Photo: Vesa Loikas
Hometown: Austin, TX
Current city: Brooklyn, NY
Age: 30
College and degree: State University of New York at Purchase College (SUNY Purchase), BFA in Performance
How you pay the bills:
I am very fortunate to dance for Doug Varone and Dancers, which is a paying job, however, I do find myself needing to bring in supplemental income. This will be my fourth year directing a teen performing ensemble at the 92nd Street Y, Harkness Repertory Ensemble. When I have time off from the company, I also seek out teaching jobs, whether in the city or short guest artist stints at Universities.
All of the dance hats you wear:
Dancer, teacher, rehearsal director, restager, collaborator, director of teen group
Non-dance work you do:
In the past I’ve done all kinds of side jobs to make some extra money, from catering to working as a legal assistant at a law firm. Most often I found work at various coffee shops and restaurants. Schedules there allowed for more space for dance/performance opportunities.
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The first few years out of college:
My first few years out of college were about getting my footing. All of a sudden the safety net of school had been pulled out from under me, and I had to really look at my priorities. I needed to find a place to live and people to live with, so that was my first focus. Hand-in-hand with that was the need to find a job to pay the bills, so that also became a major priority. I took dance class when I could, but I also had to navigate all of these new challenges of being on my own. Class wasn’t the main focus in the beginning, which for me was ok. When I settled into a routine, then I was able to try out classes. I found a few teachers I felt a connection with and really clung onto them. They pushed my brain and my body and really guided me in those first few years after school. It helped me remember just how much I loved being a student.
In the past year or so:
My dance life in the last year or so definitely paints a different picture than my dance life in the first few years out of college. I have been a member in the Varone Company for going on 7 years. When we are working, my day is centered around company rehearsal. Most often because of our rehearsal schedule, I am not able to take the typical morning class. When I do get to take class, it feels like a treat. Over the last few years as I have felt more security in my dance life, it has been nice to spend some time expanding the rest of my person. I remember a time when I wanted my entire life to be about dance. I wanted to dance all day. I spent most of my day with friends who were also dancers. I went to see performances every week. I’m so grateful I went through that phase. I grew a lot during that time. Now I am feeling the importance of expanding the rest of who I am. I’m making time to enjoy other interests - spending time at museums or seeing theater performances, staying out all night with friends, focusing on photography, spending the day at the zoo. It feeds me in other ways that are just as important as dance.
Photo courtesy of Doug Varone and Dancers: photo by Cylla von Tiedemann
What does a typical week look like for you, in terms of rehearsing, performing, training, non-dance work, etc?
For me, a typical work week for Doug involves rehearsing Monday through Thursday, 10am-4pm. I’ll get to the studio an hour early to warm-up. My warm-up can range anywhere from a ballet barre to yoga to short mini improvisations. On certain weeks, I’ll run rehearsals for the teen group I direct after I get done with Doug’s rehearsals. I used to rehearse/perform for other choreographers and would go to their rehearsals after Doug’s. My body started to feel the strain of that. Injuries started popping up more and more. Because of that, I’ve decided to take a break from doing other projects for a bit, and for right now that has been a really good decision for me.
Major influences:
Thinking of my dance influences is almost like envisioning a quilt. I’ve had people who have influenced me here and there over the span of my dance life. I would have to say that Doug Varone has been the most influential figure thus far. First being introduced to him and his work while I was still in college, all the way to being in his company now. I still find myself getting giddy about some of his work, just the way I felt when I first watched his company perform while I was a student at the workshop. He has left an imprint on my artistic life that will be with me for so long, and I feel so grateful. Gwen Welliver and Oliver Steele were two major influences as well. They really pushed me in totally different ways right when I first moved to NYC.
Mentors/someone who believed in you:
Megan Williams and Stephanie Tooman were teachers of mine at Purchase. They pushed and supported me in ways I don’t think I fully acknowledged and understood at the time. We still stay in touch, and they are both people I reach out to when I’m in need of advice.
On luck:
I don’t think about luck, but I do often consider the timing of things. I truly believe that the universe can work in mysterious ways, but I think they work out that way for a reason. You’ll apply/audition for a job and not get it. In those moments it’s hard to step away from the situation and see the larger picture, but looking back on moments like that, I realize how much it is about timing. Not that you yourself are right or not right, but that maybe it’s about whether it’s the right time for you. I do fully believe that if you continue to do your work, to focus on what’s ahead of you, people will notice that. People will notice the time and energy you put into the work you do.
What are the skills a modern dancer needs in 2014?
I think there are many ways to answer this question. A lot of it depends on the direction you hope to head down in your dance life. I, personally, have found that a modern dancer in 2014 needs a couple to a handful of the following skills:
-commitment
-solid work ethic
-ability to create movement (so often I find that choreographers are relying on their dancers for movement generation)
-ability to pick up material quickly
-ability to multitask (i.e., juggling 3 jobs on top of taking class and rehearsing, etc)
-openness to step into unknown territory and pushing yourself to try new things
-kindness/forgiveness/patience
How did you land your gigs with Daniel Charon, Bill Young, Colleen Thomas, and Doug Varone (auditions, workshops, seen in class)?
I originally met Doug and Daniel through the Varone Summer Workshops. I met Colleen after she saw a performance I participated in. We talked, had a connection, and I was fortunate enough to be able to work with her shortly thereafter. I remember in college I kept hearing the word “networking." Teachers always told me to go out there and network! It always rubbed me the wrong way. It cheapened these experiences I had with artists that I respected and looked up to. I had to redefine that word for myself. It was really just about getting to know other people in the community - fellow dancers I met in class, teachers I was taking class from, choreographers I approached after shows because their work struck a chord with me. Redefining that word made it possible for me to keep the integrity and heart of a simple connection with someone. Those interactions are what allowed for a lot of my performing opportunities. The only “job” I got from an audition was with Doug, and that’s not even really true. Like I said, I met Doug when I attended one of his summer workshops. After I graduated, he needed someone to fill in for one of his dancers for a few weeks in rehearsal, so he reached out to me. It really was the beginning of starting a relationship with him and the company. It gave him an opportunity not only to see my dancing in various repertory of his, but also to see what I was like personality-wise in a rehearsal setting. Shortly thereafter they were having an audition for women, so I went. I made it down to the last three, but ended up not getting it. Boy. That was hard.. . .and, as I look back, I wouldn’t have wished it any other way. It wasn’t the right time. I don’t think I was truly ready in my brain and heart for all that would be asked of me in the company. It was good for me to feel that rejection, for me to process that, and for me to move on. It just so happened that later that year, another position opened up and at that point he asked if I was still interested.
Photo: Vesa Loikas
On teaching:
Teaching is my heart. I think I have always had a soft spot for teachers in my life. I, fortunately, through Doug’s company have had a lot of opportunities to expand myself as a teacher. I learn something new from EVERY SINGLE class I teach. As I go through class I’m always taking note in my mind, “That didn’t really work this time. How can I rethink this?” or “That was a small success. I’m going to hold onto that idea”. I know that my body will not be able to perform forever, but I do hope that I can share my thoughts and provide an environment for students to explore their own personal dance journey for as long as possible. It is one of the most rewarding moments to see that a student is taking something you are sharing, figuring it out for herself/himself, and then throwing something new back at you. We are both able to help each other grow in that way.
Taking classes, training and care for your body:
Injuries are something that most dancers are pretty familiar with, unfortunately. It is a learning process, one in which we have to reevaluate movement patterns, perhaps find new ways to move about, and dig deep into a well of patience within ourselves. This can be trying, but also helps us to open our minds to new possibilities as physical beings. Taking class, training and generally taking care of your body is important, but I’ve also personally found that my interest in these areas can be ever changing. I’ve found my commitment to certain aspects of it can ebb and flow, and I’ve learned to acknowledge and accept that. Allow yourself to follow your interests at any point in time.
Future career goals:
I hope to someday teach at a university, particularly to teach freshman students. I think that is an interesting, confusing, unfamiliar, powerful, rich time in their lives as they start to figure out who they are as artists and students. A very far off dream that I’ve always had is to make more space for dance. Sometimes I dream about opening a bed and breakfast or some sort of retreat space that also has a studio for artists to use during their stay. A space for people to escape from their everyday lives and focus on their work in a new environment.
Final advice for young dancers:
I would say this. . . …the landscape is always changing. Always. As you leave college, you might have an idea of what the next chunk of time holds and maybe that’ll hold true for a while.. . .but then things shift. Priorities change. Maybe you switch jobs. Maybe you aren’t able to take class as much. I found that those first few years were so much about me checking in with myself. Remembering why I am where I am and figuring out how I want to continue forward from that place. Sometimes things go smoothly and sometimes life makes it real hard to pursue your dancing desires. Be patient and know that you are not alone on this journey.
To read Julia's updated profile from Fall 2017, please click here.
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