting the mind go, breathing properly into the body as rest is a very important balance to all of the vigorous training that the body can take on. More and more these days, I am a firm believer in cross training. For me, these days, aside from my own teaching, I love running, light weights at the gym, and taking yoga.
Non-dance activities important to you include…..
Reading current events, cooking, attending social events, watching film, and mentoring others.
The role of teaching in your dance career:
I feel that teaching is one of the noblest things that an artist can do... at least that's my opinion. I feel extremely blessed for the many teaching opportunities that I have had in my career, many of which have included a wide range of age groups (young children to the elderly) and venues (workshops, outreach programs, fundraising events, after school programs, volunteer work, and residencies. I think that the teaching process has shown me that I have yet so much more to explore. It's not that I don't have anything to say, but I am aware that as I continue to evolve as an artist, my philosophy will continue to take form. I believe that in order to be a true artist, one must never stop pursuing his/her own education of the self.
Advice to young dancers on teaching, the role of teaching in their dance lives ahead, and becoming a well-prepared teacher:
If it's possible, study directly with those who are passionate about teaching, particularly if they have a style/philosophy that you are drawn to. Go to your local library or visit an online book retailer and pick up some well-documented approaches on dance teaching and/or memoirs of those who have been highly established. There is no single way to teach in this art form and it will continue to evolve... what things are important to you in technique, in performance, in just being? Planning is an essential tool for any teacher; however, the more you do it, the more confident you become, to the point where mapping out ideas for class becomes second nature. Do not be afraid to be yourself!
Can you give a little window into how you prep for your classes?
As a whole, I generally love to give every student of mine a physical dance experience. I carefully tailor each class to the level of which I feel it might be appropriate to teach. For example, if the students were beginners, I would not use advanced movement material. Sometimes, though, I find that students are able to take on more complex concepts/material, so in those instances, I won't hesitate to alter the lesson plan and develop. Making a dramatic change in a class can be a good thing as it presents problems for people to solve. You just want to make sure that you're not drowning the fish, per say. Other factors like having a musician versus using my iPhone often times dictate, too, how I build a class and it will change the amount of time that is needed to prep. Lastly, simplification I have found is key. As a teacher, if you can focus on one objective for the class, to serve as the basis and/or foundation of what it is that you what to build on for that day, it will serve you well.
An idea from your college or grad school years that you still think about/apply:
Oh yes! An important one... be aware of HOW it is that you communicate to your students while teaching a class. Choosing the right words (mostly politically correct words) is a must! The last thing you want to do, as a teacher, is offend someone unintentionally. Now, for all practical matters, we as teachers, are only human, and you might make an occasional mistake along the way... it's okay, but the true measure of oneself is learning and knowing how to deal with those future situations. Arm yourself (figure of speech)! I would encourage any aspiring teacher to have a conversation of this topic with their colleagues and mentors.
Future career goals:
I hope to still be performing and choreographing at a very late age. I see myself continuing to be involved in education, whether that is committed to being involved privately or in an academic setting, or both, I have yet to discover which I prefer.
Books, websites, blogs, shows that serve as inspiration:
http://www.nowness.com/?icid=overlay_home
This site is an award-winning editorial platform that serves as a daily resource for the culturally curious by premiering inspiring stories from the forefront of contemporary culture and global lifestyle every day.
A current choreographer who I am curiously following now
Book title: How To Dance Forever: Surviving Against The Odds by Daniel Nagrin
Current NYC show: “SLEEPNOMORE”
A perfect example of how one can start with a simple idea and literally, run with it.
Advice to dancers wanting to live and work in NYC:
Acknowledge the fact that as special/rewarding as New York City is, it can be a hard place too. I say that to not prohibit your curiosity nor to dissuade you from exploring the city and its possibilities, but do not allow yourself to be jaded into thinking that you can have success there without having a hard-working ethic and an open possibility in your thinking that there will be the chance that things may not work out how you hoped. It’s a metaphor for life I guess. I've given that advice a lot of thought... In my experience, I have come across educators who praise NYC as being "the place to be for dancers" without necessarily thinking about WHO it is that they are really speaking to. I would encourage any dancer who is considering making a move to the city, to allow himself/herself at least a year to feel the city out. Also, be open to finding a regular non-dancing job so that you can have a reliable nest egg from which to pay your bills.
Advice to young dancers in general:
Allow the love that you have for this art form to empower you to be present in your studies, to ask questions on anything that you are unsure of, and to always take risks. It is okay to fail as you continue to find your path to artistic development. Seek advice from those who inspire you and never allow intimidation to stand in your way of achieving your goals. All artists, regardless of title and/or position, are only human. Please remember those things.
There are three aspects of this blog that I connected with specifically. I found the entire blog itself eye-opening and valuable to read. However, there were a few points Beasant III made that touched me on a more personal level. I discovered that I connected to his experience moving to NYC the day before 9/11 and how he dealt with that experience. I have been through quite a few emotionally trying experiences recently, unsure of how to handle those emotions. After reading this post I realize that I need to utilize this artform that I am so passionate about to find a release, or a safe-haven. Dance is where I need to use these emotions to show who I am, how these experiences have changed me, and open up to that vulnerability. I also found his comments on experience insightful. Dancing, gaining experience, it all gives one so much knowledge about the body. I have to not be afraid to dig into that concept on a deeper level and take advantage of that while I can. Stability and ease with my body will come with time, but only it I use that time to its fullest extent. This learning environment that I am fortunate to be in is the best place to do that, and I need to take advantage of that. His comments on networking were also insightful. It's not just about who you talk to, or audition for, but seriously considering what you have to offer as a dancer and an artist. I want to be able to look inside myself and discern what my strengths and weaknesses are. Being able to approach a choreographer, or company director, and sell my positive attributes is a skill I need to prepare for. This blog was great to read in preparation for graduation and the start of auditioning for jobs. I am particularly curious to find out how much free time John Beasant III has for technique. Appearing so busy with teaching, dance making, and projects, do you have any free time for classes? I would also like to know how expensive they are in NYC, and if classes are hard to find. Thanks.
Posted by: Caitlin Rose | 04/03/2013 at 08:54 AM
This blog was very inspiring and helpful for I think many emerging dancers, through John Beasant III’s ideas, personal stories, and advice for young dancers. The fact he went in-between schools to receive his BFA was enlightening. It gave the sense that although he switches from different schools you ultimately end up where you should be. I am curious if he ever regrets leaving Teikyo Westmar to attend Stephens College. As I was reading this I came across that John danced with Repertory Dance Theater, I used to dance with a company under a similar name, which inspired me to dive deeper into his resume. Upon some research I found he did do guest work at colleges near by my home in Pennsylvania. It was interesting to see how small the dance world really is, especially when it relates closely back to you. John did also mention this idea of such a tight knit dance community. I thought it was interesting that he did not always receive work from auditions but sometimes through classes or just introducing yourself to someone could open up a door for you. Teachers always speak of these opportunities but it was refreshing to hear a real life example. His helpful advice on everything from how to prepare a class to advice for young dancers answered many questions I and I think people around my age also have. I am curious as to if he would advise dancers to start out in such a large city like NYC. I know many dancers aspire to eventually end up there but is it best to build a strong resume or just dive into what you are passionate about?
Posted by: Rein Short | 04/03/2013 at 06:16 PM
Wow your college experience was a unique path. I don’t how you braved all that just so you could dance? That shows a lot of guts, passion, and commitment. I applaud you on that. It’s nice to know that everyone has their own paths and it doesn’t have to be exactly what you planned as long as it gets you to where you want to be. Even if that means attending an all-girls school, but then again I’m I bet you loved that aspect. It sucks that the department at Stephens College couldn’t equip a better contemporary modern program to prepare you for once you’re out of college. Why did you go in the modern dance world? Do you not like ballet? Is it not your forte? I go to Towson University and I feel that I made the right choice in going there because our faculty has so much to offer us. I feel really lucky to find the best fit for me the first time around! I’m crossing my fingers that nothing bad happens that would cause this part of my life to end anytime soon. Guidance counselors do say that you must go about seeking out the right school for you and you definitely ended up examining other options. I feel like no matter what as a dancer at some point you’ll end up in New York City. Likewise, I remember September 11th, 2001 and that’s extreme that you actually moved to the city the day before to start a new beginning and the next day something so horrific happens. I feel that what happen will always make us think for years to come. Are you married? Have you settled down yet? I know you are happy with your life, but if you had the chance to change it would you? I agree that experience comes with time especially as a dancer. Our technique unfortunately doesn’t just blossom over night, but comes by learning and finding that overall orientation of our bodies. I really did appreciate you talking about how young dancers must take risks and allow for failure because sometimes the pressure to be perfect is really overwhelming. And I have to remind myself to not take everything so literally. In addition to not forgetting why I dance in the first place. I feel that the ones, who are closer to the beginning of their path and closer to giving up, have to keep that reminder of love for dance. They must find that maturity in order for them to beat their obstacles.
Posted by: Meli'sa Grier | 04/03/2013 at 08:28 PM
John Beasant III used his college years to explore what type of dance training he wanted to receive at the college level. It was interesting to read that he left Teikyo because of the poor ballet training but he eventually decided to return to Teiyko Westmar because of it’s contemporary dance training. While one of the colleges he attended had an exceptional ballet program, his heart did not belong there and he left. It just goes to show that you are never stuck in one place and it reminds me as a dancer to be active. If I am unhappy or dissatisfied with my training, I should look search for a program or class that will meet my needs for whatever training I so desire. It was really neat to read how John was approached after graduating with BFA in dance about attending another college’s MFA program and performing in their dance company. By accepting this offer, he was able to continue his dancing training while having the opportunity to perform and do freelance dance work. I wonder if John, looking back at his decision, would still stick by it, or if he would suggest dancers to audition and join a company right after earning a BFA degree. I was shocked to read that he moved to NYC to be in Doug Varone and Dancers the day after 9-11. It was touching to read how the company director wrote him and all the company members a personal letter letting them know how crucial art-making was especially during such an intense and emotional time. I enjoyed reading that he is still active in dance today and it is reassuring to me that my career in dance can be a long one if I so choose. I think back to what I knew about my body and dancing last year and what I know now and it is crazy what I have discovered in just one year. I am looking forward to reflecting in another ten years and seeing how my experiences shape the type of dancer I will be then. John states that after dancing for so long, he feels more at ease and allows his intuition to take over. Sometimes it can be extremely difficult to not second guess or doubt yourself but time can change how you approach dancing. I was surprised to read that a good amount of his performance opportunities did not come from the traditional audition, but from invitations after people seeing John perform and by him networking. This definitely reinforces how important it is to connect with other artists and be an active member in the dance society.
Posted by: Abigail Farina | 04/04/2013 at 01:41 PM
Through reading this post I am amazed at how much John Beasant III was already able to accomplish in his life. I think that most of us find our college technique classes to be more of a safe haven and an opportunity to really find ourselves. This is a very important aspect I believe during college, but after reading about how he was so proactive about his education and changed schools three times to really get the education he wanted it got me thinking that may be we should not feel so comfortable. When you first begin as a dancer it is most likely that you will be doing freelance work and not land your dream job in a company as your first job. Because of this it may be better if we did not feel so comfortable so that when we transition into the real world we will not be shocked. I find this especially true in when he says that while living and trying to dance in NYC it is not easy on your body or on your mind. Even now as a dancer since I live so close to the city I take a lot of different classes from different teachers and I see how hard and cruel this art form can really be. New York City is an amazing place to learn and grow, but it is also very challenging because their are so many amazing dancers that sometimes you can get lost in the shuffle of it all. I am so inspired by the choreographers and the amount of companies that John Beasant III has had the opportunity to perform with. Performing is such an important part of a dancers life because it gives us the opportunity to fully expose ourselves to our audiences. This is one of the things I miss the most since coming to college because I feel that we learn more about ourselves every time we perform. When it comes to teaching I believe it gives a dancer a new look on themselves. I am in a BFA program with a K-12 certification and I believe that through the action of teaching other movers you learn and grow more as a dancer yourself. This is because when you truly have to break down and explain your movement to other people it allows you to look deeper into your own movement preferences and weakness’s. When I graduate from my undergraduate I was planning on auditioning and taking classes anywhere and everywhere I could in order to join a company. But I wonder if John would recommend that I first get my masters and then begin my auditioning process. In the years to come I hope that I will be able to be as successful as John for the rest of my life. Dancing is a passion that I hope to be able to share with as many people as possible and for as long as possible.
Posted by: Alison Ribellino | 04/04/2013 at 02:19 PM
I enjoy reading about artists who found a love for dance or even a specific style of dance at a later age. As a person who has been dancing from childhood, it is interesting to see how other people have entered the dance world, a place I always found myself in. I enjoyed the fact that this artist had decided to go to graduate school right after undergraduate, especially because I find myself torn on the idea of going right back into school or taking a break in between. The work that he did after school sounds rather diverse and interesting because he was not tied down to one specific company. On the other hand it sounds as though it may be a little more stressful since you must then always be searching for some sort of income to keep you moving along. I enjoyed the comment made about September 11th, 2001 and that dance was really important to him in this emotional time that almost had him “running for the hills”. This comment hit close to home not specifically at this point in time since as a third grader I had little understanding of the situation, but when other tragedy had struck my life I found that dance was something I could really rely on. I also find that as I spend more and more time in the dance field that I have to dig a little deeper to keep myself engaged and interested in what I am doing. This digging I feel has also propelled my movement into something that I would have never suspected in the beginning. The artist makes quite a few comments about never wanting to stop dancing or performing and I think that is brilliant, I feel as though some artist believe that as they get older teaching is their only option. The want/need to perform is what keeps me going and I never want to lose that. He also mentioned the idea of having a tight knit dance community and really “networking”. I was intrigued that auditions are not always the only way to find work, but there are many ways to open doors to opportunities as well. I enjoyed the artist’s comment about teaching and how “noble” it is, I find this a very excellent way to describe this job. Since, the only way to get more dancers is by teachers their job is brave and to be able to pass the joy they have for dance onto students is an impeccable ability. It is also visible to me just by the way he writes about teaching or preparing to teach that he is truly passionate about passing on information to others. The fact that he fits his movement to whoever is taking his class, but at the same time still challenging them with a very physical dance experience is (to me) the perfect approach to teaching class. The advice that the artist gives is very insightful and will definitely be information I am sure to hold close to me as I further myself into my dance career. The only question I have for this artist would be: “Do you prefer the freelance work or working with a specific person/company better?”
Posted by: Alyssa Kunkle | 04/04/2013 at 02:26 PM
I found John Beasant III’s blog to be practical, down-to-earth, and honest about many issues regarding the life of a teacher and dancer. It seemed that he felt truly blessed and thankful for the opportunities that he has had in the dance world and that was really inspiring- to know just how much joy one can get from this profession. A few remarks in this blog really stuck with me. The first was when Beasant was explaining how his company director, Doug Varone sent each of his company members a personal letter after the tragedy of 9/11 in which the significance of art was verified. Even during a time of sorrow and emotional turmoil, when working in the field of performance and entertainment may seem so trivial, we have to remember that art is really something that brings people together, and that that connectivity can inject happiness and meaning back into people’s lives. It reminded me that openly sharing our emotional experiences through our movement can be almost therapeutic for our viewers, and that being a dancer means allowing others to see inside to your most vulnerable side- somehow that can be very empowering. Something else that really struck me was Beasant’s recollection of dancing in his 40’s. He said “Many of the questions that I might have had earlier in my life, in terms of what specific issues my body may have been experiencing and/or lacking, aren't as present in my mind. I feel more at ease with myself.” This was something that I think pertains to many of us as young dancers. For me at least in class, I have focused so much on what I need to improve on and the limitations that my body has that it is hard to allow myself to be instinctive- and it is not all self- initialized. We’ve wrote about our specific limitations in assignments and exam responses, talked about them in class and conferences, and analyzed both our issues and abilities so much so that it is difficult not to overthink the qualitative aspects of dance that we study in class as well; The amazing master class that we had with Jermaine Spivey opened my eyes to this. His improvisation and movement qualities were so natural and unprovoked that it was almost mesmerizing. He was telling us that sometimes, you have to let go and allow your body to actually do what it wants instead of trying to be so intelligent and precise about everything. I believe that being an intelligent dancer who keeps corrections and improvements constantly swimming through their thoughts will gain great strides in the correct-ness of their technique, but the dancer who lets go and allows their body to go where it wants instinctively and has an ease-of-mind about being who they are will become an original and inspiring talent. As collegiate dancers who are striving for both of these aspects, I believe we need to keep Beasant and Spivey’s suggestions in mind in addition to the technical interpretations that I know we all work so hard on. It took Beasant into his 40’s to discover this, but hopefully we all can learn to equalize both of these ideas before then. My question for Beasant would be, what changed? How exactly did you acquire the confidence to finally be happy with you own individual abilities? Lastly, when Beasant was talking about the ever-present concept of networking within this community, he made a point that was both selfless and confidence-inducing all at once: he said that networking “doesn't have to be a chore if you genuinely think about what contributions you feel that you can bring into an artist's life”. This was a very different point of view for me. At first, I was thinking that trying to make connections with artists that you like was for YOUR OWN benefit- that possibly, through gaining relationships, you may be able to study under or work with someone who inspires you. But in Beasant’s statement, he recognizes that networking with artists can be for THEIR benefit as well- that finding you could be the missing puzzle piece to their vision. Leading into Beasant’s closing remarks, the artists that we fawn over and find so god-like are all only human and it is exciting to think that finding a dancer like myself could make someone’s dreams come to life.
Posted by: Rachel Bunting | 04/04/2013 at 06:05 PM
John Beasant III truly is an inspiration to those who want to pursue dance as a career. Since he started his career in musical theater and then made the transition into modern dance, he began his formal training a bit later than the average dancer. For me training began around the age of 4 and I believe the average ages to begin dance classes are around 5-7 years old. He was already starting at a disadvantage, but that didn't seem to faze him at all. He was extremely diligent when it came down to being invested in his craft and finding places to train and grow as a performer. Beasant literally went from school to school due to several different circumstances and decisions, but he was focused. Many people who would encounter so many trials would have called it quits, but it is obvious that he is completely invested in his growing artistry.
Something else that really caught my attention was the fact that he went to graduate school right after undergraduate school. I know that having an education is very important and so is gaining experience by diving directly into the dance world. I know as a current student whose discipline is dance, I often wonder what step I will take after I graduate with my BFA in Dance/Performing Arts. This definitely gives me an example of someone who went down this particular route and made it work.
I can relate to how he feels when you experience that natural "high". There is a true sense of fulfillment when you are able to hold a position and live in it forever, but still find those moments to simply "be". There comes a time when you need to breathe and rest. Now the resting concept is pretty hard for me because I am always in a state of acting and reacting. Reading this gave me a better understanding of how to adjust myself and make some different choices regarding that in particular.
What was the most intriguing was the concept of net working. All dancers are aware of what it means to network, but don't always know how to go about it. Now I truly understand what all of my professors mean when they say "Every class is an audition." You have absolutely no idea what connections can be established if someone were to peek into a dance class. Every moment when the dance floor is beneath your feet is an opportunity that has become open to you. To be invited to auditions and/ or be recognized through work that you have done is amazing. The dance world may be small in comparison to everything else, but it is definitely thriving. There are really endless possibilities in this complex world of dance.
Posted by: Jessica P. | 04/05/2013 at 01:34 PM
I really connected to this blog post in a variety of ways. It's almost as if it was tailor-made to fit my situation. I appreciated how he had to go to different universities and extra schooling to really establish what he wanted to do with dance. In my case, I know I'm going to have to stay in school longer then I want to, but it allows for more exploration within a safe environment. You always hear about dancers moving to New York and having "perfect endings," but I appreciated how "real" Beasant was about moving there. He moved there the day before September 11th. This was probably a challenge for him, and on some level affected his dancing. He says that dancers have to be willing to work to get the most out of the city. Beasant thought about giving up, but he stuck it out, and now look how successful he is. I would love to move to New York to further my dance career but I always have so much self doubt. Reading this blog is furthering my understanding that the city may be difficult but it's all what you make of it. His philosophy on teaching is really intriguing, and makes a lot of sense. Teaching doesn't help you develop just as a teacher, but as an exploring artist. I want to use his philosophy of teaching to develop my teaching styles and my artistry. He talks about finding the fun in networking. I know that networking has a major role in the dance field but the idea really scares me. I'm always worried that I'm not going to give a good impression. How do I get over this fear? This blog was very informative and opened my eyes to many possibilities. I think I agreed with everything that was said in this post.
Posted by: Shaela Davis | 04/05/2013 at 01:49 PM