The Inside Scoop on Post-grad Dance Programs
Have you ever felt confused about your post-grad options as you embark upon a professional ballet career? Have you wondered “What exactly is the difference between a second company, traineeship, graduate program, and apprenticeship?” You’re not alone!
While some dancers will opt to head to college to obtain a B.A. or B.F.A. in dance, others will forgo traditional higher education and pursue the next steps with a professional company. Here’s where it gets tricky. While the ranks once fully in a professional dance company are clear (corps de ballet -> soloist -> principal), post-grad dance programs lack consistency.
If I had to rank these types of programs, it would look something like this:
Apprentice (Highest rank)
Second/Studio Company
Trainee
Graduate Program (Lowest rank)
However - this can totally vary from company to company. There is no overarching governing body that determines what qualifies each program to be in a certain classification. To try to compare them is like comparing apples and oranges.
My advice? Worry less about the name and more about what’s inside. When determining the best option for your dance career, here are some important considerations:
Pay Structure
There are three main types of pay structures you will encounter - tuition based, unpaid, and paid.
Tuition-based: Much like a studio or college dance program, you are responsible for paying tuition for the dancer to enroll. Scholarships (merit/need-based) or work-study may be available.
Unpaid: You won’t be paid for your time dancing, but you will also not be responsible for paying tuition. You may receive benefits such as pointe shoes or access to the physical therapist/medical team.
Paid: You are paid for your work with the company. This can range from a stipend paid per performance to a weekly paycheck. This type of pay structure is most likely to occur at the apprentice rank, if at all.
In my experience, the majority of these programs will be tuition-based or unpaid. It is incredibly rare to receive a paid company position when first starting out. It is even rarer for this paycheck to be enough to cover your living expenses. It’s important to consider whether an unpaid or low-paying role is feasible for you (which can be even more nuanced than it seems on the surface).
Maximum Age
Many post-grad dance programs will have an age cap, typically around 22 or 23. This can make starting out in the professional ballet world difficult for dancers who started training later or chose to attend college. I graduated from college and received my first traineeship at 21 years old and was significantly older than the other dancers in my cohort who were coming fresh out of high school.
The decision to attend college is highly individualized and is a choice I personally do not regret. However, it is important for dancers to realize that a college degree does not typically replace your time as a trainee or apprentice. It is still highly likely that after graduating, you will end up in an unpaid company position and have to rise through the ranks. Including college and my trainee/apprenticeships, it was 6 years from the time I graduated high school until I was being paid as a dancer.
The good news? Dance careers are lasting longer and the expectation that you have to join a company as a teen is waning. I would still encourage dancers to apply to a post-grad program even if they are older than the listed age as this is often more of a suggestion than a hard and fast rule.
Student vs. Professional
Every program has its own distinct way of operating - however, it is important to look at if dancers are considered part of the academy/school or part of the company.
Academy/school - Dancers are given class and rehearsed completely separately from the company. They are essentially classified as students, not as professionals. Often dancers will have a fuller day of training, taking more technique classes than the professional company. They may receive opportunities to perform with the company (for instance, it is common for companies to pull dancers from the school to perform corps de ballet roles such as Waltz of the Snowflakes/Flowers in The Nutcracker). However, they will mainly have their own separate performances.
Company - In this structure, dancers are considered part of the company. They will take daily company class, rehearse and perform side-by-side with the main company. However, as a trainee or apprentice, it is still common for these roles to be unpaid, even if doing essentially the same job as the corps de ballet.
It’s not always this black and white - it’s common for a hybrid model to exist where dancers fluctuate back and forth. For instance, as a trainee with Ballet Tucson, I worked with the main company during the day and had supplemental technique classes with the academy in the evening.
Pathway to the Company
Ultimately, the goal of taking a trainee/apprentice contract is to receive a paid job. Make sure this looks like a real possibility for you by researching these two key factors:
Access to the Artistic Director - Do you have opportunities to work with the Artistic Director directly? Whether it’s in class or rehearsal, being able to work with the AD directly is crucial. Of course, you want to show your stuff on stage. But how you work in the studio can really set you apart as well - an opportunity to show your character in the day-to-day will go a long way.
History of Promotions -Many companies bring on trainees and apprentices exclusively to fill the corps de ballet roles in their full-length story ballets. Ballets like Swan Lake and The Nutcracker take a lot of manpower from the corps, and companies use to their advantage the free or low-cost labor they receive from trainees and apprentices to dance these roles.
Of course, we do have to pay our dues and put in our time in the corps de ballet! However, it’s important to find out if the company actually has a history of promoting dancers into their ranks. Are they truly investing in their trainees and apprentices in preparation to join the main company - or are they simply looking for bodies to fill space?
The most important thing to remember is that there’s not a certain type of program that is overall “better”. It comes down to what is best for you in the long run. Consider your ultimate goals as a dancer and what you most need at this point in your training to get you to the next step. It may be more technique classes, more stage time, exposure to a new style of dance, or connections with industry professionals. Take the time to truly think about what you need to help drive your decision.
Looking for guidance in this huge life decision? I’ve mentored dozens of dancers just like you to help them build sustainable, fulfilling dance careers. The first step is to book your Complimentary Career Consultation - a no strings attached conversation to see if working together could help you in your dance career! Let me help you find intention and clarity in your career goals, demystify the world of professional ballet, and put a strategic plan in place with actionable steps!
Meet the Author
Caitlin Sloan is a Dance Educator and Career Mentor based in Madison, WI.
Caitlin received her Bachelor of Arts in Dance from Grand Valley State University and Graduate Certificate in Nonprofit Management from the University of Missouri.
She danced professionally for nine years with companies including Ballet Tucson and Missouri Contemporary Ballet (now Mareck Dance). Caitlin has taught at schools all over the Midwest, most notably serving as Director of The School of Missouri Contemporary Ballet and Youth Company Director for Central Indiana Dance Ensemble. She is currently on faculty at the School of Madison Ballet.
Caitlin founded The Brainy Ballerina® in 2019, a virtual resource providing support and guidance for aspiring ballet dancers. Follow @thebrainyballerina on Instagram for your daily dose of dance career guidance and inspiration.
