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57. Longevity in Dance: Nancy Paradis Shares the Key to a Sustainable Dance Career
130 Plays7 days ago
Join me today as I sit down with Nancy Paradis, a seasoned choreographer, artistic director, and educator with a rich career spanning classical ballet and the commercial dance world. She also leads LA Dance Moves, an innovative company blending dance, music, art and media to create inspiring works.
In this inspiring episode, Nancy takes us through her remarkable journey in the dance world - a path that began with just one ballet class a week and led to a professional career spanning over five decades.
She opens up about how her dance beginnings were anything but typical, and how she made the bold leap from limited training to dancing professionally. Nancy shares what it was like to leave home at a young age to pursue her passion, and her experience as one of the original members of the Richmond Ballet.
We dive into the moment she first stepped into a jazz class and how that experience opened her eyes to a new style, far removed from the rigid structure of classical ballet. Nancy also recalls her very first professional gig - a short 10-day contract that paid enough for her to buy her first car!
Balancing motherhood and a demanding dance career is a challenge many dancers face. Nancy talks candidly about when she felt secure enough in her career to take a step back and focus on her family, and how she managed to return and evolve as a performer, choreographer, and teacher.
She discusses the key differences between company life and commercial work, and shares valuable insights into what it takes to sustain a long-term career in the ever-changing world of dance.
With over 50 years of experience, Nancy offers heartfelt advice for aspiring dancers, reveals the kind of energy she strives to foster in her classes, and the lasting impact she hopes to have on her students. Plus, for anyone curious about what makes a dancer stand out to a director - Nancy lets us in on her secret. She even shares rarely discussed business tips that every dancer should hear.
Connect with Nancy:
YOUTUBE: Nancy Paradis (LA Dance Moves)
WEBSITE: ladancemoves.com
INSTAGRAM: @ladance_moves
Links and Resources:
Aloha Nutrition Bars: 20% off using code: BRAINYBALLERINA
Ballet Help Desk Website
Let’s connect!
My WEBSITE: thebrainyballerina.com
INSTAGRAM: instagram.com/thebrainyballerina
Questions/comments? Email me at caitlin@thebrainyballerina.com
This episode was brought to you by the Pivot Ball Change Network.
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Transcript
Introduction of Hosts and Podcast
00:00:00
Speaker
I think I'm always pushing myself stylistically, artistically, but it's just the new norm. I mean, there's people that I trained with. They're still dancing, choreographing into their 60s. Yeah, it's the new norm. We're taking care of our bodies better, eating healthy. There's a lot available to us to help us sustain a healthy life.
00:00:23
Speaker
I'm Kaitlin, 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 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.
Meet Nancy Parody
00:00:57
Speaker
Hello and welcome to the Brainy Ballerina Podcast. I'm your host, Caitlin Sloan, and I am joined today by Nancy Parody. Nancy is the artistic director of LA Dance Moves, an innovative company funding dance, music, art, and media to create inspiring works.
00:01:13
Speaker
She has danced professionally with the Washington Ballet, Richmond Ballet, and Louisville Ballet, as well as in television, film, and commercial choreography. Nancy, I'm so thrilled to chat with you today, and I always like to start by asking my guests, why did you take your very first dance class?
00:01:30
Speaker
Well, hello, Caitlin. Thank you for having me. Oh my gosh, my very first dance class. My mom thought it was a great idea because I was in a family of five older brothers and she put me in ballet and it was a class at my elementary school and it was in the cafeteria and we held onto the backs of chairs and it was Madame Binda and I loved it.
00:01:52
Speaker
Very first class. Just, I loved it. And from there, what was your training like growing up? My training was not your typical ballerina in training. One class a week. We lived in rural Virginia.
00:02:07
Speaker
i mean, I loved it, but that's what we could do. It's one class a week. And and then... At a pivotal point from elementary school to middle school, my parents moved us into, I say the boonies of Virginia, further into Orange County, Virginia.
00:02:21
Speaker
So it was really difficult to get to a very good studio. So again, that one class a week, we did this drive out, 45 minute drive and 45 minute home. So it was very limited. In fact, one day I came home from school and my dad had surprised me and made me a little dance studio downstairs with a floorboard and a bar and a mirror. And that was incredible because I used to do home workouts and stuff.
00:02:45
Speaker
And then as we were seeing that I needed better training and I was progressing, we went even further away and it took an hour and a half to get to this class, take my training,
00:02:58
Speaker
come home and it was very not what you would think, very minimal, but my focus was there and my drive was there. So how did you make the jump from this limited training you had into a professional career?
Nancy's Early Dance Journey
00:03:12
Speaker
It's incredible. i auditioned for the Washington Ballet, right? They had a trainee program and it was the onset of the summer and they took me at 15. So I guess I was doing something right or enough that they saw we could train this person. You know, this person could, there's potential here.
00:03:33
Speaker
And what happened is I figured that was an opportunity of lifetime. i did leave home. at a very young age. I had just finished 10th grade in high school, but that's where the metamorphosis really happened. That daily company class, you know, being thrown into rehearsal, understudying the big company. i was just a trainee and my body transformed. And that's where I really saw that at first I had overdeveloped my muscles from working at home without being supervised.
00:03:59
Speaker
That really leaned out and the turnout and the strength. And it just like within months, this metamorphosis happened. So I felt very blessed that I was accepted into that program.
00:04:13
Speaker
How was it moving away from home at a young age for you? You know, you're so focused on what your task at hand, but I was lonely a bit, you know, more at night when the day was over. And in fact, one time my mom came and visited me unannounced and she could just sense that I was missing home. And I started crying. I remember clear as day.
00:04:32
Speaker
and And we had a great weekend for visiting me. And just knowing that they were only an hour and a half away was you know, a lot better than being all the way on the other coast. But, you know, it was hard. It's an adjustment. But you're also living this life that you imagined for, how you know, so many years. So it's very surreal.
00:04:48
Speaker
From the trainee program, what was your next step in your career? Well... First of all, I want to say that trainee program was incredible. And for your ballerinas and dancers listening, I want you to pull up the name Chu Sang-ho.
00:05:01
Speaker
He was resident choreographer of Washington Ballet and Singapore Ballet. So I would be watching these rehearsals and understudying. My first ballet was called Octet Plus Four, which he had a really wide array of choreographic works.
00:05:15
Speaker
And i understudied that and wound up being put in. So I was just kind of thrown into company life. right away. So I felt like I knew I wasn't in the company, but I was working as if I was. The experience was incredible. My first ballet I did was Balanchine's Serenade and Sea. And to this day, just warms my heart to hear that music. So I think I would have kept going on this streak, but there was a huge change at Washington Ballet. Mary Day was getting older. There was a change of ownership of artistic directors. Something was going on. I was too young to know exactly what, but what they had made available to many of us, they
00:05:51
Speaker
ended. So I, Caitlin, I don't even know how back then we even knew how, where were audition notices that, you know, newspaper, dance magazine, somehow we found the information, but Richmond Ballet was holding an audition, which I had missed, but they were creating their first regional company of Virginia. Virginia did not have a ah professional ballet company.
00:06:15
Speaker
So I actually went there and did a company class for an audition. And that was my next transition. They took me on as first time company member. And that was the beginning of a a wonderful and long career and relationship.
00:06:29
Speaker
So you were one of the original members of that company? Yes. Wow. Yes. Amazing. And the original director, Stona Winslet, just stepped down from artistic director to associate director. And Ma Kang is now artistic director, but that was a 40 year run.
00:06:45
Speaker
Incredible. This person had a huge part to play in shaping my career, you know, and everything about it, everything that she brought to the company. Yeah. Can you share more about that? Well, she had the insight back then, even in the first year of diversity, of giving the audience different balancing classical, modern, contemporary, on point, off point.
00:07:06
Speaker
Back then, 40 years ago, this is when I joined in 84, 88. four eighty eight Diversity in dancers, you know African-American dancers who were phenomenal. She just had that insight that I need to embrace everybody's talents choreographically and the dancers. And like we felt that. you know We felt like we were sort of this yeah odd mix of people coming together and we all had wonderful things to contribute. So it was you know really a warm family be seen for what you bring atmosphere. and And she continued that, you know, all through her career and through the growth of Richmond Ballet.
00:07:41
Speaker
Do you have a favorite role that you danced with Richmond Ballet? Well, as I progressed from trainee company member to principal, it was the fourth year that I did the lead in Carmina Burana, which is a modern contemporary ballet from John Butler. And i just dug into that role. You know, it was, it was surreal.
00:08:02
Speaker
You know, you're having Live choir, live orchestra. It's set back in times of the monks. Very dramatic. I love the choreographies. And to this day, it's my favorite role. What took you from Richmond to Louisville?
00:08:15
Speaker
This is so crazy. I felt the need to move forward. from my hometown home state. I'm not sure what that was possibly getting out of the south as well, but I wanted to see if I could make it beyond my home town. i don't know if anybody else has that sort of feeling.
00:08:34
Speaker
So, but I traveled by train to New York and did the audition for Louisville ballet in New York. And I was accepted into the company. packed up my things, had my conversation with the director and, you know, i need, I want to move on. And then i wind up in Louisville. I'm like, Oh my, what am I thinking?
00:08:50
Speaker
I'm more South than ever before. the town was, you know, Louisville's very South, but I think just that feeling of wanting to spread my wings, you know, go out in the world, see what else there is.
00:09:02
Speaker
And the company was lovely, but it was very obvious that the breakdown, everybody's roles was very
Transition to Commercial Dance
00:09:08
Speaker
specific. very set so there was the snow be in the core of this semester or this season and then be a principal and that you know there wasn't that you were in your role that was a shocker for me and ah a bit of a downer so I did sign my second year contract i I thought you know things are going pretty well let's see how this rolls and but then something very big happened Let's quickly pause this episode so I can share with you one of my favorite snacks that I have been loving lately.
00:09:38
Speaker
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.
00:09:50
Speaker
That's why I was so excited to find Aloha Protein Bars. Aloha bars give me everything I need. With 14 grams of plant-based protein and 10 grams of fiber, I can count on this snack to keep me going.
00:10:05
Speaker
Plus, they are delicious. My favorite flavors are the coconut chocolate almond and the lemon cashew. But honestly, you cannot go wrong. These products are vegan, gluten-free, and certified organic.
00:10:18
Speaker
And the best news is you can get 20% off your first order with code BRAINYBALLERINA. Head to the show notes and click the link to try Aloha Protein Bars for yourself today. Well, I had ah boyfriend that was a bit of a, I guess he just followed me. He was in Richmond Ballet.
00:10:36
Speaker
He followed me to Louisville mid season. And they, of course, they grabbed him, took him right in because it was nutcracker season. But ultimately he wanted to be an actor in LA. So once the season was over, it was the beginning of the summer. He wanted to drive to LA and I'm like, great, I'll drive with you, help you with the drive, get you settled. old He was going to stay with a friend.
00:10:57
Speaker
and begin his life as an actor. And I made the mistake of taking a yeah commercial jazz class out here. And it was incredible. And I made a decision. I went back and broke my contract and grabbed some things and moved to LA.
00:11:14
Speaker
So taking that class, what did you feel in that moment? Freedom. I personally had a love-hate with the classical ballet, with the turnout, with the you know, regiment with some days were good days, most days were struggles. And I just had this freedom. Like I felt like I was in the right place with the jazz, with freedom of even, you know, wearing a little top and jazz pants and the music. And back then we had Paula Abdul, Janet Jackson, Michael Jackson, Prince, like it was just on and on the opportunity and the things to strive for in the commercial industry. So the buzz was,
00:11:50
Speaker
Like you're in class, you're working hard because you're going to go to these auditions. The buzz was just overwhelming. And it was just a place in my life. i was like, well, maybe it's time for me to make a change. And I just dove in What was your first job in L.A.?
00:12:04
Speaker
I auditioned and got the Hollywood Bowl, a Disney special events for Fourth of July. and it was a 10 day performance where they did fireworks, fireworks,
00:12:15
Speaker
I don't even know what year that was. It must have been 89. When I moved there, it was the following year, 89 or 90. And i was riding around buses, the bus system, which is terrible in LA.
00:12:25
Speaker
And that job, 10 days plus rehearsal, I was able to buy my first car. What has been one of your favorite jobs that you've had in the commercial industry? You know the job that makes you kind of feel like either I made it or I sort of made it or on my way to making it?
00:12:43
Speaker
And it was the MTV Movie Awards. There was a hot singer at the time, Robbie Williams, who's a British singer. And he did this one song. It's actually on YouTube. People can look it up.
00:12:54
Speaker
It's called Millennium. So this was 1999. Big buzz of the turn of the... ya into 2000. And I was a dancer and it was a um James Bond theme. So I was one of the golden girls. There were four of us ladies. They painted our bodies all gold, were in gold pointe shoes, wigs, really ridiculous. But everybody was a character. The whole stage was filled with just this really cool characters, costumes, and different versions of movement.
00:13:21
Speaker
And Toni Basil was the choreographer and she's the singer of, oh, Mickey, you're so fine. You're so fine. I blew my mind. So she choreographed it and it was, we performed it. It was filmed live.
00:13:32
Speaker
And like I said, it's on YouTube to this day. And it just was that job that was like, yeah. Yeah. I booked it. And it was also the job that had me feel
Challenges of Dance Life
00:13:44
Speaker
good enough about my accomplishment that I was ready to start a family because my husband and I had been married for seven years. So it was pivotal, huge.
00:13:52
Speaker
What would you say are the major differences, in your opinion, between dancing with ballet companies versus doing more commercial work? So commercial work and freelance ballerinas too, freelance dancers, it's the gig life, independent contractor life, self-employed freelancer, all those words are all the same.
00:14:11
Speaker
Company life, one, you have the stability of a contract you sign. you know A lot of times it's not for the entire year, 30 weeks, whatever. whatever So you have that, okay, I have income coming in, but also what happens is this team, if you choose your company,
00:14:30
Speaker
correctly or do your research before choosing your company for the atmosphere. It can be wonderful. You're a family, you know, you finish one performance, you start getting ready for the next. It's just this flow. It's go, go, go gig life.
00:14:43
Speaker
Ooh, you're on a job and you're thinking about how am I going to book the next one? you know like You're always in the in the future and you try to enjoy you know what you're doing at the time, but it's just never ending that you have to you know hustle. You're hustling, you're booking.
00:14:59
Speaker
And some people make it look really easy and make it work. And some people just prefer that or they've done the company life and they they like the diversity of all the different things they get to work on.
00:15:11
Speaker
But I do know that my husband calls it gypsy life, you know, almost like the life of a musician, too. It's just you're just bouncing around. So you really have to find yourself in that kind of life.
00:15:22
Speaker
How have you balanced being a working mom and a dancer and a choreographer and all the things? Yeah. Well, you know, then i was out of ballet life as far as ballet company life. So I didn't have that pressure of leaving a company to have a baby, which by the way, I just want to say this companies now are really embracing their female ballerinas, having a family and they make space for that.
00:15:44
Speaker
And then they come back when they're ready. You know, I, Two ladies at Richmond Ballet had little babies, little children. i'm like, this is fantastic because in you know the old days, that was the end of your career. That was it.
00:15:55
Speaker
So for me, I had begun teaching pretty much right away when in l L.A. to you know to bridge the gap between jobs. So I continued teaching, of course, had the three months from our first son.
00:16:06
Speaker
I think it was even two and a half months. And I went back to teaching. and continuing my craft and choreographically. And i didn't do as much performing then when our children were young.
00:16:19
Speaker
In fact, I'm doing more now than when the kids were young. But, you know, it's that transition into the next place in my artistry. I really wanted to learn how to be proud of having a choreographic career and where could that bring me and even directing and moving out of working with kids to colleges and higher education.
00:16:37
Speaker
So it really kept me busy. And I was, I taught, it was working the whole time. What are your thoughts on continuing a career? i mean, how long have you been dancing now? Yeah. 40 years, 50 years?
00:16:51
Speaker
50, 50 years. I started at six to do the math. How do you have that longevity in a career? What are your, what's your advice? I knew long ago when she she used to train from my husband at Tremaine's studio, which was way back, you know, and she has a studio out in Idaho. She brought me in last year.
00:17:10
Speaker
And I asked actually asked her, I said, what had you reach out to me? but She goes, Nancy, I just see you. You know, you're just consistent. You still, you stay at it. You know, you're either working, teaching or performing.
00:17:22
Speaker
And it's the real deal, you know. And so i take ballet class couple of times a week. I give myself a bar here in my backyard. i teach, I choreograph. My husband and I take ballroom classes together. We always did salsa, but we wanted to fine tune that.
00:17:39
Speaker
I think I'm always pushing myself stylistically, artistically, but you know, it's just the new norm. I mean, there's people that I trained with. They're still dancing, choreographing into their sixties.
00:17:54
Speaker
i Yeah, it's the new norm. We're taking care of our bodies, I think, better, eating healthy. There's a lot available to us to help us sustain a healthy life and attitude and approach.
Founding LA Dance Moves
00:18:06
Speaker
How did you get into starting a company? How did LA Dance Move start? Did you always see yourself taking that path as a director? No, neither having a school or studio, never none of none of that.
00:18:19
Speaker
But there's a backstory to what was called dancemoves.com. And that was when before my husband and I had a family. like He was a commercial jazz dancer and he really had a phenomenal career working with Michael Jackson, Prince, Paul Abdul. It was just really, really phenomenal to watch him take off, but his style was very different than me and very athletic.
00:18:41
Speaker
So we actually had a small company called Dance Moves and we would provide small groups of dancers to the film industry. And we also did light stunt work. We did weapon work and driving, stunt driving.
00:18:54
Speaker
And that was really cool. But we laid that down once we had the family. So fast forward, I was choreographing at the college I teach at still now. I've been there 19 years. And it was around 2012 that I did a really meaningful piece.
00:19:09
Speaker
And it was in honor of my father who had passed three years prior. And I really dug into this and put everything I had into it. Once I saw that on stage, I felt the satisfaction of when you really dive into something and give it your all.
00:19:22
Speaker
What happened is a few years after that, I wanted to honor him because he was a composer, arranger, musician in the Marine Corps. And I was able to have our own wind ensemble recreate some music of his.
00:19:36
Speaker
We collaborated. I put dancers on stage. We had live musicians. I had Marines. And it was just this amazing combination. And I had forgotten that I used to play music. I used to play flute in middle school and high school. And my dad was actually my conductor for a few years.
00:19:54
Speaker
So I sat in on the musical rehearsals so as we prepared for this. And it just kind of all came together that this is my passion and my love. And I want to push forward collaborating with composers and musicians.
00:20:09
Speaker
And it took the form of dance on film. And that's how LA Dance Moves began. And that was 2014. In fact, we just We've just hit 10 years. And that was the way that I could do it. That was my lane was to create dance on film and then share it out. And it kind of kept morphing.
00:20:25
Speaker
How did you learn to create dance for a film? I mean, I imagine that's a completely different skill set. That's a great question. And I remember being surprised at how I took to it.
00:20:37
Speaker
It felt natural. The planning of the film day, of the different shots. I'm like, why does all this feel so normal and natural? I don't know. I think maybe because it's very similar to planning a production on stage, but just having you know the film in mind.
00:20:54
Speaker
So after the first production, which was really had a lot to it, very involved, Two different looks, an inside look, an outside look, a sub-storyline, B-footage, B-roll, close-ups, sunsets. like I mean, I didn't take any courses.
00:21:07
Speaker
So I think I just followed the vision of it. like What would it look like? you know So you kind of see the end product and then work backwards. What's your vision for LA Dance Moves? You know, we worked 10 years.
00:21:18
Speaker
I was in my lane of like one or two little productions a year and then COVID hit. And that's actually where I thought, all right, I'm going to go for it. And, you know, one was out of the passion of just trying to keep dancers working somehow. The idea of actually having a company kind of hit during COVID when I did a virtual concert that people really received that well. And I had a small audience, but actually sold tickets.
00:21:43
Speaker
And then I did another virtual concert. And I thought, well, I could really get into this, you know, but understanding that, you know, ticket sales are not enough. You have to have that board of directors and be a nonprofit, and get people to donate. And I wasn't quite ready for all that, but it was something I really wanted to do. And it kept getting bigger and bigger. And then the final production I did, which was really, ah it was a dance on film production, but I turned it into a feature film.
00:22:12
Speaker
And it's a documentary. And it just took everything out of me financially as well. So didn't have that backing or donors. And i'm like, Nancy, what are you doing? You know, financially, this does not make sense. This is not a business model.
00:22:25
Speaker
But if we look at marketing and putting yourself out there and having products and building a portfolio, there it is. And a repertoire.
00:22:36
Speaker
So Sustainability-wise, it wasn't I couldn't keep going that way. But now I have 10 years of dance on film and repertoire of LA Dance moves.
00:22:47
Speaker
And so the future of LA Dance moves right now, right in this moment, is getting this work out there. And I'd love to you know be restaging the works, which I've done a few times now, on other companies and share share it out.
00:23:00
Speaker
As a choreographer and as an instructor, what type of environment are you aiming to create? when you're working with dancers in the studio? I expect a lot and I ah communicate that.
00:23:12
Speaker
expect you to do your best. I expect you to come back better than you left the week before and listen to your music and visualize. Those are the three things I expect. On the flip side, I create kindness, patience.
00:23:25
Speaker
As long as you're doing your best, you know let's work together. I've learned better to morph and work with the dancer in front of me rather than, okay, this is my vision. I'm going to put it on you. That's taking me time to get to that place.
00:23:39
Speaker
But I also know, and this is probably my biggest why of why I would want a company is the harshness of, you know, when we place ourselves in a situation where we're being judged, where we're given roles, where we're being cast, how difficult that is.
00:23:57
Speaker
I was there. I know what that feels like. And I know what it feels like if you're working really hard and you're still not getting what you want. So the atmosphere I create is to bring people up, bring them up and watch them go, see the confidence, see them go to places they haven't gone to before because I believe in them.
00:24:18
Speaker
And it's quite something to watch. It it gives me chills. What lessons do you hope that your dancers are going to walk away with after you work with them, even beyond maybe technique, but probably beyond technique? Beyond technique, yeah. Belief in themselves, you know, belief you just push, do that extra push.
00:24:34
Speaker
You can overcome your own boundaries, seeing you have much more in you, you know, than you have. Going forth, like I say, spread your wings, fly, confidence, belief in yourself, kindness.
00:24:47
Speaker
When you receive kindness, you pass it on. And also maybe also discernment of knowing, hey, I flourished in an atmosphere like that. I don't want to put myself in an atmosphere that's not at least similar or has me feel this way.
00:25:01
Speaker
When you're working with dancers, what's drawing you to a dancer that you want to work with? What are you looking for? Yeah, that's a great question. Yeah, because, you know, in a seat, like in the audition situation with a lot of dancers, it can be overwhelming. But I i can actually feel people.
00:25:18
Speaker
And I kind of gravitate toward a little bit of the underdog who's got it, but maybe it's not fully there yet, or they are gracious and grateful.
00:25:30
Speaker
And that's so weird because we think, well, don't you need to see technique? Yeah. I mean, then we have to have the efficiency of you know what I need, but it's also, how is this person going to be working with them? I want someone who's grateful for the opportunity, who's kind, who's, you know, we can work together. And somehow I can feel that from somebody.
00:25:49
Speaker
Per project, it's more per personal invitation. And I tend to watch people for quite a while. And not not stock, but like in class, you know. and LA Dance Moves originally began with my college students who have graduated and who I chose because I saw them go through adversity. I saw their character. So that is also a way I choose, not in an audition situation, but if I'm going to invite somebody, their character Let's pause this episode so I can tell you about one of my favorite resources for dancers, Ballet Help Desk.
Advice for Aspiring Dancers
00:26:26
Speaker
If you've been loving the Brainy Ballerina podcast, you'll want to add the Ballet Help Desk pod to your list. This is the premier podcast for dance parents and hosts Brett and Jenny share weekly expert insights on supporting your students' ballet education.
00:26:43
Speaker
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.
00:26:58
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.
00:27:09
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.
00:27:25
Speaker
So can you give us some advice for a dancer who's maybe a freelancer in l a How could they stand out to someone like you, a director, who's casting dancers for our work?
00:27:35
Speaker
Showing up, do the work, going to class is a big one. Being in class, believe it or not. And then the habits you have in your class, people are watching. In ballet, we're all focusing on ourselves, of course. But if someone has not a good habit, that draws our attention.
00:27:54
Speaker
more so than the other way around. So an example is ah of this is in class is a beautiful ballerina I was watching and really wanted to work with, but she would she wouldn't finish her pirouettes. She would do, and then she would had her pointe shoes on and center. She would try to go for a double. She'd flop out of it and just let her body just, you know, she gave up. And, but that was a habit that I saw and I didn't see her like stick it and push the next time.
00:28:19
Speaker
So what I want to say is it is a community. And people are watching and we see your habits. What do you want us to see? So what do you want to see? Like what would be the thing that would make you say, oh, that's – I know you mentioned a few things. But like in a classroom setting, like someone's working on a combination. What's a habit that they have that's a good habit that you would be like, yes, that's what I want? Great question. Well, listening to corrections from somebody else, like stopping what you're doing and listening, attentiveness, going in multiple groups, doing a combination again, just that eagerness, that wanting it, that feeling of wanting it, correcting yourself, working on things that are not working
00:28:59
Speaker
Well, you know, maybe staying a few minutes after class, getting there early, warming up, pleasant, happy to be there, you know, happy with your colleagues, as opposed to this love-hate relationship we can have with ballet, kind of do a check on that.
00:29:15
Speaker
Let the things that you do really well flourish, but make sure that the things that aren't working so well, those can be heavy on you. It's like a monkey on your back. You want to break those apart and fix things. So seeing a dancer, even if maybe their parents aren't going well, seeing them persevere through that moment as opposed to giving up.
00:29:32
Speaker
Persevere. Even if it's not perfect. Yes. As a freelance choreographer, dancer, all the things, how do you find opportunities? How have you created a name for yourself in this industry? Yeah.
00:29:44
Speaker
Oh, that's so great. It's community. It really is. i I made the mistake of thinking, I'm going to create these works and it's going to go online and I can reach people all over the world. well that true And true available to us, it really is community. People love working with who they know and who they've worked with and they've had a great experience. And you just sort of expand this network.
00:30:07
Speaker
People refer and think of you. My mistake of thinking worldwide is that people really want to honor within their community and work with you and refer you.
00:30:20
Speaker
That has been an interesting realization. So LA Dance was with me creating this opportunity for myself and for my dancers. And then from that, people I've embraced who either supported my mission or just supported, you know, watching my work.
00:30:36
Speaker
And we created a relationship. What are your dreams or your goals? Like, what do you want to do next in your career? Well, like I said, i want l LA Dance Moves, the repertoire to live on. Because whenever you restage something, it's always better.
00:30:50
Speaker
And, you know, you can restage it for... the abilities of the dancers, you know, at that company. So that, that is a goal of mine. I want to inspire our young artists. I think it's a lot harder than it was when we were training.
00:31:03
Speaker
I think the distraction and what's put on them. So I want to find platforms where i can inspire our artists, whether that's in convention work or lecture, but If I could have ah board of directors and donors, you know, if I'm at a place where I could welcome that back into my life, I would like to have a company that invites dancers in almost a rehabilitation type atmosphere.
00:31:30
Speaker
You're such a business savvy woman. I always really admire that about you and just the way you're able to navigate that side of the business.
Business Side of Dance
00:31:38
Speaker
So I'd love you could share for us any advice you have on that behind the scenes business aspect of the dance world that we don't always talk about as much.
00:31:47
Speaker
No, that that's really fantastic. And I think dancers should know this because it gives you a broader empathy toward everything that goes on. And so... One thing I wanted to say about working with freelance dancers is, you know, when I did in particular, this huge filming that I morphed into a film, this was still during the pandemic. It wasn't 2021.
00:32:10
Speaker
It was unreal. And when we did this live filming in front of an audience the day, you know, it's surreal. I can't believe this is all coming together. And this is going to sound a little harsh, but I want your dancers, your listeners to hear this, that the Day was done. we packed up.
00:32:25
Speaker
We couldn't really all go out for a drink or food. Everybody else had to. So we we said goodbye. The next day, day after, day after that, nothing. No, wow, that was really amazing, Nancy, you know, or check in or.
00:32:40
Speaker
What are the next steps with all the footage? And I actually wound up getting really sick two days after this filming. actually got COVID and I was really sick. And it was sort of a double whammy that, oh, they've just moved on.
00:32:53
Speaker
They've moved on to the next gig. This isn't even in their minds. And I was really, it was a harsh reality that that's what your director goes through. You think you've created this family, but unlike company life where we're going to see each other on Monday again, they've moved on. And and that was a harsh reality. So what I would like dancers to know about is everything your director, you know, has to do to put together a production.
00:33:21
Speaker
Like think about Nutcracker, you know, how many dancers thank their director when it's all said and done, you know, for this opportunity. And I think don't underestimate how huge that would be.
00:33:32
Speaker
So the background, scene setting and I actually want to create a course on this from my experience but you know just you you have to start from the production and work backwards so the end product and work backwards into you know the visual and the filming what is the goal of the project and then you have to Pick your dancers, book rehearsal space, which a lot of times we're in a different space each time.
00:33:59
Speaker
That alone is a challenge. Put it all together. Hire your cinematographer. I mean, it's like imagine putting a film, a movie together. It's a lot, a lot of moving parts. I remember one time you gave this great piece of advice to me about contracts and you said, always get everything in writing. And I've really held on to that. I'd love if you could kind of share your advice about something as nitty gritty as a contract.
00:34:24
Speaker
It's huge. e Even if you're exchanging services for free, the contract is because communication gets so wonky, whether it's verbal, even texting can be a contract because you're taking what you've talked about and putting it in words and then go, oh, well, that's not quite what I meant.
00:34:43
Speaker
And then you can really define. So it's really just defining what am I agreeing to? And when if it's loosey-goosey, most of the time it's going to be a project from health. So the contract is is not, it's being smart and savvy, but it's really just taking the words that we just said, putting it in writing, make sure we all agree, we all understand, and then everybody relaxes.
00:35:07
Speaker
because we understand what's expected of us and boundaries, right? It's outlining your boundaries. And then if you're being asked more, you can have a conversation about it, but it's not just expected of you.
00:35:20
Speaker
And so even if you're just exchanging services, you can create a contract on that as well. Yeah, I love that. i think that's so important for dancers to know, like, set those clear boundaries, set expectations so that everyone, like you said, is much calmer going into the situation because you know what's going to happen.
00:35:38
Speaker
Well, dancers, let's say they talk to somebody who they, someone wants to them to do a gig and this is typical. There's no pay, but it's great exposure and you'll get footage and photos.
00:35:50
Speaker
Oh, okay, great. So the dancer can follow up with an email. Thank you so much for this opportunity. I want to make sure I understand everything we just talked about correctly, throw it in an email and then see what happens.
00:36:04
Speaker
And I think another one of your superpowers, Nancy, is connecting people. And you've spoken about this a little bit, the power of connections. But you have a wonderful way of seeing an opportunity. if it's not something that is right for you, maybe connecting someone else to that. I'd love to just hear your thought process behind building that community and making those connections for people in your network. I like to do exercises with my students where they actually wind up writing down what their gifts are and really getting clear on what they offer. What are their gifts?
00:36:33
Speaker
So if we're really clear on what we can really do and what we can offer and what we're really good at, it makes it easier to go, you know what, this isn't really in my lane.
00:36:44
Speaker
That person would be great. And it's like giving a gift, you know, and you give a gift and their eyes light up and and it's like so rewarding when you do that for somebody else. It's so they're so appreciative and it just creates a sort of like you don't do it to give something back but it just creates energetically a wonderful relationship where that person's like wow that was really cool and that really is a power of of building a a like-minded network because somehow that's going to come back to you and and and that's how caitlin was able to get not one but two opportunities working at a university was from somebody reaching out to me so it's like i feel like
00:37:25
Speaker
It's just natural like to give back because it was huge. Working on a university and working with these dancers who are pursuing a professional career or going in that pathway, what do you hope that they come out of your class or out of their time with you knowing?
00:37:40
Speaker
Knowing and coming out of that true appreciation of the breakdown of dance and honoring the progression of it. You can't rush it.
00:37:50
Speaker
And you can't skip steps. And also extracting everything you can. Like, remember, when we started this call, I had one class a week. I extracted everything I possibly could without even knowing it.
00:38:04
Speaker
You're like, this is all I get. I got to you know do my best. So I tried to instill that in dancers. Also community, working with each other, embracing each other as strength.
00:38:15
Speaker
and camaraderie. That's what i I hope they get out of my class and move forward and bring that with them. You know, when you think about it, those are all the great things to have in the work environment. Last big question I have for you.
00:38:26
Speaker
What advice would you give aspiring dancers who are pursuing their
Closing Remarks and Contact Information
00:38:30
Speaker
career? My advice to dancers is I do believe that we don't choose dance, it chooses you.
00:38:37
Speaker
Because those who truly love it and breathe it, it's beyond you. So I think it's a gift. I think it's gracious. and beautiful to be part of this the world that brings so much life to our dance and the arts brings color to our black and white world.
00:38:54
Speaker
So remember everyone that's there to make you great, embrace them. Remember every time you're on stage, was an honor to be there and be in front of people and sharing your gifts.
00:39:05
Speaker
I think just gratitude because wherever you are, there's people who want you to succeed and do great. and to soak that up and just let that be your light. This has been so great, Nancy.
00:39:17
Speaker
If there's anyone who's listening who wants to learn more about you or LA Dance Moves or see your work, where can we go? Okay, awesome. The easiest is L.A. Dance Moves on YouTube or Nancy Parody. Either way, it's going to pop up.
00:39:30
Speaker
And what I'm working on right now is the artist series, which is talking about 10 years of my productions. So can kind of dive into that or just see all the works. There's also ladancemoves.com where it's my hub and you can see a lot of stuff there.
00:39:44
Speaker
Amazing. Thank you so much for this, Nancy. It was so great to connect with you and thank you for sharing all of your wisdom. Caitlin, thank you for doing everything you do to the dance community and hosting this and having me as your guest.
00:39:58
Speaker
Thank you for tuning into the Brainy Ballerina podcast. If you found this episode insightful, entertaining, or maybe a bit of both, I would so appreciate you taking a moment to leave a rating and hit subscribe.
00:40:11
Speaker
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00:40:24
Speaker
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