Become a Creator today!Start creating today - Share your story with the world!
Start for free
00:00:00
00:00:01
80. Artists in Training Founder Robert Schultz on Preparing Dancers for Real-World Success
116 Plays4 days ago
In this inspiring conversation, I’m joined by Robert Schultz - LA-based dancer, choreographer, educator, and founder of Artists in Training - to explore how dancers can build a thriving career in today’s ever-changing industry.
Together, we dig into how class culture has shifted in the age of social media, why dancers crave instant gratification, and the impact that “getting it on film” has had on training. Robert also breaks down how Artists Training was created to bring connection, consistency, and deeper purpose back to the convention model - helping dancers not just improve their technique, but understand who they are as humans and artists.
This episode is full of honesty, humor, and powerful reminders about staying grounded, trusting your path, and never giving yourself an expiration date.
Key Points in this Episode:
- Robert’s early dance beginnings and how his first teacher recognized his natural talent
- The differences between the NYC and LA dance scene
- Why proper warmup, longevity, and technique still matter (and why he refuses to shorten class!)
- Professionalism on set: respect, communication, and the behaviors that get dancers rehired
- The creation of Artists Training and how it blends convention energy with mentorship and mindset work
- Studio culture: competition vs. community and the power of genuine support
- Why dancers shouldn’t give themselves an “expiration date” when pursuing a professional career
Connect with Robert:
INSTAGRAM: instagram.com/moveyoutoinspire
AIT INSTAGRAM: instagram.com/artistsintraining
WEBSITE: www.aitdance.com
Links and Resources:
Visit the Ballet Help Desk: https://ballethelpdesk.com/
Get your copy of The Intentional Career Handbook
Let’s connect!
My WEBSITE: thebrainyballerina.com
INSTAGRAM: instagram.com/thebrainyballerina
1-1 CAREER MENTORING: book your complimentary career call
Questions/comments? Email me at caitlin@thebrainyballerina.com
Recommended
Transcript
Introduction to Artisan Training and Self-Representation
00:00:08
Speaker
Everything kind of plugs in everything. So we're giving not just like cool moves and like dance better and dance right and smarter, but we're giving them the resources and tools to go out in the professional world. People come out here and be a fool sometimes. And there's a way that you have to kind of represent yourself. You're selling you ultimately. You're the business. So what do you want your business to look like? And how do you want the world to receive that? That's what we really hone in at Artisan Training.
Caitlin's Podcast and Career Insights
00:00:36
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.
00:00:53
Speaker
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.
00:01:11
Speaker
Hello and welcome to the Brandy Ballerina podcast.
Robert Schultz: Career Beginnings and Inspirations
00:01:14
Speaker
I'm your host, Caitlin Sloan, and I am joined today by Robert Schultz. Robert is an LA-based dancer, choreographer, and educator.
00:01:22
Speaker
He has taught at Edge, Millennium, and Debbie Reynolds Dance Studio, and his work as a dancer and choreographer span TV, film, commercials, industrials, award shows, and more. He is also the founder of Arison Training, which is an in-studio dance convention, and we're going to talk all about that today.
00:01:38
Speaker
But first, Robert, I would love to hear from you. Why did you take your very first dance class? Oh, okay, this is gonna sound like a chorus line, but i I swear it's not. So I used to watch my sister, my mom used to take her to dance class and I'd be have my little matchbox cars. When she started dancing, I'd just be watching the whole time. And then when they would stop, I'd be playing with my cars.
00:01:58
Speaker
And so when they would go home, my mom would make my sister practice and my sister had no idea. I love her, but she was little. She's like, I don't know what I, she didn't know the choreography. And I'm like, I'm at the dinner table. I know it, I know it. And my mom's like, how do you know it? And I was like, you do this. So then, you know, that kind of would take place. And my mom never said anything. So then one time there was another room at the studio. And when they were working in class, I was in the other room dancing. And the dance teacher, my dance teacher, Kelly, snuck around the corner. And she's like, oh, we should bring him into class. So that's how it all started. I think I was born to dance. There's some things that just innate in you. I really believe that we have our gifts. And it was just, OK, that's how I found my way into that.
00:02:33
Speaker
What was your training like growing up from there?
Overcoming Challenges and Embracing Dance Professionally
00:02:36
Speaker
I trained at the Turning Point in St. Clair Shores with Kelly Powers. She's amazing. my mom passed away when I was nine, so we had to move with my and uncle. So prior to that, I only took like a tap class.
00:02:45
Speaker
And so then my aunt had to raise four kids and then three of us were in dance class. So that was a lot. And my teacher, she allowed like my sister and i to take classes. I think we only took once it twice a week, but we took ballet, jazz, tap. Hip hop wasn't really the thing at studios, but I was doing it on the outside because I had a lot of friends that were doing it. So we'd go practice in their basement and everything like that. so It was amazing training. I love my teacher. Like she was really training her dancers to pursue the profession, you know, and Fletcher, who's now a big time director is from our studio. She's always just kind of been, let's do this. I love that her attitude and her energy toward teaching. So it was great. So I'm grateful that I got to grow up there.
00:03:26
Speaker
From your training years, what was your transition from student to professional life? So when I graduated, like it was the last day of high school and everybody, what's it, Metro Beach? Everybody goes to Metro Beach? Well, I didn't because I heard about this thing called the auto show. So i was like, I'm going to audition. I was only 17.
00:03:45
Speaker
So I went and I remember, was like, I'm going to do this. i had never auditioned in my life. So was like all these older dancers and they're all, they knew what they were doing. So I went in there. I ended up all the way to the very end.
00:03:58
Speaker
And like for 10 hours. And I remember they came out to me. They're like, you just look like a little kid. We need you to look like more like a man. Well, okay, but that was good. But I got down all way to end. So that really got my, ooh, I want to do this. But I was in Detroit and I didn't really have, I was like, what am I going to And I remember this club back in the day called Clubland. And there was this huge club and there was this huge state that dropped down. I remember I went and auditioned and made it. And that's what kind of started from there and i was like, okay, I want to do this. And I had a friend in New York, which then kind of transitioned me to there. So that was kind of my first feeling of what, like, I never knew what an audition was. I just, i was like, oh, it's like you could get a job to travel around the country. i'm like, okay, let's go for it.
00:04:39
Speaker
What was your first paid dance
Gaining Experience in Dance and Choreography
00:04:41
Speaker
contract? Oh, so it would be working with Toyota. Yeah, when I was 18, I got it the next year. Or actually my first paid contract was working at Clubland, which we made 100 a night. What was that like? It wasn't go-go dancing. We literally, they had a choreographer, Shanti, from Chicago. And that's how I also got my connection with Chicago.
00:04:58
Speaker
She came in and they had the writers from SNL do sketches. It was a big deal. We worked four nights a week, Thursday through Sunday. This huge stage would drop from the ceiling. So it was like, oh, this is what I want to do. You felt it.
00:05:12
Speaker
So I got a taste of dancing and acting at the same time. So that was great. And then once you got to like New York and Chicago, were you still doing a lot of training? Were you auditioning? What was that like for you? I love that question. Because when I went to Chicago, was more for work. But when I went to New York, I went to train. Because was oh, I want to get better.
00:05:31
Speaker
want to be amazing. So I went to Broadway, Steps. I went to class every day. I remember I walked. I think I lived at 69th and Broadway. And I would just walk every day. I was like, the energy there is so you just want to get up and go. So I trained every day. And I was there. for I think seven months of training and I was auditioning and and and booking little jobs but it was really for the training. How did you end up moving to California and getting into the l LA entertainment industry?
Moving to LA and Industry Establishment
00:05:58
Speaker
There's a couple things back in the day there was a choreographer and he owned Urban Jam Johnny Smith he lived in Michigan and he had moved out to LA so he had seen me at one of the club land dancing and he was like if you should move to l LA dude you would work you know, i never did that. So when I went to New York, I was taking classes. My friend Amy Schenck's like, oh my gosh, they're having a big audition for people to relocate from New York to LA. This big agency at the time, Bobby Ball, they're coming there.
00:06:22
Speaker
And um I'm going to go. And I didn't have, you know, for auditions, I thought I was just going to wear sweats and a t-shirt. My friend's like, no, you have to stand out. So I remember we got some kind of outfit. It was crazy.
00:06:33
Speaker
And I went to the audition. They made cuts and I made all way down the end. They're like, we'll call you. You know, you kind of hear that. My friend Amy goes, well, when they say they'll call you, you don't know. So I continued to be out in New York. And then I got a call from Michigan to come back. They're like, the auto show wants you do another year. And i'm like okay, I'm gonna do one more year. i could get more money, go back to New York.
00:06:53
Speaker
So i went back to Detroit and two weeks later, I got a phone call. from i think it was Teresa Campbell from Bobby Bond they're like if you ever come to LA we'd love to rep you and I was like what I think this is a possibility so that's what led me to l LA and I love New York but I'm more of a person love to get in my car love to drive places in New York was always feel like this and l LA just feels like They're both amazing. no No hate to New York. But I just wanted to be somewhere where i could just go to beach. When I was little, I would always told my mom, I want to go to Hollywood or I want to live in Hollywood. i didn't know what that was. So that's where I ended up.
Cultural Differences in Dance Training
00:07:27
Speaker
yeah What would you say are some of the major differences in the dance scene between New York and l LA? Then and or now? Either. Yeah. So back in the day, like when Edge in l LA was really popping, I felt like that was training at its peak. And that it reminded me of what new York was when I was there. And i was like yes, I love this. You warm up, you go across the floor, you do choreography. And I was like this. Now, today, things are different, and I get it. But going back to New York, you still the training there is like you're doing warm up.
00:08:00
Speaker
And l LA, it's kind of gotten like, let's do the choreography. Let's get on film. They're both great. But I miss that training aspect. There are people that do it, but not a lot. Sometimes you go into a class, they're like, they just turn the music warm up on your own. And I'm like, just as what I was taught, the teacher leads the warm up.
00:08:17
Speaker
And I think it's important because you know what's going to help you know what you're going to be doing in class and you know what's going to help the dancers because I never want anybody to get injured or anything like that. They both have their greatness. So I can't it just trainings a little bit different.
Impact of Social Media on Dance Training
00:08:29
Speaker
You can still get trained out here And there's really dancers in l LA but the trainings not like what it used to be when Edge and Millennium still they're doing great. But again, it's more about the choreography like, let's get a lot of choreography. And so why do you think that is why do you think that change has happened? Well, social media, right? And it's great because that's the next evolution, right? i always tell all my friends that
00:08:49
Speaker
you kind of have to go with the time, right? So that's why I'm like, there's no hate. Like people are doing that, but I feel like people want to get those. It's more about like, how can I grow myself as an influencer? Because then you can get work that way. And a lot of times I know right before COVID hit, when you would go and audition, they said that you would need at least like 15,000 influencers like to be seen. They just wanted people that were kind of being seen. So that transition, which I totally understand, people are like, okay, we need to do this. So LA became about Let's film it. Let's get your footage. So it was kind of helping you move toward your career, a more of a direct line. And I think the social media has really influenced that and affected it. As an educator now, do you still teach your class the same way with a more of and everything? Or do you gear more toward that? What's your mentality
Balancing Traditional and Modern Training Methods
00:09:38
Speaker
around that? I do the best of both worlds.
00:09:40
Speaker
I still do my warmup. I still, but then I'll film at the end. I always see if there's anything after me, if there's nothing after me and i'm like, Hey, if y'all, if I'm going to go over a little bit, if you want to stay, I don't, I'm going film, but I stay true to me because I know what it's like as a dancer. Cause there's a lot of choreographers that never really danced. I mean, they dance in classes, but on a job and you know what it takes like for your body to go through all this. And I want to help assist them in that so that they can have longevity. People are getting injured. There's so many injuries now. I talked to an orthopedic doctor. He's like, oh my God, these 16 year olds are coming with all these hip surgeries. I'm like, what? It's a different world. i want to stay true to who I am. I did have one student come up to me she's like, do you think you could shorten your warmup?
00:10:22
Speaker
I was like, well, maybe this is not the class for you. So I'm not going to change that. You know what i mean? This is who I am. And I'll stay to my dying breath with that. Yeah, yes.
Persistence and Embracing Rejection
00:10:31
Speaker
I'll fight for that.
00:10:32
Speaker
I'm with you. Was there a specific project or performance that was maybe earlier in your career that you really feel defines the path that you took as an artist or as a teacher or as a choreographer? You know what? This kind of ties into it all. As a teacher, as a choreographer, but it started as a dancer. i remember I had been auditioning. This is when Adam Shankman was a choreographer. Now he's a director, big time. He would do like every job. I would audition and audition and audition for him. And I remember he was doing an independent film. This is where he was going to put his feet into directing, but it was also gonna be a choreography. It was a short musical. i remember i auditioned, went through the audition. It was one of the most amazing auditions. It was exhilarating. So at the end, I had made it down and I booked the job. Now this is where I look back and I'm like, oh, Robert.
00:11:17
Speaker
So, but I had another job booked at the same time. I didn't take the movie. I wish i would have took the movie. It was okay because then like maybe a year later, I got a phone call and they're like, yeah we want to direct book you on She's All That, Adam Shankman. And it was from that audition. But my whole thing about this is just watching the process of the choreographers the dancers, seeing whatever he was doing. I was like, this is exciting. And I've always loved choreography. I used to do shows in my garage. I would charge people like five bucks and give them a bag of candy. And then I had had the garage door opener and i would choreograph the whole show. And it would be like eight minute long songs. It was just, good it was probably a lot of improv.
00:11:54
Speaker
All that kind of, like they all met at that moment, witnessing what these choreographers doing and then seeing people in classes and then them teaching. I'm like, oh my gosh, And I've always loved teaching. I've always loved sharing. And I think that's what teaching is, right? Sharing the knowledge. And so don't think Adam knows that or Anne, but that moment really, it changed my life. Just showed you that anything is possible. No matter how many times there was a no you just keep going. i was never, I'm like, okay, that's a no, next.
00:12:23
Speaker
I never stopped. So that all just kind of converged and made me realize like, ooh, I love all, every aspect of this and just watching the process of it. Was that ability to just take rejection kind of off the cuff and keep going kind of natural for you? Or did you have to work on that? You know what? Well, because remember when I was 17, right out of high school, going to that audition, the rejection was kind of hard. But you know what? Inside, I was like, oh, no, I'm going it again. So it didn't stop me. It fueled me. And so when I went to l L.A., I was...
00:12:53
Speaker
hungry. And I knew that rejection is part of this industry because I used to watch all these interviews with these big celebrities and they tell their story of like, how they failed, failed, failed, failed failed and then boom, I'm never gonna give up because this is what I love doing. So no matter how many no's, I know I'm gonna hear yes one day. So it never really hindered me at all, to be honest with you. Having worked in so many different areas in the industry, what have you learned about the business of dance that you think dancers need to know when they're pursuing their career?
Essential Qualities in the Dance Industry
00:13:24
Speaker
Even now, because you know social when you do TikTok and all that, it's different than being on set when you're learning choreography. And this is what I know, because I've been on a couple of sets. The business is about being professional, being present, and be respectful. And I think sometimes we're like, well, I'm this. I'm this dancer. And they're gonna it doesn't matter. Because I remember being on a movie. I'm not going to say. There was a dancer who was amazing, literally got fired. Can you leave the set?
00:13:52
Speaker
because it was being disrespectful, not listening to the director. And we were, it was a big movie. it wasn't like a tiny indie film. And I remember because this person just thought they were like, and that's great. Stand in the power of who you are, but you also have to be respectful. I would tell dancers still today, like just,
00:14:09
Speaker
Be aware of everything. Listen to everything that's being said to you. And respect and kindness is the big thing for me. And I think that's what gets you far. And when people love working with you, they're going to work with you again. And I always share that on artist and training, especially with the dancers coming up.
00:14:26
Speaker
Doesn't matter how many trophies you got. What place you got in this? That gets all scrapped away. Who are you? What are you going to contribute to this? What is your value? And what can you bring to the project? The performance is one of my things that I really instill in a lot of people. What are some of the other big things that you talk about as a teacher? or What do you hope your students come away from your class with?
00:14:50
Speaker
Work ethic, work hard. Do not give up. We live in a time, there's a lot of people get discouraged by the tiniest little thing. and I'm like, you can't like this little thing distract you from like, you want to do this, right?
00:15:05
Speaker
Working on your craft every day, becoming better, becoming stronger. i think that's super important because in class, when I'm teaching, I'm all about communicating. I love talking. I want it to be a moment that the dancers don't forget, no matter how many classes. I know when they go to that class, they're going be like,
00:15:25
Speaker
Okay, this is what I learned. Okay, i'm gonna go out there. But I think just like work ethic is a real big thing because I've seen it been on set and people's work ethic is, and just, you know, you can't do that. You have to be on your gig. You have to be present and don't get hurt if someone gives you a correction. Like I gave someone a correction. I've told her, bring your foot a little bit higher up to posse and she started crying. And I get like, you have to deal with all these emotions. So that's where I think I've gotten really good now. I'm like, okay, she's feeling this. How can I help her? Now, not everybody's like that. They'll be like, just get your foot to posse.
00:15:58
Speaker
And that's it. But just being okay with getting a correction, that doesn't mean that you're a horrible dancer. They just want you to do better. Yeah. I think as a young dancer, it's really hard because you feel like, oh, they hate me. I remember getting in the car from dance one day and just sobbing to my mom. Oh, my teacher hates me. like And she's like, what do you mean she hates you? Why would you say that? And I'm like, well...
00:16:18
Speaker
She would not stop correcting me the entire class. Everything I did, she had a correction for me. And and my mom you know was like, well, that means she believes in you. And thank goodness she had that insight. But like it would change my whole perspective to getting corrections because I thought I must be a terrible dancer instead of, oh, she thinks I could improve and she believes in me.
00:16:39
Speaker
I love your mom for that because not a lot of parents would even have said that. yeah Because I think I told my aunt she's like, well, suck it up. ah But I do say that just because I'm giving you a correction. I want you to do better because I know you have it. I know you can do better. So there's a fine balance when you're teaching.
Importance of Self-Advocacy and Communication
00:16:55
Speaker
And I feel like I've really not mastered it, but I'm like, feel like I'm heading toward that. of like how to talk to people because it's always changing. People are always changing. Circumstances are always changing. So you kind of have to go with the time. And I feel like I've really worked with that ebb and flow of what it is. So it's very delicate though. So you have to like, cause you don't want to destroy anybody either. Cause you, they might not have a mom of yours. They'll be like, well, I guess you're not good. You know mean? So, so that's amazing. How beautiful that your mom is. I love that. Yeah.
00:17:24
Speaker
My parents also were really good about if I had an issue or I felt like there was like a casting choice I didn't understand or I was upset about something, they would be like, well, you need to go talk to your teacher. Like they were never going to go. They would support me if I really needed it. But like they were not going to call my teacher up and say, why didn't you cast Caitlin in this part? You know, they were like, well, if you want to know why you didn't get that part, you need to go talk to her.
00:17:47
Speaker
And I really appreciate that too. Now, like having that conversation, ability to communicate and realizing like, oh, this is my battle. Not that it was a battle, but this is my thing I have to figure out. That is so amazing because when I go to studios, I'm like guest choreography, but I hear everything that happens from the studio owners and a lot of parents are calling. And some students now do come up like, what could I have done better? You know what i mean? And i'm like, okay, da, da, da, da. And I think that's great. And then you don't have the parent interjecting their thoughts and their feelings because everybody's protective of their kid and I get it. It's a juggle, studio owners. I give them so much credit. But I think that's a great thing for a dancer to come up and talk to the choreographer and the teacher. And I think you should be open to that. I'm not closed off to that. I'm not, don't talk to me. I'm always like, I'm here for you. What do you need to, anybody want to say anything? Definitely. Yeah. I think that communication is, it's key. It really is.
00:18:38
Speaker
Let's pause this episode so I can tell you about one of my favorite resources for dancers, Ballet Help Desk.
Ballet Help Desk: Educational Insights
00:18:45
Speaker
If you've been loving the Brainy Ballerina podcast, you'll want to add the Ballet Help Desk pod to your list.
00:18:52
Speaker
This is the premier podcast for dance parents and hosts Brett and Jenny share weekly expert insights on supporting your students' ballet education.
00:19:02
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.
00:19:17
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.
00:19:29
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.
00:19:44
Speaker
So let's talk about artists in training some
Artisan Training: Personalized Focus and Community Building
00:19:46
Speaker
more. So for those who aren't familiar with artists in training, can you explain what this is and what makes your convention unique? Okay. I was reading this book called The Artist's Way, and that's where I got like artists in training. And I was on a plane and I remember I was on convention and I was doing a lot of masterclasses. And then I remember I would be with a bunch of teachers doing masterclasses at studios. And then I'd be on convention. I was feeling the energy and know what i was wondering if they converged together. but had it more, not that everybody has to teach the same way, but everybody was on the same way of how they communicated, where they were coming from. Because it's so important for me when you're teaching that you got to come from like a humble, grounded place.
00:20:26
Speaker
There are so many people that are like, oh it's look at me, look at me. And every way is beautiful. But I wanted to do something where it was more, the kid felt like they were being seen more and that the weekend was not just about masterclasses and you have that convention vibe. but not with other dancers. It was more of their dancers. But I wanted the energy of what, when you're at convention, that the screaming and all that, but also that we were there to kind of implement more like knowing who that dancer is, like find out who you are instead of like you go somewhere and you're dancing like, oh, I feel like I don't know what's happening. But by the end of the weekend with Artisan Training, we've like developed journals. Every year we create these new journals. And this year we're doing about consistency.
00:21:10
Speaker
Keep that one more time because some people give up so easily and we want to give them that to a like, you can keep going no matter what happens and give them all kinds of different situations that have happened to other people and share that. So it's more of this experience. I wanted it to feel like a retreat too, that it's really...
00:21:29
Speaker
That when they walk away, that they're like, oh my gosh, I felt seen by every choreographer, every note they gave me. I'm so inspired. And then all my faculty that I've chosen, they're really those people. And they're like the heavy hitters in the industry too, which I think is brilliant that we're all in the same playing field. And that's what I wanted to feel like. So that's where arts and training stemmed from.
00:21:51
Speaker
I think every studio should, it should be an add-on to their year-long programs of like going to dance conventions and competitions. It'll give them the tools to when they go to a convention and when they go to a competition.
00:22:03
Speaker
So that's what I wanted to really hone in on, giving them not just dance, but life lessons. Yeah. So the format is you're going into a studio and working with just those dancers as opposed to having different studios together? Well, we offer this. we tell the studio, you are more than welcome because we would love for other people to come and participate. But I've found that It's a different world. Like studios feel very protective and I get it. If other dancers come in and another dancer might go to theirs and there's all that kind of studio hopping.
00:22:36
Speaker
But when we do artists and training, Michelle in Michigan Mad Pack, Kathy used to do Brighton Dance Festival. So a lot of studios used to congregate at that studio. So I feel people feel like we're just going there for a workshop. So we do get a couple trickled in, but most studios kind of keep it to their dancers. I always tell them, open it up to more people, because I think then that just brings a different energy and you create a community, right? Because at the end of the day, that's what dance is. It's this big community and we should all be like helping and supporting each other.
00:23:07
Speaker
And so I do put that out there, but it never tends to happen. Yeah, i know. like I get that, like that feeling of concern about going to other studios. I feel like when I was a kid, people went to other studios for other things. Like I went to a really serious ballet school, but then there was dancers who were like, I go over here to take my jazz class. And we had jazz, but just like not a ton of jazz. So if they wanted to really dive into that more, they would go somewhere else to do that too. And it was like, I felt like everything was kind of more specialized. Like you had a studio and they were like, this is what we're really good at. Yep. We're not going to try to do everything. We're going to be really good at this one thing. and then they didn't feel like threatened by dancers going somewhere else to try something because they're like, well, we don't do that.
00:23:47
Speaker
So you should go get that. I love that. I think that's amazing. And I think too, also, i wish there was more of it. Like we say in the dance community again about, Okay, I have this what I offer my studio, right? But I feel confident that my dancers can still go out. Because I think as soon as you start putting that insecurity, like, oh, you can't go here, you can't go. That's when I think people start, there's a shift.
00:24:10
Speaker
So it's kind of like the specialty thing, but... Almost like if you show that you're like, oh my gosh, you can't go there, then I feel that's when people tend to go there. But if you kind of set a nice playground where like, we're a family, i want you to thrive and you always have your place here. I just think, I'm kind of curious.
00:24:27
Speaker
I think if people implemented that. It could really do amazing and wonders to all the studio. I really believe that. But I'm more of a like believer of everything always works out. and so But also, the bottom end, they got to make money. They got to make sure they pay their rent. I get all that. So that's why I tiptoe gently yeah when we're doing it.
00:24:45
Speaker
And I put it out there. And if they do that, great. If they don't, we're grateful too. We're still going to have an amazing time. Yeah. You know, if you just think about the fact that like your dancers are only going to improve the more that they try, the more they get out there, and it's only to look better for you as a studio too. So if you can kind of have that mindset around it, like we just want the best for the dancers, it's a win-win. What do you think studios might overlook or maybe simply just don't have the access to when they're preparing dancers for the professional world? And how are you filling that gap with artists in training? I love that question.
00:25:17
Speaker
So number one, when I moved to LA, wish I kind of knew who I was a little bit more. I was hungry, which that's good. And it was go, go, go. But I didn't know who I i really was. I wish I just had a little bit more tools. And that's The one thing that I know for Artisan Training that we're really implementing that. And we also teamed up with a bunch of different dance conventions, dance festivals, competitions, AMDA. We just joined forces with AMDA. So we're giving like up to $70,000 college scholarships to go to college. So we want to give them as much information
00:25:50
Speaker
information, as much resources and show them that there's all these different avenues and that it's not always about dance because we do like these journal sessions and we'll sit down and one girl found out that she wanted to be a costumer and she didn't even know that because we were doing all these journal prompts and she says, I think I want to design costumes for movies and dance and I'm like,
00:26:11
Speaker
Boom. But you know how to move, right? So you're going know what, so everything kind of plugs in everything. So we're giving not just like cool moves and like dance better and dance right and smarter, but we're giving them the resources and tools to go out in the professional world. People come out here and be a fool sometimes. And there's a way that you have to kind of represent yourself. You're selling you ultimately. You're the business. So what do you want your business to look like? And how do you want the world to receive that? That's what we really hone in at Artisan Training. And we take our time doing it. We don't rush through anything. And I feel like even in the convention world now, everything is like, like i remember like toward the end before I left, I was working on Hollywood Connection. They're amazing, brilliant. But i I was going down another path and I just feel like classes, like it was like, okay, teach.
Dance Education and Process Over Instant Gratification
00:26:58
Speaker
You have 45 minutes. And it's like,
00:27:00
Speaker
how do you get across, com communicate? Because I'm such a communicator and like, sometimes I'm like, okay, just do choreography. So I was like, okay, how can I hone that in and do all that and be happy with it? And I think that's why I created Arts in Training.
00:27:12
Speaker
So that I can do all the the the moves, but then communicate it and get the message clear to them. Yeah. And i think it sounds back to what you were saying about class structure, even. It's like, There's this want in our current world for everything to be like more instant and quick and fast. And we want, you know, same day delivery from Amazon. We want DoorDash right away. There's this feeling that we can do that with dance, but you can't. You can't. and so you still need, I love this concept of um having the same vibe and energy of a convention, but being able to make it
00:27:43
Speaker
where you take your time and can actually dive deeper into the things you want to say. Because I'm always saying, like, I think a ballet class should be two hours long. I think like a jazz, like I need my classes to be longer. I'm like, if I just give a class, like if it's a company class you're doing all the steps in a ballet class, that's an hour and a half. But if you want to talk about anything for any given amount of time, I'm like, I automatically need two hours.
00:28:05
Speaker
It should be two hours. And I get it though. When you're at a studio, you're running a business. So that's why Artisan Training was created so that we have a chunk of time that we're there with those kids and we could really inspire them. But going back to your instant gratification, I know about myself, I've made it a habit to not just get Amazon. And I do do it when I'm like in a rush, like I'm out of town and I need something, but I go out to the store.
00:28:33
Speaker
I just want to create that because I feel like if I become just like instant instant, then i don't want to bring that into the dance world. Because I think you're right. Everything wants to be like this. You see these dancers, they want to do the 540. And I'm like, you can't even do a grand jeté. Okay. Let's breathe. Let's pause. You will get there. You have to work on it. Everybody sees the moment. They don't see the in-between of everything that it took to get there. That's what arts and training is. That's a great way to sum it up is all the in-between stuff that you don't see. We do it at arts and training. It's really there. Yes. We're feeding them. Yeah. I do use Amazon Prime and all those things because I feel like as a working mom, I would probably not be a working mom anymore if I didn't use them. Yeah.
00:29:13
Speaker
But I have to be like really conscious about it and be like, this is a tool yes that I can do the other things I want to spend more time on, not my whole lifestyle of like rush, rush, rush. And I get it because I use it too. Trust me, I i just got one the other day. So I'm going to be like, I don't.
00:29:28
Speaker
But when I do have time, make the time for it. Yeah, I think that's good. Especially like as someone who works, a lot of my work is sitting in my basement like you see here and just tapping on my computer by myself. And so...
00:29:41
Speaker
A lot of times I'm like, I need to talk to another person today. And I do think I read something about during the pandemic, like the value of just like small talk and just seeing other people and what that does for our psyche and our communities. When we are missing that, I feel like that was a really tough time for people when you only talk to like the people you live with and know just random people that you see out
Connection, Communication, and Studio Culture
00:30:00
Speaker
in the world. You know what I did during that time? i called like random people. If they didn't pick up, I would leave a voice text and tell them how grateful I was for them and all the memories that I had with them. well I think right now too, communication, like connection, is it's a little missing still. We're still coming out of what that happened and it really, I feel like it shut down people. Because I can tell even when I'm teaching, you can tell that people feel a little uneasy. But I just taught at the studio, Dance Source in Arizona, and those kids, I told the Samba and Mike, you guys, whatever you're doing, it's magic. You have magic soup happening. It's magical. They had never worked with me, these dancers. They were so much energy, so open, so kind. I was like, oh my gosh, because sometimes you don't always get that. And I don't blame anybody, but I think it's because everybody went through something. So people close off all a sudden if there's this big energy that comes in the room, they're like, oh, it's a tornado, you know? And I'm not a tornado. I'm here to like lift you.
00:30:53
Speaker
You know any mean? So that's my other thing. I really communication connection and artisan training is all about that connection with it. We know everybody's name, whoever is attending, we, all the teachers, they're pretty good at remembering everybody's names. Not, it's not perfect, but they always try. It's just connection and make them feel. And I feel like at the end of the week, instead of walking like this, they kind of walk a little bit with their shoulders back and head up. And and you can tell they're like, yes, they got it It's super important about connection. Yeah. Did that studio owner, did she give you any insight into what they do that makes their culture so great?
00:31:24
Speaker
They just work hard, the dancers. They bring a lot of different choreographers in. They have a lot of masterclasses. Amber comes like with the Brian Friedman, our generation of that. So, you know, when you danced, I remember going to auditions, everybody was like screaming and there was like this support, you know? And I feel like because she's from that, that is what she's made the studio.
00:31:43
Speaker
And so we really didn't talk about it because I think I was like, oh my God, I got to go eat. I was like, I'm in low blood sugar. I was like, I need it. Yeah. I would like to ask, dive deep into that, but it was so magical. And those dancers were beyond. There was like younger kids and they were going as hard as the big kids were. So I feel like that energy of them all supporting each other. And every time a group would dance, we were like at a convention.
00:32:07
Speaker
And that's what I was like, this is what class is like. This support, this energy. It only makes you want to do better. So bravo, Amber and Mike. Yeah, I think if you can build that culture of if one of us wins, we all win as opposed to like you won and now that took that something away from me. Like that just changes everyone's energy and everyone's commitment. And you see it through the entire studio. You do. I get that. That culture, i think when people focus on one dancer, it becomes a little bit toxic because then it it bleeds down. You might not think it does, but everybody feels that energy. It was fire. And that was just a couple weeks ago. I'm still feeling the energy of it. So that's powerful. Yeah.
00:32:44
Speaker
There is so much dancers need to learn as they pursue a professional dance career. It can be completely overwhelming. Where do you even start?
Setting Career Intentions and Aligning Core Values
00:32:53
Speaker
With your intention.
00:32:54
Speaker
To me, this is the first step in defining success on your terms. Once you have an intention for your career based on your core values, you can begin to hone in on a strategy to make your goals a reality.
00:33:08
Speaker
But without it, you will always feel out of alignment, out of control, and ultimately unfulfilled in your career. So how do you figure out what success means to you? with the Brainy Ballerina Intentional Career Handbook.
00:33:21
Speaker
This is not just your ordinary book. The Intentional Career Handbook walks you through everything you need to think about as you embark on your dance career. With over 50 guided question prompts, you will dive deep into determining what really matters to you in a dance career based on your individual core values.
00:33:39
Speaker
By the end of this handbook, you will not only be crystal clear on your goals, but in the mindset you need to make it happen. Tap the link in the show notes to download your copy today and start pursuing your dance career with intention.
00:33:53
Speaker
I love all the scholarship opportunities and all these things you're offering to dancers. Do you have any stories about a specific dancer or an impact that you've had that you've seen from this convention?
00:34:05
Speaker
I don't know if I want to say their name, but I'll just say this student. She was from Michigan and she moved out to Vegas and she had written me a message on Instagram. It makes me want to cry.
00:34:18
Speaker
And she's like, I'm following my dreams. because of everything that you've ever shared with us. And she goes, every time I would go to an artist in training event, I just walked away feeling like I could do anything. And she goes, there were a lot of times in my life I couldn't feel like I can do anything.
00:34:36
Speaker
And you gave me this hope to like, I'm going to do this. Like sharing your story, I think is super powerful with people. That's why I'm always listening to other people's stories because I'm like, oh my gosh, look at their journey. I just heard this quote, the journey is the destination.
00:34:51
Speaker
And I was like, that's amazing because we're always trying to get somewhere. No, just be on the journey. It will take you. And she's out dancing in Vegas right now. That's amazing. And I think she wants to choreograph now. And there's so many stories that people, and I think it's just that shared experience. but When you talk to people, sometimes we talk at people or we talk to people. And always about like, we're on the same playing field. I'm not here. You're not here. We're both here. We're all figuring out this wonderful game called life. And if I can share anything with you to move you forward, I want to do that. That makes me feel good. What excites you most about the future of dance education and performance?
Future of Dance Education and Social Media's Role
00:35:33
Speaker
Oh, okay. So on one end, social media is brilliant because you get to see all these, I mean, even like overseas, you know what i mean? I just feel like dance is getting more creative. People are trying new things and actually social media is getting more people to dance. So more people are loving dance. And dance is received well more. And you see it like Dancing with the Stars right now. It's like they're at 20 years and they're up in the ratings. It's like it was a brand new show. People are excited about dance. So it excites me that from social media, from all these amazing artists creating all these amazing works all around the globe, it excites me watching these dance companies and the ballet companies and how people are infusing. I love the infusion of different styles too. I think it's brilliant. How people are just going out on the limb and creating really beautiful,
00:36:19
Speaker
works of art and stuff that is thought-provoking and super entertaining. So I'm excited. feel like even my animals are upgraded. Like all these young kids are upgraded. They came into this world. They're like, okay, I'm going to blah, blah, blah, put my leg here. And then I'm going to turn. Everything is getting upgraded. And I feel even with dance is getting upgraded. So I'm so excited to see where it goes.
00:36:40
Speaker
And there's so many great dance educators out there, so many great choreographers, so many great artists just sharing with the world. And I'm super excited about that. And I feel like how I think there are a lot of artists out there like that. So that even excites me more because we're all coming from this heart and not just from our ego. Yeah. Yeah. I feel like I've met a lot of really cool people on social media. Like we connected through Nancy. I met Nancy through social media. Like we've never even met in person. Oh my gosh. I've made some really cool connections with people that I would never otherwise have met.
00:37:10
Speaker
For me, that's what I try to keep at the core of when I'm using social media is like truly being social, yeah like making those true connections opposed to just like putting out content. Content.
00:37:22
Speaker
I think that's beautiful. i I love Nancy. When I moved out to LA, I didn't have a place. I was staying at my friend's cousin's couch, sleeping there. And i asked my friend Johnny, I was like, does anybody looking for a roommate? And there's like, they have this woman, Nancy, and her husband's in. He was overseas dancing. She's like, they're looking for a roommate. So I went to their house and like, literally we had a connection and I moved in. I think I moved in like within that week or it might've even been the next day. It was like, boom, boom, boom. So I've known Nancy for a long time. I just love her. She's amazing. Yeah, love that. Okay, last question I have for you. If you could give aspiring pro dancers one piece of advice from everything you've learned throughout your career, what would you tell them?
00:38:00
Speaker
Don't give yourself an expiration date. I know some of the greats that came out here and they were like auditioning, auditioning, auditioning, auditioning. And the one thing that I was so admired, they kept going that one more time. And I know some were like, oh, I'm going home. I'm giving it six months. What if you were here for six months and two days and on that six months on the second day, You booked the job of your dreams that led you. I just see these dancers that kept going, kept going, kept going. And then they boom, exploded. We live in such a culture where like, oh, you can only do it to this. I don't believe that. I think if you take care of yourself, look at it Kim Hale.
00:38:37
Speaker
I forget how old she is. She used to be an agent. Now she's dancing and she's on like going to Broadway, doing all these amazing things. Everything is possible. Don't give yourself an expiration date. Because I remember my family told me, oh, you'll be out there for six months. i'm like, no, this is my life. This is the rest of my life.
00:38:52
Speaker
So that's what I would tell every professional answer because I know it gets hard because not everything's always up here. It's a roller coaster. Even when you're the top A-lister, you will go down and you will have a moment.
00:39:03
Speaker
But that's when those people are like, no, it's just a moment. Everything will work out. It might seem very simple, but I really feel like it's so powerful just to keep going. Yes, totally. Okay. If anyone listening to wants to learn more about you and your work or about artists and training, where can we find you? Okay. So on Instagram, it's move you to inspire M O V E Y O U T O inspire I N S P I R E. um You can find artists and training on Instagram at artists and training. You can go to our website, www.aittance.com.
00:39:37
Speaker
dot com. So the whole word dance. And I post a lot of inspiring stuff. It's all art. And I love like when people like hit me up, i always respond to them. I always love connecting with people. So it's not you're going to leave me a message and i'll be like, oh, I don't know who you are. i always I love connecting with people. And if they need any, some people are always like, what can I do to do this? That's what we're here to share. Right. Amazing. This was so fun. And I really enjoyed chatting with you today. Thank you, Caitlin.
00:40:04
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.
00:40:17
Speaker
By subscribing, you'll never miss an episode. And you'll join our community of dancers passionate about building a smart and sustainable career in the dance industry. Plus, your reigns help others discover the show too.
00:40:30
Speaker
I'll be back with a new episode next week. In the meantime, be sure to follow along on Instagram at The Brainy Ballerina for your daily dose of dance career guidance.