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48. Navigating the Freelance LA Dance Scene with Mizuki Sako
138 Plays1 month ago
In this episode I’m joined by Mizuki Sako, a professional dancer whose career spans ballet, contemporary, commercial work, and film performing with LA-based companies including the REALM company, LA Dance Moves, Psychopomp Dance Theater and Disneyland.
Mizuki shares her experiences navigating the professional freelance dance world and finding artistic fulfillment across different styles and mediums. If you’re a dancer wondering how to build a career beyond traditional ballet company contracts, this episode is for you!
Key points:
✨How Mizuki transitioned from ballet training to a multi-genre dance career
✨The challenges and rewards of freelancing as a professional dancer
✨How to balance commercial work, concert dance, and artistic exploration
✨Why versatility is an asset in today’s dance industry
✨The importance of maintaining good relationships in a small community
✨How Mizuki approaches different types of auditions as a freelance dancer
From ballet to film, Mizuki’s career proves that dance can take you in many directions. Staying flexible and saying "yes" to new experiences can truly lead you to places you never imagined!
Connect with Mizuki:
INSTAGRAM: instagram.com/kookymizuki
Links and Resources:
Visit the Ballet Help Desk: https://ballethelpdesk.com/
Get 20% off your first order of ALOHA protein bars: https://aloha.com/BRAINYBALLERINA
1-1 Career Mentoring: book your complimentary career call
Let’s connect!
My WEBSITE: thebrainyballerina.com
INSTAGRAM: instagram.com/thebrainyballerina
Questions/comments? Email me at caitlin@thebrainyballerina.com
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Transcript
Introduction and Career Mindset
00:00:00
Speaker
I feel very lucky in that my background and training has been so diverse already. And then when I went to college and I was exposed even more, i always went into it with the mindset of just like keeping myself open, even if I'm not great at it, just keeping myself open to continuing to challenge myself and trying different things.
00:00:19
Speaker
And that has really helped me in my career.
00:00:24
Speaker
I'm Caitlin, a former professional ballerina turned dance educator and career mentor. And this is the Brand New Ballerina podcast. I am here for the aspiring professional ballerina who wants to learn what it really takes to build a smart and sustainable career in the dance industry. I'm peeling back the curtain of the professional dance world with open and honest conversations about the realities of becoming a professional dancer. Come along to gain the knowledge and inspiration you need to succeed in a dance career on your terms.
00:00:58
Speaker
Hello and welcome to the Brainy Ballerina podcast.
Guest Introduction: Mizuki Sacco
00:01:01
Speaker
I'm your host, Caitlin Sloan, and I am joined today by Mizuki Sacco. Mizuki is a professional dancer whose career spans concert dance, commercial projects, and film.
00:01:12
Speaker
She has performed with LA-based companies, including the Realm Company, LA Dance Moods, as well as dancing at Disneyland. Mizuki, I'm so happy to have you today, and I always like to start by asking my guests, why did you take your very first dance class?
00:01:26
Speaker
Very good question. So glad to be here. My parents, they both worked in the same company, but their boss had daughters, three of them, who were in ballet. And so every year for their Nutcracker, the whole company gets invited to go see them dance.
00:01:41
Speaker
And I just remember being probably like five, watching the Nutcracker and thinking, oh my gosh, I want to do that. So my parents put me in dance and I just couldn't stop since then.
Diverse Dance Training
00:01:52
Speaker
What was your training like growing up?
00:01:54
Speaker
So I started in very... Classical Vaganova ballet training. And then in middle school, I got into an arts school called Orange County School of the Arts. There, they kind of introduced me to more contemporary, jazz, lyrical,
00:02:10
Speaker
try to think of everything else, ah modern, anything you can think of. They really introduced me to all different forms of dance. So middle and high school, I feel like I just had a plethora of different kinds of training.
00:02:22
Speaker
And then in college, I also got exposed to West African and hip hop. So I feel like I've been just everywhere, but in the core, I've definitely always been a more classical ballet dancer for sure.
00:02:33
Speaker
Mm-hmm. How did you end up deciding to attend UCLA for college? Actually, in elementary school, all my favorite teachers, they all happen to be Bruins. And I think everyone's so proud of being a Bruin. And I feel like there's always like, you know, UCLA memorabilia everywhere in the classroom.
00:02:52
Speaker
So I guess just growing up, I always inside, you know, when you're like a child and you're like, i'm going to be a lawyer who dances and also a president. Oh. One of those things was being also Bruins. So I guess I just always had this kind of internal thing that I really wanted to
Journey to UCLA and Dance Education
00:03:10
Speaker
go to UCLA. I didn't know how or what major I was going to choose. But as I was going through research in junior year of high school and sophomore year of high school, I realized that they had this incredible dance program there where I could also kind of focus on other
00:03:24
Speaker
academic research and so it felt right and then I auditioned and I got lucky to be in it. Okay and you graduated with your Bachelor of Arts in World Arts and Culture Dance and a double minor in, let me get all of this, applied to Dalmatophysmology and Asian American Studies. That's so much.
00:03:41
Speaker
and What interested you and doing all of those subjects? I went in thinking I was going to double major in World Arts and Cultures Dance. They call it WACD for short. And computer science, because I wanted to code on the side of doing freelance work.
00:03:57
Speaker
It just felt like something I could probably manage. But then i went into my first computer science class completely unbeknownst that it was for majors only. And all these people have prior experience and computer science. And so I just got dropped in.
00:04:14
Speaker
So unfortunately, i just didn't have a great first experience. And so that's kind of when I started to kind of lean away. and my first GE class I took for a history was Asian American Studies.
00:04:27
Speaker
And it was just like an overall course that explained the history of Asians in the United States and how that has kind of developed into Asian Americans now.
Academic and Personal Growth
00:04:39
Speaker
And I think I just really connected to that. I was born in Japan, but I grew up in the States. I didn't really have that many experiences of people around me with similar kinds of experiences. And so when I took this class, it just really opened my eyes to, oh, there are other people like me. And I think also learning about that history is really important to the um political things that are happening right now. And I just love to be informed. So it was really important, I felt like, to Dive a little bit deeper into that, which is why I chose that as a minor. And then at the same time, I also took AP Psych senior year of high school.
00:05:16
Speaker
That was really just kind of eye-opening to the human psyche. And I've always kind of liked the idea of helping people. And so took some psych courses in college and they had a very specific one for developmental psychology.
00:05:31
Speaker
It was kind of a cohort of 10 people that they choose every year. And for a whole year, we get to work with adolescent children. And then we got to research and learn just more about how we can help the youth develop in a healthy way. And so that's just something that I've also taken into my own training when I teach kids.
00:05:50
Speaker
Do you have any advice for dancers who are pursuing dance in college and want to add on other areas of study for managing your time and how to just handle all of that?
00:06:01
Speaker
Yeah, I would say definitely keep a calendar.
00:06:08
Speaker
I mean, I never had a calendar in high school. And so going into college was the first time I got a planner. And I was like, wow, I need to plan my life very well. But I also think you have the ability to explore so many different kinds of interests.
00:06:21
Speaker
For example, Asian American studies, that's just not something I ever thought would be available to me. Finding that through GE courses probably is just because they're so comprehensive, like kind of an overall idea of the theme and then Finding your way more and more deeper into that realm. Finding something you're passionate about because then even when things are difficult, at least you're studying something that you really are interested in.
00:06:48
Speaker
And also making sure that you have time outside of studying to also enjoy college. I feel like sometimes that can be forgotten. And I know my first year, I definitely didn't take advantage of like clubs or seeing new people, for example, like that's something I kind of started doing more sophomore and junior year of college. And that helped me balance.
00:07:07
Speaker
my time much better. Yeah, I definitely agree with the fact that in college, you get to like, really pick and choose what you want to study. Because I remember in high school, I wasn't that interested in a lot of things we were doing, right? Like I was smart. I did okay in high school. like I was kind of like a B student, because I just could not get excited about physics or whatever are we were doing like that.
00:07:28
Speaker
But then in college, I was like, oh, I love this because I got to choose exactly what I wanted to study. And I realized how much easier it is to learn something when you care about it. Yes, exactly. Oh my gosh, it's such a game changer. When you're passionate about something, it's gonna always be work, but it's at least work you enjoy. so Exactly. Yeah.
00:07:48
Speaker
So out of your college experience when you graduated, did you go straight into a professional career as a dancer?
Navigating the Dance World During COVID-19
00:07:56
Speaker
I have a very unique experience in that I graduated in 2020. So covid had just hit and i'm lucky that my parents are not that far away from college. So I got to live with them for a while, but I was also lucky in the sense that the studio I currently also work for West Side School of Ballet, they opened their doors up.
00:08:18
Speaker
I want to say like maybe the summer 2020, in a very limited capacity. And I was at the time working there just once a week while I was in college, just at their front desk, just to get a little bit of cash during college. So I got to take classes there.
00:08:36
Speaker
And during that time, I met choreographers who were obviously just hoping to make something during a time when It was very difficult to perform. And Jason Greenwood was ah teacher. Actually, he's still a teacher there, but he was teaching there. And he was like, hey, do you want to just make something up? And then that's kind of how it started.
00:08:57
Speaker
And now he has a company called The Realm Company, which I'm a part of. So it just kind of fluidly came in that way. I wish I had a more straightforward story of I audition and I got into this company. I have had those experiences, but I was lucky in the sense that it felt very organic going into the professional world.
00:09:16
Speaker
It's such a surreal experience to get that first paycheck doing something that you're so passionate about. You're like, whoa, I'm doing it. Yeah. I think that's a good story to hear for the dancers to know that it doesn't always happen the way you think it's going to happen. Sometimes jobs come from unexpected places.
Networking in Dance
00:09:35
Speaker
Oh, yeah, absolutely. i feel like so much of my career has just been connecting with people. And then they're like, hey, do you want to do this project? And that's kind of how it starts.
00:09:47
Speaker
Seldom have I really gotten anything with people I don't really know. Like I've had experiences like that, but most of it has been because I've made these connections through taking classes.
00:09:59
Speaker
For example, we met because of Nancy Parody, who is a choreographer and the creator LA Dance Moves. She connected us. Yeah. that's just really important as I think just continuing to explore the community and not really like closing yourself off.
Freelance Structure and Discipline
00:10:16
Speaker
Yeah. Can you elaborate more on your experience working in LA and navigating the freelance dance industry? If there's a dancer who is interested in this pathway, what would you tell them?
00:10:27
Speaker
Kind of like what I said already, continue to take class. I feel like that's not something that's always being told. It's like, oh, get into the company. take the classes from that company because that's more straightforward. if you're in a big company like New York City Ballet, they're always going to give you company class.
00:10:43
Speaker
Unless you're off-season, then you might take class at Broadway Dance Center. But as a freelance dancer, we don't have that everyday structure. For example, right now, I'm actually off-season from all my companies.
00:10:54
Speaker
We start next week, then I'll have structure. But for about a month or two, I have been doing more of the pop-up things that are happening in l LA. So then I've been having to kind of make my own daily schedule.
00:11:08
Speaker
And I think that's something that's important because the more you take class, the more you get connected to people. That's how I got discovered by Lori Sefton, who is the director of Lori Stefton Creates, I was taking class.
00:11:21
Speaker
I knew someone who then connected us and that's how I got into that company as well. So continue to also explore things like casting network too. If you're more into that commercial aspect, that random music video is just going to pop up that it's you and you're just going to be invited. So always looking out for those opportunities, I think, and making your own schedule.
00:11:43
Speaker
Can you share how you structure your day, especially in those maybe off times? What would your day look like? i have set classes right now that I like to take. Ido Tadmore is one of them. He teaches ballet at Momoda. So I try to take his classes at least once or twice a week at 10, for example.
00:11:59
Speaker
So that's my ballet and I get that structure in. And then I've been trying to also take more commercial classes like jazz funk and jazz, maybe a little contemporary. So then that'll usually sometime be in the afternoon. So then I have my ballet.
00:12:12
Speaker
I got my other class right here. I'll pop that in. And then if I feel not exhausted, which usually am, I'll go for a run or some kind of like other training so that I am also maintaining my muscular systems.
Working with Psycho Pomp Dance Theater
00:12:27
Speaker
I work for a company called Psycho Pomp Dance Theater. So I think it's unique in that it's an acrobatic contemporary company. So I do have to maintain my my working out. So then that and then and between that, I'll have also my breakfast, lunch and dinner.
00:12:42
Speaker
You have such a diverse career. I mean, you already mentioned, I feel like five or six different companies you've worked with and kind of jobs you've had Can you share how you developed that versatility?
00:12:53
Speaker
Was this always part of your plan going into a career to do different things or did it just kind of happen organically? I have always had a very hard time letting things go.
00:13:06
Speaker
I have to see them till the end. I guess that's a good thing, but in some ways, it means I can't let go. So i guess like when I went to OSHA, and I was exposed to all these different forms of dance, I just knew I really wanted to do them all. There was none of them I actually didn't like. I really loved being able to use my body in different ways. And that also comes with musicality. That's different too with everything. It's just always it's been really fun to explore.
00:13:34
Speaker
I feel very lucky in that my background and training has been so diverse already. And then when I went to college and I was exposed even more, I always went into it with the mindset of just like keeping myself open, even if I'm not great at it, just keeping myself open to continuing to challenge myself and trying different things.
00:13:53
Speaker
And that has really helped me in my career. A lot of people do tell me, oh, wow, like, I didn't know you can do this and this. I'm like, yeah. I didn't know either. But it's in me.
00:14:05
Speaker
It's always been for me about exploring the different ways that humans can make stories come alive or make the music come alive. It's just been a really fun challenge for me. And so continuing to, I think, challenge yourself in that way is always a great way to get jobs.
00:14:21
Speaker
but Because then you're not just stuck in one track. You have the world open to you. So I always tell my students, You know, you can't just be good at one thing. I think you just, you just got to really keep training and everything, even if you're, you don't really like it, because that's going to help you one day.
00:14:36
Speaker
What do you think has been one of the most challenging or surprising aspects of working and the commercial dance
Commercial vs. Concert Dance
00:14:44
Speaker
a industry? Growing up concert, you take months to make a process i've really deep into the storytelling and the like why of what you're doing.
00:14:56
Speaker
And then it's so fascinating in the commercial world. It's all about whether if you're a backup dancing for a singer or you are just making a concert video that highlights the music, it's a fast turnaround. You're, you know, I have had jobs where you learn the choreography in four hours and it's film time.
00:15:13
Speaker
That's fun. It's super fun. Honestly, I think it's really great to like sometimes just let go of the process and it's just about the dancing. And that's really, really fun. But that also being said, because I grew up in the concert world, I still like to keep that balance because I still love the process.
00:15:28
Speaker
So that's just been a really interesting way to approach dance, too, is sometimes it can be kind of superficial in the sense that we don't need to have a why. or how to everything.
00:15:39
Speaker
And also something I was always surprised by is obviously when you're working on a set, the people who are working there, not everyone's going to know dance. And that's totally okay. Because if you're just one little tiny speck in a movie, for example, you know, they're not focusing on the dancing, they're focusing on the overall picture. Like I have a story where I was on a movie set, and I was in pointe shoes, but they put water on the ground to reflect the light off the floor. And If you know point, then you know that water and point shoes do not mix.
00:16:13
Speaker
Maybe we were there for about four or five hours and we got to do two takes because by the second take, our shoes were disintegrated. They were like, okay, let's do like five more shoots. we were like, yeah, I'm not sure that's going to happen today.
00:16:27
Speaker
Yeah. So we had to get it in two takes, which is fine. And that was something they also learned too, is, oh, we should have pointe shoes available more than just one pair if we're going to have one more. So challenges like that, where I think you just have to be really go with the flow as a performer, because you're not really the main focus sometimes in moments like that. So, you know, making sure you're not like, oh, I need my eight pointe shoes to do this scene, but just being like, okay, you know what?
00:16:54
Speaker
It's going to be two takes today and that's okay. Can you talk more about that? So like, was there not a choreographer there who was kind of the segue to say like, hey, if you put water on the floor, this is going to not work.
00:17:06
Speaker
Where was that disconnect? We had a choreographer. And so he was a huge advocate for us. And I feel very lucky that he was. And he had to go up to them and say, hey guys, are they dancing on this concrete floor? That's wet. And they were like, yeah, he's trying to also be professional and not make a big deal. But he was saying to them, okay, well, I just want to let you know, like,
00:17:27
Speaker
pointe shoes don't do well with water. we might not really be able to take more than a couple takes. And he kept checking in with us too. Like, hey, how are your shoes doing? So by the time the second shoot happened and all of our toes were poking through, that's when he had to tell them. yeah He's like, hey guys, yep, I think we got a cut. It's not going to happen past this. So we had an advocate like that. But in that shoot too, actually for pointe shoes, every dancer has very specific pairs and You know, we were very lucky that they provided shoes, but because they didn't know anything about pointe shoes, they gave us shoes that were the same size that we asked for, but completely different brands, which obviously doesn't work if... Oh my gosh. If you get a blocked shoe, even though you wear gainers, for example.
00:18:14
Speaker
So we were already in very much different shoes than we already wear. so that was already a challenge, I think. So... That's so interesting. Yeah, super interesting. i think that's a challenge and something that I just learned through movie sets too is like, you know, it's not always going to be perfect, but that's okay. You just got to like,
00:18:35
Speaker
deal with it and just do your best and hopefully you're providing the picture the overall picture that they're hoping for yeah trust that there's a vision that you can't maybe see exactly as a dancer yes it's like okay i'm not going to be fully on my shoe today i'm not going to look my greatest but as long as the overall picture looks good i'm okay with it so yeah let's quickly pause this episode so i can share with you one of my favorite snacks that i have been loving lately As a busy dancer, educator, and mom, I am always looking for a snack that I can throw into my dance bag that will be quick, convenient, and provide lasting energy.
00:19:16
Speaker
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00:19:30
Speaker
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00:19:44
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Securing Gigs Without an Agent
00:19:54
Speaker
How did you get started working on film and in movies? Do you have an agent that gets you gigs? No, that's actually something I'm working on right now is getting an agent.
00:20:04
Speaker
But that has all been through either connections that I have or through Casting Network, actually. So that's the site that a lot of dancers use in l LA and actually I think in New York as well.
00:20:16
Speaker
And it's more of a commercial website. You pay monthly to then get all the different things that movies and TV shows they are asking for, and then you submit and apply.
00:20:27
Speaker
So some music videos have gotten through that, which has been really exciting. so Hopefully I'll get an agent working on that right now. And then they can hopefully connect me to other opportunities. But so far, I've gotten different things without one.
00:20:42
Speaker
I think the myth is that you have to have an agent in order to do commercial work. And nowadays, I feel like there's just other avenues and different directions you can take if you want to do commercial things. So that's been really nice, actually, to experience.
00:20:55
Speaker
Are there any other big myths that you think people don't know about being a freelance dancer?
Reality of Freelance Dance Life
00:21:02
Speaker
Ooh, a lot of times, perhaps in l LA, you know, especially when you have social media where everyone's posting all the time about the things they're doing.
00:21:12
Speaker
People come up to me all the time and they go, wow, you must be so busy. Like, look at all the things you're doing. And I just have to say, oh my gosh, I wish I was as active as I look on social media. But actually, there's moments of time where I don't have anything, for example. That's totally normal to have those moments where you don't have something. And you might have a little bit of like that stress or panic of like, I'm not doing anything right now. But trusting that you're training that you're constantly hopefully doing as long as you're constantly actively shooting for something and going for something or auditioning all the time you're gonna get something and then you'll have filled those moments so it's I think really interesting that social media always chooses to just show the best parts of you and that you know you're always doing something but it's not always the case especially in LA when you know there's
00:22:03
Speaker
pilot season or there's shooting seasons and then there's like those break seasons where nothing's happening so sometimes just being okay with that I think I'm at a point in my career now where this year I've told myself I'm gonna be okay you know trust the process it's gonna happen as long as I'm being diligent with it okay so like for valet company season is what like September through May or June and sure yeah and yeah away February March like what is that like in l LA what's pilot season what's shooting season this is pilot season now so this is march i think like february march is pilot season so that's when they shoot one episode of a tv show for example that they're hoping will get picked up by a network and then if it gets picked up then it'll continue on hopefully for seasons that's what everyone's hoping for so then people will come from all around the world to come to la just for pilot season to audition
00:22:55
Speaker
get that one specific show that's going to continue on for seasons and start
Industry Cycles and Opportunities
00:23:00
Speaker
their career. So right now, I think there's a lot of commercial things happening. For me, at least, like I also work for Disney. So that's kind of different too, is that they have different parades and we're just about to start our summer parade rehearsals.
00:23:12
Speaker
So that starts now in March. My Psycho Pump starts in March. And I think Jason is gearing up for a show too. So hopefully... March or April will start that. So that's about March. I think Psycho Pump season is March through October.
00:23:24
Speaker
So then I'll have those seasons where I'm doing that kind of concert work and then sprinkling in commercial work, hopefully in between. And and I think things start slowing down maybe around November, December, January is usually kind of that time where Not much is happening. Can you tell us about working at Disney?
00:23:41
Speaker
What do you
Unique Roles at Disney
00:23:42
Speaker
there? Oh, yeah. So I'm a parade dancer, which is completely different from anything else I've ever done. It was October when I auditioned. I remember this because nothing was happening. I had just finished all my contracts.
00:23:53
Speaker
I think I actually just had finished doing solo for Nancy as well for LA Dance Moves. She has a company that does very specific work and then we'll finish that project and it's so lovely but I had nothing I was doing nothing and I was in that panic moment of what am I doing I'm not dancing so a friend of mine said hey come audition with me to go to Disney and I was like okay sure i kind of went into it thinking you know what if I don't like this or if this is not something I want Then I'll just let them know. But I started it and it was so much fun.
00:24:29
Speaker
I guess I'm used to either being in front of a camera and like getting things done, one and done, or it's concert work where we take a long time to make something. You're on stage.
00:24:40
Speaker
And it might be kind of a serious piece. The reception you receive as well, that was really deep. At Disney, I'm dancing every day for people who love magic. They're smiling every single day because they're seeing you perform.
00:24:53
Speaker
and it just kind of brings me back to the magic of entertainment. So I parade dance in the summers for all of their different kinds of offerings. Last year I did a Pixar parade. It's just really fun to highlight our friends at Disney, like, you know, highlighting them through dance and just also seeing like both kids and adults enjoying ah performance. Go down Main Street and perform and they're just having fun. and eating popcorn and corn dogs and I'm getting all the smell that's still great so I have that contrast of the serious concert work and then the like just fun entertainment yeah it's a really great balance I have it's also different kinds of dancing I think Disney's more like jazz and in some ways it's very commercial because the storytelling is more based on the stories of Disney
00:25:41
Speaker
And so everything is more jazz and that era of performing. It's really fun. Speaking of the concert work, I'd love to hear more about your work with LA Dance Moose with the Nancy. Nancy, I met through Jason. She guest choreographed for the Realm Company for a couple of the shows.
00:25:58
Speaker
And something I love is that I think I get typecasted in some ways when I'm in the concert world, because but as much as I do ballet and I love ballet, I do tend to make work or be in works that are much more hard hitting.
00:26:12
Speaker
And probably it's because of my jazz training too. I tend to do more like, I don't want to say masculine things, but I guess just kind of that like stronger type of pieces. And Nancy saw in me this more soft,
00:26:26
Speaker
fluid side that i'm not a lot of choreographers, I think, tend to see immediately. And so she asked me to do the fire solo, which is a solo that is a part of a bigger work that she has.
00:26:39
Speaker
And it's a good balance between having that stronger side, but also the like, vulnerable, fluid, beautiful, you know, but that side of work as well. And so it was really nice. I even told her I was like, I don't know how you saw this in me, but I love exploring the side of me. I don't really get to do that too much. So I got to be a little bit more soft and vulnerable in that piece.
00:27:02
Speaker
While also sprinkling in some of that strong acrobatic work because she loves collaborating. And she said, hey, let's make it you with the baseline of the choreography I already have. And so That was really fun. I really had a great time.
00:27:16
Speaker
And I'm hoping we can perform this again a few more times in l LA. So she said that she would let me know if things pop up. But it was really beautiful. i love that piece. Can you share with us some tips for auditioning and how you might approach auditions for like a commercial or a film project versus a concert dance project?
Adapting to Auditions
00:27:36
Speaker
It's all about the outfit. I'm kidding. No.
00:27:39
Speaker
But it is good to have different outfits, I think. For concert work, for example, you want something that's going to show off your style and your body. It doesn't have to be a leotard and tights.
00:27:51
Speaker
For example, I tend to wear maybe like a more form-fitting pair of jogger pants for concert auditions with a tighter top, like a tank top or something. Whereas I think for commercial work,
00:28:04
Speaker
I tend to wear things that are much more form-fitting, like g leggings, a solid color, something that pops is always kind of nice, and a nice top. Commercial auditions tend to be much more external-based, and so like a lot of face. They always emphasize, show us you through your face. And so coming from ballet where it's either like you know, happy, sad, to like exploring the space of like fierceness. Like that's something I really had to learn. That's something actually I worked a lot with Lori Sefton on. She really was into faces. And so I feel very lucky that I got to work with her because she definitely helped me work on this. Whereas I feel like in more concert auditions, it's all about how you're telling the story through your body.
00:28:49
Speaker
So I don't think it necessarily has to be this like over-emphasized face that you're showing. It's more about how you can organically show that story and be very like vulnerable, emotional with it while showing all the techniques that you have, obviously.
00:29:04
Speaker
you know, I kind of have to go in with a different mindset with every audition is, am I today going to be showing that more like flashy side of me where i'm going to be doing a triple pirouette with like a big, fierce energy? Or am I going to be going into a concert audition where,
00:29:19
Speaker
I'm going to be showing the like different techniques that I've gained, but also going in with all this like emotional vulnerability that I also have to show in the two hours or whatever hours but the audition is.
00:29:34
Speaker
Let's pause this episode so I can tell you about one of my favorite resources for dancers, Ballet Help Desk. If you've been loving the Brainy Ballerina podcast, you'll want to add the Ballet Help Desk pod to your list.
00:29:48
Speaker
This is the premier podcast for dance parents and hosts Brett and Jenny share weekly extra expert insights on supporting your students' ballet education. They cover key topics like summer intensives, ballet competitions, full-time and post-grad training, health and wellness, boys in ballet, and more to help your dancer make the most informed decisions about their unique training path.
00:30:13
Speaker
Another one of my favorite resources from Ballet Help Desk is their reviews. Head to their website for over 1,400 reviews on summer intensives and year-round training programs.
00:30:25
Speaker
And while you're at it, submit your review to help other dancers and their families make important decisions about their future. The more transparency in the dance world, the better. Head to the show notes to visit the Ballet Help Desk website today.
00:30:39
Speaker
Do you have a different morning routine or warm-up strategy for different auditions? Would you prep yourself differently? I mean, not too differently in terms of, for example, what I eat. I'll probably try and eat something that isn't going to be too filling, that I can't dance, but something that's going to energize me. So I'll usually have like a protein smoothie or like a protein bar.
00:31:00
Speaker
I'll probably have a coffee. I try to save my coffees for days that I need to be really focused. I read a research, actually. I'm not sure if this is true. Hopefully it is. And I'm not just like spreading misinformation.
00:31:13
Speaker
But I had read research that caffeine in coffee really enhances your performance as long as you're not drinking it every day. so like some athletes will drink it right before coffee.
00:31:24
Speaker
their big game or something. So I try not to drink it every day. I try to save it for like my audition days. Or if I have a big show day, I'll drink it just in the morning and then maintain something else. But you're stronger than me. I couldn't go.
00:31:38
Speaker
Oh, I mean, there's definitely days where I'm like, I need that latte. But Yeah, I try save it. So I'll definitely drink a coffee in the morning and I'll get the buzz. I'm already nervous. So that probably isn't helping. But I do love the routine of just having that and a protein.
00:31:54
Speaker
Probably for commercial. i don't know. I usually do like a half up, half down like my hair to show that I could be strong, but I could also be on that softer side. Whereas with concert work, I tend to just have a ponytail because I just need to focus on everything else.
00:32:08
Speaker
And then it's so interesting. I feel like With commercial auditions, I kind of have to go in feeling a little bit more guarded in some ways, I think, just because I'm so used to being in a ballet space where I almost feel like I make myself smaller in ballet spaces because I think we all have that discipline from being in a ballet space of like, you shouldn't talk while the teacher's talking or being very polite, being very disciplined. Whereas I think in commercial spaces,
00:32:37
Speaker
actually better if you're a lot more bubbly and like kind of more of a bigger personality so I kind of go in hoping to present that without being who much you know so I kind of go in just having to pull myself out a little bit more I think do you feel like that's not like supernatural for you I'm like that if I know the person for example or like if we're having a casual conversation I can be like hello you know But I think when I'm already nervous, and I don't know the casting director, and I'm already thinking about the 1000s of things like going in without embarrassing myself or dropping everything at the front door, it's a little bit harder for sure I immediately get into that.
00:33:20
Speaker
Okay, I have to like be small in the waiting room and then like, just put it all on the dance floor when your numbers called so. Instead of that, like already going in with a bit of a personality.
00:33:31
Speaker
So they already notice you so that by the time you're on the dance floor, they are already recognize you from the waiting rooms, for example. That's, I think, something that I'm slowly working on and is something I'm kind of noticing that commercial audition.
00:33:45
Speaker
And I think in concert spaces, it's a little more like, okay, we'll just see you on the dance floor. Whatever you put out on there is what we're going to see. So yeah. It's been interesting. interesting Yeah. Maybe my experience is a little different though, but that's definitely something i I've noticed for sure.
00:34:02
Speaker
i know you mentioned the networking and the connections piece of freelance work being really important. Is there anything else, other strategies that you've found have helped you find consistent work and start to carve out that space for yourself?
00:34:17
Speaker
Yeah. Other than networking, I always and looking for different opportunities. And I try not to close myself off to anything, especially when I first started my career. I basically said yes to almost any kind of situation, you know, even if it was more of like a experimental piece of work or something that is a little bit different from what I'm kind of used to.
00:34:44
Speaker
i say yes, because one, that'll fill in that void of something I'm not doing. But two, it exposes me to different pieces. And it's a good way to explore different sides of you that maybe you didn't know. And that can really be helpful to finding work.
00:35:01
Speaker
One day, they're just going to say, hey, do you know how to do this random thing? And you might just be able to say yes, because I said yes to this random opportunity that actually forced me to do something.
00:35:12
Speaker
I don't know how to tap. And yet I said yes to something that a friend of mine, they are a drag queen and they needed backup dancers. And she said, hey, I can teach you real minimal tap if you can just do it for me at this club. And I said, all right, teach me tap.
00:35:29
Speaker
And ever since then, whenever something comes up in a tap audition, I can just like whip it out with my one week of experience. Take it till I make it.
00:35:39
Speaker
Saying yes at the very beginning to everything has been a really helpful thing for me. That's definitely opened up some doors and kept me busy. And also I think I tend to overbook myself. I mean, I'm very honest with every choreographer. I will tell them,
00:35:54
Speaker
Whatever I book first is my priority and then I'll build off of that. But as long as you're being very communicative with the person, it tends to be fine. In some ways, overbooking a little bit is great because then even the things overlap, you're always working. Last year, I worked, I want to say February through November. I was always doing something every month and I was so grateful for that. So yeah, a little bit of time continuing to slightly overbook yourself, I think is a really good way to do things in it. Of course, when you need a break, just give yourself that break that you need. I know you mentioned you teach. Anything else that you do outside of dancing to supplement your income or is the base of your work all from that area?
00:36:37
Speaker
I was doing a lot of administration work at Westside before I just fully focused on teaching. i did that for a couple of years while I was teaching and doing the professional work. I think that's really fantastic because then you get to kind of learn the opposite side, the business side of dance, which is, I think, very important to know, especially if you really want to do teaching as a career. I think that's just something that's going to be very helpful to also understanding both sides, the artistic side, but also kind of that money side of things too.
00:37:09
Speaker
So I was doing that I sometimes work at a ballet shop here and there. That's right next to Westside. did that during COVID and just kind of continue to maintain that connection with the owner. And so now and know everything about shoes, which is another great thing. So just super random things. I know a couple of my friends will work at, for example, Starbucks, because that's something that is one, a great income, but two, it's easy to find subs when you get a job.
00:37:37
Speaker
It's really hard because as a human, you want stability. and as a freelance dancer, that is just not the option. For a long time, i struggled between wanting stability and saying no to dance opportunities because I thought the stability was more important.
00:37:56
Speaker
But understanding slowly but surely that for me, dancing is the thing I want to do And so letting go of the stability here and there in order to kind of fully dive into this side of the performance aspect and then finding that balance now.
00:38:11
Speaker
A lot of dancers in LA will find jobs that are, i don't want to say easy to let go of because that sounds awful, but I think it's not their passion. And so it's easier for them to say no if they need to, if something else comes up versus if you're super passionate about this job too, then it's really hard to let go and prioritize.
00:38:33
Speaker
So I've been definitely trying to find that balance of making sure that I am able to find jobs that are a little bit less important to me, even though the teaching though is very important. So that's why I let go of the administration side of things.
00:38:48
Speaker
And then hoping that, you know, one day that knowledge will bring me back in once I finish dancing. What's next for you in your career? are there any projects you're working on or any goals you have?
Broadway Ambitions
00:38:59
Speaker
Well, all of my contracts are happening now next week. So Psycho Palm starts, Disney starts, I think the Realm starts, all of that's going to be a full new season of new dancing and dancing.
00:39:11
Speaker
I'm so excited about that just because now I get to dive in. That's great too, you because I get my ballet, I get my jazz and I get my contemporary. So I'm really just excited to go back into different processes and like explore all that.
00:39:24
Speaker
I've always had this bucket list thing of wanting to do Broadway. So I'm hoping that near future, perhaps that is something I can do and manifest and always having ah big goal is always a great thing because you're always going to be working towards it. And that's going to open up random doors as well. i think Broadway would be fun. And I know I've also auditioned a couple times for cruises here and there and I'm on their list.
00:39:49
Speaker
So hopefully that's something too that I'm looking forward to maybe doing one day. It's exciting. It is exciting. Okay, last question. What advice would you give to aspiring dancers who are pursuing their professional career?
00:40:02
Speaker
Love it. You have to love dance if you want to do this. If you don't, it's just going to be a lot more difficult to pursue, especially when you're freelancing.
00:40:13
Speaker
There's that saying, if you love what you do, then it's not work. I think it's love what you do. It'll still be work, but the work will be less work. You're going to love the work. And I think that's something that I always try to tell my dancers is love it. You just got to love, even if it's not dance, you just got to love what you do. And I think even when the things and the times get rough, you're still going to really feel passionate about what you're doing. And I think at the end of the day, what's important is that you're passionate about what you do And for me, like once that passion dies is when I retire. But until then, it's for me going to be
00:40:50
Speaker
continuing to pursue everything I can so love what you do I think that's what's important in this in this realm yeah I love it okay if any dancers listening want to learn more about you where can we find you i am on Instagram at kooky mizuki this was so fun mizuki thank you so much for taking the time today to chat I loved getting to know you thank you so much it was so nice to meet you I really appreciate it thanks for letting me tell my story
00:41:21
Speaker
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00:41:33
Speaker
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00:41:47
Speaker
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