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Dance careers in flux: seeking the middle ground between art and commerce

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Dance careers in flux: seeking the middle ground between art and commerce

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Content Copyright 2024 Ashton Benn
DANCE CAREERS IN FLUX:
SEEKING THE MIDDLE GROUND BETWEEN ART AND COMMERCE
By
Ashton Benn
A Thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL FOR COMMUNICATIONS
AND JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM)
May 2024

ii
Table of Contents
Abstract.......................................................................................................................................... iii
Chapter One: The Crossroads…...................................................................................................... 1
Chapter Two: Breaking it Down...................................................................................................... 4
Chapter Three: Cost of Living ........................................................................................................ 8
Chapter Four: Abstraction in Advertisements ................................................................................10
Chapter Five: The Emergence of Freelance ...................................................................................12
Chapter Six: The Limitations of Creative Freedom .......................................................................16
Chapter Seven: Trending Concert Dance.......................................................................................19
Chapter Eight: Forever Emerging...................................................................................................21
Bibliography..................................................................................................................................23

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Abstract
Through interviews with professional dancers and choreographers, this magazine story
investigates the shifting concert and commercial dance industries. Growing up as a contemporary
dancer and receiving a BFA in dance, I am all too familiar with the financial hardships that
accompany a professional dance career. After intense, lifelong training, dancers who finally
reach famous and reputable companies find that the paycheck does not match the required rigor.
There is an emerging trend where professional concert dancers opt to freelance instead of
participating in company life. They are not only discovering more money in the commercial
dance industry but also optimal lifestyles.
Traditional career paths are being turned on their head as dancers fluidly navigate both
the commercial and concert dance industries simultaneously. “Dance Careers in Flux” dives into
the reasons behind this dramatic shift and the real-time impact on artists.

1
Chapter One: The Crossroads
The air buzzed with a satisfying tingle. Aunts, uncles, grandmothers, grandfathers,
fathers, mothers and cousins spoke rapidly and excitedly in Tagalog, the soft rounded syllables
rolling off their tongues and filling the space. Then, an eruption of laughter. The type of laughter
that dispelled the bitter Maryland chill threatening to sneak in through the crevice beneath the
door.
Gradually, relatives rose from their seats, moved by the force of joy that had settled in the
room. Hands clasped other hands, bodies glided past each other, feet delicately stepped in time to
the familiar melodies, and bellies shook, filled with lechon, Christmas ham, bibingka and puto
bumbong.
Grandma’s hips moved up, down and around as wisps of gray hair dangled delicately in
front of her smiling face. Mom and Dad, arms intertwined, twirled on top of the patterned rug.
And in the middle of it all, eight-year-old Kevin Pajarillaga stood surrounded by what can only
be described as magic.
Perhaps it was the holiday festivities, the many childhood parties in the Philippines, or
the pulsing undercurrent of energy that filled them all, but Pajarillaga doesn’t remember a time
when he wasn’t dancing.
He grew up surrounded by social dance, but it wasn't until his family relocated from the
Philippines to Silver Spring, Maryland that he began formal dance training at the age of 12. He
started with hip-hop and street-style dance, later expanding to other styles in high school.
Pajarillaga moved to Philadelphia for college, earning his BFA in dance at Point Park
University. By his graduation in 2015, he knew the path to a professional dance career would be
neither easy nor financially stable.

2
Through intense hard work and sacrifice, Pajarillaga went on to dance in acclaimed
contemporary troupes. In 2020, he joined the New York-based Gibney Company, spending three
seasons touring and performing works by world-renowned choreographers. Though he
appreciated his time with Gibney, he left in the Fall of 2023.
In the United States, Gibney is one of the highest-paying contemporary dance companies
— between $45,000 and $65,000 annually — including benefits usually not afforded to dance
artists. According to a 2023 report by Dance Data Project, Gibney ranks as the second-largest
contemporary and modern dance company in the U.S. based on annual expenses, trailing only
Alvin Ailey American Dance Theater. However, those highly sought-after contracts offer
pennies when compared to jobs in the commercial dance industry.
During his three years with Gibney, Pajarillaga turned down many commercial dance
offers due to his contract. But then a new immersive dance theater opportunity arose in New
York with better pay and contract flexibility. Facing a crossroads in his career, Pajarillaga opted
to take the route that frankly pays more and allows him to have autonomy over the type of work
he chooses. In a given month, Pajarillaga makes almost three times more than his Gibney salary.
“If the concert world had a different structure financially and institutionally, I would
gladly jump back in,” he said. “But now, I can find interesting creative work elsewhere and feel
more satisfied with my quality of life.”
In the fantastical world of contemporary dance, contracts with certain companies are
lauded as the pinnacle of one’s career. But even at a top-tier company such as Gibney, nothing is
perfect and dancers still have to hustle to ensure financial stability. That’s the reality of
contemporary dance in America.

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Dancers such as Pajarillaga are opting to leave company positions to pursue freelance
opportunities. Contemporary artists are finding that the commercial industry is changing,
increasingly embracing abstract work typically presented on proscenium stages. After
conducting interviews with a range of professional dancers and choreographers, it’s clear that the
arbitrary boundaries used to separate concert and commercial dance are disappearing.
By taking a leap of faith and leaving concert dance contracts, dancers are finding better
financial opportunities and a more balanced lifestyle in the commercial world.

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Chapter Two: Breaking it Down
Our society typically assigns worth to money or fame. In the context of the dance
industry, these two factors have historically been associated with commercial dance.
Breaking it down to its simplest terms, commercial dance exists to sell a product.
Whether it's associated with perfume or clothing brands, the work of a musical artist, or even
movies, commercial dance serves consumerism. For instance, Beyoncé's backup dancers in her
concerts and music videos are there to amplify her brand and market her artistry to the audience,
just as dancers in an Old Navy commercial are hired to promote the clothing line.
Jake Tribus, 26, who has been working at the intersection of concert and commercial
dance throughout his career, explains that commercial dance “is meant to be accessible and
relatable.” Its purpose is to get the attention of as many people as possible. Therefore, the
industry has more money because consumers are responding to the product and, by proxy, the
dance. As a result, dancers in commercial gigs are paid more.
Dancers working on a large-scale music video shoot can be paid thousands of dollars
daily. In comparison, a company rate for concert dancers in a small to medium company only
ranges between $200 to $300 per day.
Growing up in Raleigh, North Carolina, Tribus trained in many dance styles. From an
early age, he enjoyed the challenge of transforming and, as he put it, “becoming a dance
chameleon.” Choosing to attend the USC Kaufman School of Dance instead of Juilliard, he
continued to develop as a versatile dance artist. In college, Tribus booked a Taylor Swift music
video, Lorde’s international Melodrama tour and a Backstreet Boys music video. He also worked
with acclaimed concert dance choreographers and performed with the Aszure Barton and
William Forsythe companies.

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After graduating in 2020 with a stacked résumé, Tribus decided to join Gibney Company.
Although he had successfully experienced both realms of the industry, he wanted to go into
company life right away. “Coming out of school, my body would be in its prime to tackle the
challenge of being in a company and working day-to-day,” Tribus said in a Zoom interview.
Company life is physically and sometimes mentally demanding. Evening-length works,
touring, and the pressure to constantly deliver creative energy can take a toll on the body. While
pushing one's physical limits can be artistically rewarding, it can also be exhausting, particularly
when compensation is inadequate.
But why does it pay less?
“Because concert dance abstracts the art form, narrative and visuals, it is less accessible,”
Tribus said. “Audiences have a narrower entryway into understanding and interacting with the
art, so there's less money flowing back and forth.”
Contemporary concert dance is niche and some audiences appreciate it, but many people
don’t, which means they are not going to pour their money into tickets. With fewer investors and
audience members, companies cannot pay their dances nearly as much as they would like. The
challenge for dance companies is how to give their artists the contracts and benefits they deserve.
Established and institutionalized companies are the exception to the rule. Major
companies such as American Ballet Theatre, New York City Ballet and Boston Ballet have longstanding structures, including affiliated schools and dedicated donor bases that have supported
them over decades. Furthermore, ballet companies draw from society’s ingrained knowledge of
story ballets such as The Nutcracker, Sleeping Beauty and Swan Lake.

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Similarly, Alvin Ailey American Dance Theater is the highest-paying modern dance
company in the U.S. A principal dancer at Ailey makes more than $100,000 a year. Yet Ailey is
also institutionalized and is attached to multiple schools as well as Fordham University.
Ballet companies and Ailey are unionized by the American Guild of Musical Artists
(AGMA). In 2022, AGMA and Ailey ratified a three-year agreement in which they increased
dancer benefits, the number of work weeks and retirement contributions. These big companies
use a pay hierarchy based on the number of years in the company and performer status (corps de
ballet, soloist, principal, etc.). Regardless of the position in Ailey, the minimum salary is
$1362.20/week for 40 weeks.
There are only three contemporary companies in the U.S. that are currently unionized:
Alvin Ailey, Martha Graham Dance Company and Ballet Hispánico. The majority of dancers
have to fend for themselves.
As a result of the pandemic, all dance companies lost significant funds. Some, such as
Aspen Santa Fe Ballet, permanently closed their doors. According to a July 2021 report from
Dance/USA titled The Impact of COVID-19 on the Field of Dance: Part II, approximately onethird of dance companies experienced a decline in ticket sales of an average of 74% from their
prior season. Without the ticket revenue from live performances and with the extra incurred costs
from pandemic restrictions, there was barely enough money circulating to stay afloat, let alone
pay their dancers.
Nearly 50 organizations reduced the number of their dancers’ work weeks as a way of
coping and 30 organizations actually “reduced the number of dancers.” Three years later, the
industry is still recovering from these staggering losses. Even without COVID restrictions and

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open venues, audiences haven’t returned in the same numbers as before. They are lost to the
digital space — live performances in theaters seem to be a relic of the past.
The New York Times reported that, in 2024, Broadway audiences are “down 17 percent
from pre-pandemic levels.” Broadway, which is driven by highly commercialized musicals and
spectacle, is still struggling to regain its once-dedicated fans. With fewer attendees, box offices
aren’t raking in money like they once did.
After being in Gibney for four seasons, Tribus has decided to leave at the end of this
contractual year. Similar to Pajarillaga, he wants more freedom in his career and the type of work
he chooses to engage with. Given the high cost of living in New York City, Tribus finds it
difficult to achieve his financial goals without occasionally taking on commercial gigs or
supplementing his income in other ways. His decision to leave Gibney isn't driven by a lack of
love for the company, but rather by the harsh financial realities he faces.

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Chapter Three: Cost of Living
The cost of living is at an all-time high, especially in cities such as New York City and
Los Angeles. Dancers and choreographers can’t afford to rely on a single income stream because
salaries have not kept pace with rising expenses.
In the ‘80s and '90s when postmodernism and the downtown scene were in full swing,
dancers could support themselves by solely performing in a company.
The average rent in NYC for a studio in 1989 was $685. If adjusted for inflation, that
would be $2,134 today. But the current average rent for a studio in 2024 is $3,753. This increase
may not seem like all that much, but you have to take into consideration that income levels have
not improved proportionately.
The median income in 1989, already adjusted for inflation, was $67,830 compared to
$75,910 in 2022. This means that rents have increased by 76%, while income has only increased
by 12%.
Patrick Corbin, now a professor at USC Kaufman, was a celebrated member of the Paul
Taylor Dance Company from 1989 to 2005. When he moved to Manhattan in 1983, he secured a
studio apartment in the Lower East Side for $375 a month, which he split with a roommate.
Once Corbin joined Paul Taylor, he upgraded his apartment and enjoyed health benefits
from the company, including full dental coverage, which was a big deal at the time.
“Housing, food and health care for small and medium companies has always been a
struggle, but you used to be able to make it work,” Corbin said over the phone. “You used to be
able to design another life by working odd or part-time jobs until the dance dream came true, but
I don't know if that's possible anymore.”
In fact, a 2016 report from Dance/NYC titled the State of NYC Dance & Workforce
Demographics found that it’s really not possible. Over the six-year period studied, “The number

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of jobs increased, but the newer jobs are significantly more part-time than full-time, raising
questions about how, and for whom, dance can be a viable career path.”
Dancers who rely only on a dance company salary are not reaching the median income
level. Most reputable companies such as Complexions Contemporary Ballet don’t even provide a
fixed yearly sum. Instead, they pay on a week-to-week basis, leaving dancers uncertain about
their economic stability.
If a dancer is already playing a guessing game as to how much they will make in a given
year, then one of the fundamental benefits of a contractual job is lost. It takes more than working
as a full-time dancer in a company to afford a comfortable livelihood in New York City.

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Chapter Four: Abstraction in Advertisements
The dance industry is shifting. Contemporary dance companies in the U.S. — like the
general trend of arts organizations – are constantly faced with red ink. And commercial dance is
still thriving, but it doesn’t always look like the highly sensationalized, consumer-focused dance
it used to be. Many artists are now hired for commercial jobs where they are asked to use their
contemporary dance skills.
My classmate and friend, William Okajima, frequently works on commercial projects
where he uses contemporary dance vocabulary. Recently he filmed a commercial for the clothing
brand Uniqlo. At the shoot, Okajima and two other dancers were asked to improvise or freestyle
to the provided music. He was paid $3,000 for the day.
“The lines get so blurred with contemporary and commercial dance because a director
will ask me to improvise and I just move in a way that feels natural to me,” Okajima said. “I can
tell they don’t really understand it, but they like the way the movement looks with the clothing.”
As abstraction worms its way into highly commercialized spaces, choreographers and
dancers are swimming in uncharted waters. It’s yet to be determined how audiences, Americans
in particular, will react to this changing trend in advertising.
Jake Tribus describes this new phenomenon as paradoxical. Exclusivity becomes
intertwined with desirability: when audiences encounter something they may not fully
comprehend, it sparks intrigue and lures them in. It’s like when you walk by a painting in a
museum and all of its morphing shapes overlap and blend into an abstract version of something
you can’t quite identify. You might stop and take a few steps towards the painting, squinting
your eyes to try and see how these blobs might create something legible. You don’t understand
it, but you're drawn to the endless possibilities of the artist's intention.

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The paradox of abstraction in commercial dance lies in the challenge posed to audiences
who are accustomed to clear, loud, and vibrant performances. But now, they are tasked with
interpreting and translating unfamiliar visual elements.
Society has proven itself capable of appreciating expressionist art, as evidenced by the
works of visual artists such as Jackson Pollock and Joan Mitchell. Similarly, as these abstract —
and what some may describe as “weird” — dance movements are being brought out of theaters
and into the media, there is greater visibility for contemporary dance. It foreshadows a future
where commodification and dance interact positively. However, for that to happen, the structure
of company contracts will need to shift.
And for better or for worse, they already are.

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Chapter Five: The Emergence of Freelancing
It’s no secret that contemporary companies are struggling financially. Since the
pandemic began, The Washington Post reported that among other companies, Taylor 2, Aspen
Santa Fe Ballet, Rioult Dance NY, 10 Hairy Legs and Madboots Dance all shut down.
With dance organizations continuing to fold, dancers and choreographers are either
choosing or are forced to freelance. This gig economy means that dancers plan out their
calendars with two- to three-month projects and whatever else pops up here or there. Sometimes
the weeks are extremely busy; other times they’re alarmingly quiet. Such is life as a freelancer.
Yet, many people are successfully navigating this career trajectory and have started to
prefer it. One of these people is Bret Easterling who is a dancer, choreographer and professor at
USC Kaufman.
After graduating from Juilliard in 2010, Easterling became a successful contemporary
dancer, spending seven years with the world-renowned Batsheva Dance Company in Tel Aviv,
Israel. Upon returning to the States, Easterling opted to channel his energy into his choreography
and personal creative projects rather than joining another dance company. Now 35, he runs his
own nonprofit called BEMoving, teaches, and makes his own work in L.A. and for other dance
companies.
“I think when you take a broad look at the industry, we're definitely on a trend towards
fewer companies, fewer year-long contracts,” Easterling said. “The model of nonprofit dance
companies or just dance companies in general no longer works inside of the existing
constrictions of the times we're in.”
In the current economic climate, freelancing is favorable because companies are
struggling to secure consistent funding from government sources or major donors. Because
Easterling is not tied to one specific institution, he can spend his creative energy on the projects

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that give him the most joy. While this flexible “choose your adventure” lifestyle sounds ideal
despite the intermittent financial instability, Easterling’s freelance success was not built
overnight. His impressive resumé, bolstered by his social capital, allows him to book jobs and
make work that gain enough traction to sustain his career.
So how do you get hired for projects and live as a freelancer without first being in a wellrespected company?
Many times, dancers get hired because friends recommend them to a choreographer and
the puzzle pieces just fall into place. Jake Tribus booked the Taylor Swift music video, “Look
What You Made Me Do,” from a past teacher who messaged him through Instagram.
But, other times, dancers will have an agent who helps them by signing them up for
casting websites. Then, they either attend auditions or submit self-tapes. Unfortunately, many of
these casting sites are expensive and not dance-specific. They are populated with actors,
musicians, stunt performers, etc..
Dancers have always had to fight for visibility – especially in the commercial industry.
Compared to other artists such as actors, models and recording artists, dancers always seem to be
relegated to the background. Just as the concert dance world can be mentally and physically
draining, the commercial industry isn’t all peaches and cream either.
Even compared to choreographers, dancers are often undervalued. This disparity in
treatment stems from our society's tendency to prioritize mental over physical capacity. Dancers
are judged solely by their physical abilities, while choreographers are seen as creative
masterminds. The few grants and awards available in the dance industry are mostly intended for
choreographers. Performers are simply pawns in a greater scheme, a means to an end.
Choreographer and entrepreneur Amy Gardner set out to change this portrayal.

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Originally from Canada, Gardner started in concert dance, but her career quickly became
a mix of diverse artistic pursuits. She moved to several cities, including Los Angeles and
Montreal, pursuing opportunities in both the concert and commercial realms before ultimately
settling in New York City. At that point, she didn’t know exactly what she wanted, except to
make art.
Gardner began developing projects that she cared about with her friends, and people
started to notice. Gaining momentum, she received invitations from directors to choreograph
bigger commercials, even internationally. She quickly realized that it was hard to cast dancers,
specifically those from a more contemporary space. She was also fed up with how dancers were
mistreated and disproportionately paid compared to other hired talent. Thus, Dance Hypha was
born.
“Dance Hypha is the LinkedIn of dance,” Gardner said in a Zoom interview. “It’s
primarily designed to cast dancers right now, but its purpose is to connect and catalog people as
well.”
This casting website, which was Gardner’s brainchild during the pandemic, now has
between 2,000-3,000 members who regularly submit to dance-specific castings. William
Okajima, Jake Tribus, Bret Easterling and Kevin Pajarillaga are all members of Dance Hypha, as
are many other high-profile concert dancers.
Gardner saw concert dancers emerging in commercial spaces and sought to fill a growing
need. “I’m 35 now, but when I was 20, you either danced in a theater, went the ballet route, or
were a backup dancer, and the three didn’t mix,” she said. “But it’s not like that anymore and I
am so happy about it.”

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As all styles and paths in the dance industry continue to blend, dancers are asked to take a
hybrid approach to their training and careers. Dance Hypha is a manifestation of this shift
because it works to integrate the dance industry and take dancers from the background to the
forefront.

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Chapter Six: The Limitations of Creative Freedom
As hybridity becomes the dominant narrative in the dance industry, preconceived
stereotypes about concert and commercial dance are breaking down as well.
Concert dance is often framed with an elitist perspective that champions the phrase, “art
for art’s sake.” The ritual of dressing up and going to a theater to watch a two-hour dance
performance, where criticism is silently discouraged because it's deemed art, is a classic case of
snobbery. Paying too much money for dance tickets and indulging in an overpriced dinner
beforehand doesn’t change the fact that dancers will be fulfilling consumerism through bodily
movements onstage.
Yet, for some reason, we pretend that concert dance is afforded more creative freedom
than commercial dance. In some areas, you could argue this is true, but in every choreographic
process, there are financial, logistical, or even physical limitations that constrain the work
created.
As a concert choreographer, Bret Easterling said, “We never have everything we want in
a process. We never do. And in the end, for me, I think boundaries are the best creative juice,” he
said, opening his arms and smiling.
Easterling most recently choreographed a new piece for the Seattle-based company
Whim W'Him. Even though he was given full artistic license, he still had to work within the
confines of a smaller budget and a seven-dancer company. “And inside those parameters, I just
started asking questions,” he said.
Much like Easterling, commercial dance choreographers have limitations too. They must
collaborate with directors and other artists on a product. Some gigs will offer more creative
freedom than others, but regardless, the paycheck is always a good reward.

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There is a common misconception that commercial dancers and choreographers are some
type of corporate sellouts. It’s unclear how or why this impression took hold, but it’s not as if
commercial artists are big bad lawyers defending big pharma companies. When did making
money with dance get twisted into a lack of artistic expression?
Amy Gardner has an extensive background in choreographing and directing TV
commercials, films, music videos and other content. When she steps into a project, she
understands her role and purpose within the broader creative vision. At the end of the day, she
doesn’t get to decide on the final edit, instead, she is commissioned to do a job and gets paid for
her time.
“Sometimes we do commercials to make the money so we can make the art we want to
make,” she said. “And that's fine. I don't have any shame around that structure, and I know the
difference.”
At the same time, there are commercial projects that heavily rely on choreographers and
their input to shape the product. Regardless, Gardner loves building imaginative worlds through
dance and then getting to share her work with thousands, sometimes millions, of people.
“I'm grateful to learn. I'm grateful to be on set. I'm grateful to receive a paycheck for the
skills I have. And I'm grateful that I often get to hire dancers…We jump on set, we eat free food,
we have fun, we dress up, and then we go home and we make money. It’s the dream,” she said,
throwing her hands in the air.
Grasan Kingsberry shares this perspective. Originally from North Carolina, Kingsberry’s
first experience dancing was when he was 12 years old in The Nutcracker. He had a love for
music and when a song came on and the drums kicked in, Kingsberry couldn’t help but move.

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His parents fostered his passion for dance and his dad even performed in The Nutcracker with
him.
Recognizing Kingsberry’s natural talent, his parents enrolled him in ballet and modern
dance classes. At his performing arts magnet high school, he dove into all sorts of artistic
disciplines. His training as a musician, vocalist, actor and dancer laid the groundwork for his
future career.
After receiving his BFA from The Juilliard School, Kingsberry went on to appear in 11
Broadway shows. With almost two decades of performance credits under his belt, Kingsberry
packed his bags and moved from New York City to Los Angeles in his mid-30s. Now, at the age
of 42, he has firmly established himself in the Los Angeles commercial sphere while also serving
on the faculty at USC Kaufman. Kingsberry has learned how to balance financially appealing
gigs with more passion-driven projects.
Sitting in the quiet faculty suite at USC Kaufman, Kingsberry shared that he feels the
most artistically fulfilled when he connects with audiences. “There are opportunities in most
jobs, to find the artistry in it,” he said, “even if it's just for one moment.”
As mainstream media advertisements continue to integrate more dance and movementcentric work, the potential for meaningful moments of connection will only grow. It’s exciting to
think about all the new and yet undiscovered possibilities.

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Chapter Seven: Trending Concert Dance
There are an increasing number of examples of concert work in commercials and artist
tours. It’s not that hip-hop is losing its significance, but rather the industry is expanding to make
room for new concepts to flourish.
In 2020, prominent European concert dance choreographer Damien Jalet choreographed
Madonna’s abstract “Madame X ” tour. Similarly, in 2018, Sharon Eyal choreographed the Dior
fashion show, initiating a new trend of incorporating dance into the couture space.
More recently, in 2023, musical artist FKA Twigs used the world-renowned Rambert
Dance Company in her fashion month performances. Appearing at Vogue World: London and
Valentino’s 2024 presentation, Twigs and the Rambert dancers blended theatrics and interesting
movement with fashion and opulence.
“I would hope other companies can be inspired by what Rambert is doing,” said dancer
Jake Tribus. He noted it was smart for Rambert artistic director Benoit Swan Pouffer “to fuse
themselves into the commercial sphere because it brings them a wider audience and more
money.”
Rambert is based in London, but its influence is international. While the company is
recognized as “top-tier,” when it comes to revenue, it is not solely relying on its reputation. It is
aligning with the broader dance industry to maintain relevance.
Dance companies in the U.S. would benefit from following in Rambert’s footsteps, but
alas, change is never easy. The American concert dance industry is deeply embedded in tradition.
However, like any grassroots movement, change doesn’t come from the top down.
Bret Easterling pointed out that artists are no longer waiting for permission to create.
Rather than pining for the few grants and contracts provided by long-standing institutions,

20
choreographers and dancers are finding solidarity and exciting bursts of creativity in the
freelance market.
“Everything has limitations and simply because those limitations are shifting, doesn’t
mean the concert dance world is disappearing,” Easterling said.
Any industry experiencing dramatic changes must also cope with various growing pains
— and dance is no exception. As artists who dedicate their lives to a sometimes unforgiving and
difficult craft, it’s frustrating to hear that jobs are dwindling. But that narrative is spun from an
archaic and pessimistic view that art can’t be commodified authentically.

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Chapter Eight: Forever Emerging
Indeed, the structure of contemporary dance companies in America is no longer
sustainable. As the industry continues its slow decline, it becomes harder for dancers to justify
the demanding physical toll without fair compensation. As a result, contemporary dancers are
pivoting, becoming freelancers in the commercial industry to satisfy fiscal and creative
aspirations. This shift is reshaping the commercial dance industry, which is adapting to
accommodate the influx of talented artists. By introducing their unique movement styles into
what has typically been a more rigid environment, dancers are changing the very landscape of
commercial advertisements.
All of these artists are successful contributors to this new era of the dance industry. This
community of passionate, resilient people no longer accepts the idea of the “starving artist” as
fact. Historically, America undervalued dancers monetarily, but a new wave of do-it-yourself
revolutionaries is challenging this stigma.
Whether it’s leaving a secure company job or relocating from New York City to the
commercial mecca of Los Angeles, many have made tough decisions because they know it will
serve them better financially and mentally long-term. Not only are these dancers and
choreographers reaping the benefits from their risk-taking, but they are building more fulfilled
lives.
Kevin Pajarillaga said he now feels “like more of a human at work rather than just a
dancing body.” He is satisfied artistically and has found more peace in his new job as a dancer
and actor for an upcoming immersive theater show in New York City. “I am doing meaningful
work, without the overwhelming pressure to succeed that I felt at Gibney,” he said.

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A career as an ever-evolving artist underscores one of the beautiful aspects of the
freelancer mindset: you never reach the pinnacle. In essence, the dream is to keep living the
dream and to keep making art.
Pajarillaga now gets to design his desired lifestyle, choosing jobs that inspire him
creatively. “You’re so established now,” I said to him. Laughing, he paused before responding.
“It’s funny you say that because I feel the exact opposite,” he countered. “I feel like I am forever
emerging.”

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Bibliography
“AGMA Ratifies 3-Year Agreement with Alvin Ailey American Dance Theater.” American
Guild of Musical Artists. Retrieved from https://www.musicalartists.org/agma-ratifies-3-
year-agreement-with-alvin-ailey-american-dance-theater/
Allaire, C. (2023, October 6). "I'm ready to push myself": FKA twigs on fusing style and
performance during fashion month. Vogue. Retrieved from
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Abstract (if available)

Abstract Through interviews with professional dancers and choreographers, this magazine story investigates the shifting concert and commercial dance industries. Growing up as a contemporary dancer and receiving a BFA in dance, I am all too familiar with the financial hardships that accompany a professional dance career. After intense, lifelong training, dancers who finally reach famous and reputable companies find that the paycheck does not match the required rigor. There is an emerging trend where professional concert dancers opt to freelance instead of participating in company life. They are not only discovering more money in the commercial dance industry but also optimal lifestyles. Traditional career paths are being turned on their head as dancers fluidly navigate both the commercial and concert dance industries simultaneously. “Dance Careers in Flux” dives into the reasons behind this dramatic shift and the real-time impact on artists.

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Asset Metadata

Creator Benn, Ashton (author)

Core Title Dance careers in flux: seeking the middle ground between art and commerce

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Degree Conferral Date 2024-05

Publication Date 05/17/2024

Defense Date 05/17/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag abstraction,advertisements,Choreographers,commercial dance industry,commodification,concert dance,institutional companies,OAI-PMH Harvest,optimal lifestyle,paradoxical,performing artists,shifting

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Garza, Oscar (committee chair), Anawalt, Sasha (committee member), Grimes, Sabela (committee member)

Creator Email abenn@usc.edu,ashtonbenn02@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113939974

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Legacy Identifier etd-BennAshton-12943

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Format theses (aat)

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