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As a dancer, you'll use movement, gesture and body language to portray a character, story, situation or abstract concept to an audience, usually to the accompaniment of music. This typically involves interpreting the work of a choreographer, although it may sometimes require improvisation.

Subsistence and accommodation payments are included in Equity contracts and some contracts may include royalties for recorded work. Payment and conditions for non-Equity work can be lower and some employers try to contract dancers for no payment at all.

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Training continues throughout a dancer's career, with even the most experienced dancers attending daily classes. Out-of-work dancers still need to continue to attend open classes in order to maintain and develop skills.

Some dancers undertake further training to work in complementary therapies or to lead fitness classes such as yoga, Pilates and the Alexander Technique. Another option is to become a personal trainer.

There is no clearly defined career path for a dancer. Most will start their careers as dancers, or combine another aspect of dance with performance, and then move out of performance into a related area.

Many dancers progress into teaching, either in the private or the public sector. CDMT provides details of the range of dance teaching qualifications available. Following this route, you could opt to run your own dance courses, or consider running a franchise within a health and fitness club.

Some dancers go on to become dance movement psychotherapists, which requires a relevant MA. This therapeutic process helps people address their problems or develop personally through dance and movement.

The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn tautly over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity.

"I will always treasure our journey together," wrote the Emmy Award-winning actor, producer and dancer Debbie Allen, who co-starred with Hines in Guys and Dolls, on Facebook in response to the news of Hines' death. "I will always speak your name."

This workshop provides the opportunity for serious young dancers (ages 9-11 & 12 year-olds at the beginning pointe level) to flourish in a professional yet nurturing environment. The outstanding faculty members of ABT will provide unparalleled instruction while remaining sensitive to the developmental needs of younger dancers.

These papers are provided as a resource to professional dance companies and artists. They are brief documents written by the members of the Task Force on Dancer Health with the goal of sharing experience, knowledge and resources in subjects pertinent to professional dancers.

The Dancer inevitably calls to mind the work of Renoir's fellow impressionist Edgar Degas, whose name is now synonymous with depictions of ballet dancers. In contrast to Degas, whose interest lay in depicting dancers in repose, captured in unguarded and unselfconscious moments, Renoir chose to paint a more formal portrait. Both the painting's scale and the figure's prominence (placed in the very center of the composition, she dominates the entire canvas) hark back to traditional portraits, lending this work a gravity somewhat at odds with the painting's modern subject. Shown in profile, her silk-slippered feet placed in classic fifth position, Renoir's dancer is poised and alert as she turns her gaze toward the viewer. Renoir accentuated the dancer's youth, highlighting the roundness of her face, the still boyish flatness of her chest, even the way the fingers of her left hand appear to toy nervously with tulle of her skirt. Although Renoir himself never identified the figure, the model is almost certainly Henriette Henriot, the young actress who posed regularly for the artist in the mid-1870s and whose likeness was featured in La Parisienne (National Museum of Wales, Cardiff), another large-scale painting shown by Renoir in the 1874 exhibition. Renoir skillfully transformed his model's appearance, depicting her with equal verve as both a sweet-faced adolescent on the verge of adulthood and a fashionable performer.

Ultimately, however, Renoir's virtuoso brushwork is the painting's most compelling feature. His paint handling is varied, ranging from the delicate brushstrokes that define the dancer's face to the loose, almost careless application of paint in the picture's background. The dancer's skirt is a true tour de force; Renoir masterfully captured the gauzy softness of the tulle. It floats about her body like a cloud, seeming to dissolve into the hazy background, the fabric as light and insubstantial as mist.

I was fortuanate to cruise on her both as the Stardancer on a 7 day Alaska itinerary and the Viking Seranade on a Los Angeles 4 day itinerary. It was fun both times even though the cabins were miniscule.

I sailed on the Stardancer in May of 1986 Mexican Riviera cruise. It was my second cruise, my first having been on the SS Constitution in Hawaii---after the miniscule single cabin on the Constitution, the double room I had on the Stardancer seemed huge---we even had a bathtub!

When she was still Stardancer with car decks, we took a leisurely 2 week drive up the Pacific coast to Vancouver and spent a week there. Then, when Stardancer was transitioning from Alaska summer trips to Mexican winter ones, we drove the car on board and had a 6day trip to LA from Vancouver, stopping at San Francisco and Catalina.

I can't remember what year my mom and I went to the Mexican Riviera on the Stardancer. Must have been 85-86 sometime. Our cruise coming home was interupted by a sea rescue. Our ship along with all others in the vicinity had to respond to a sail boat that was sinking. Needless to say, we were about 6 hours late getting into port:rolleyes:

I had the pleasure of working onboard the Stardancer (I was the guitarist in Stanley's Pub) from 85-87. The vessels master was Capt. Kjell Smitterberg ( one of the finest gentlemen you'd ever meet). Great crew and we always seemed to have a great bunch of passengers. I distinctly remember hanging out on the bridge once (in the days when that was permitted)..cruising up a channel outside of Juneau, AK...we were picking up the local fishing boat's radio conversation when we heard one boat say to another "oh my gosh! the biggest milk carton I've ever seen is coming right at me!" We could see a small craft (about 1/2 mile away) hurrying out of the way. She may not have been the prettiest ship..but she was sure fun! I'm very happy she's still sailing.

My late father and mother sailed on the Stardancer on an Alaska itinerary and there was an incident where the ship rolled to a 45 degree angle. Lots of breakage and freaked out people. They were ready to disembark after that. Not sure what they did do, but they really liked the ship prior to that experience.

Is that you, Charlie Dawson? Your act was the most enjoyable memory I have of Stardancer. You and I and the ship's doctor used to converse during your breaks. It was September 1987. I was misemployed as 'computer purser'. (I was a dBase programmer, and it turned out what they really wanted was a hardware technician. [story of my seagoing life for the ensuing nine years. Only time I gelled was when I was paired with a programmer.])

Boys Only classes taught by a male instructor are available to help introduce young male dancers to the athleticism of dance. Boys have the option of attending any of the co-ed classes as well.

A taxi dancer is a paid dance partner in a ballroom dance. Taxi dancers work (sometimes for money but not always) on a dance-by-dance basis. When taxi dancing first appeared in taxi-dance halls during the early 20th century in the United States, male patrons typically bought dance tickets for a small sum each.[1][2][3] When a patron presented a ticket to a chosen taxi dancer, she danced with him for the length of a song. She earned a commission on every dance ticket she received. Though taxi dancing has for the most part disappeared in the United States, it is still practiced in some other countries.

The term "taxi dancer" comes from the fact that, as with a taxi-cab driver, the dancer's pay is proportional to the time they spend dancing with the customer. Patrons in a taxi-dance hall typically purchased dance tickets for ten cents each, which gave rise to the term "dime-a-dance girl". Other names for a taxi dancer are "dance hostess" and "taxi" (in Argentina). In the 1920s and 1930s, the term "nickel hopper" gained popularity in the United States because out of each dime-a-dance, the taxi dancer typically earned five cents.[4]

Taxi dancers typically received half of the ticket price as wages and the other half paid for the orchestra, dance hall, and operating expenses.[18] Although they only worked a few hours a night, they frequently made two to three times the salary of a woman working in a factory or a store.[19] At that time, the taxi-dance hall surpassed the public ballroom in becoming the most popular place for urban dancing.[20]

At the same time taxi dancing was growing in popularity, the activity was coming under the increasing scrutiny of moral reformers in New York City and elsewhere, who deemed some dance halls dens of iniquity. Most establishments were properly run, respectable venues, but a handful were less so. In the less reputable halls, it was not uncommon to find charity girls engaged in treating working as dancers. Although treating activity did occur in a good number of halls, and even in some of the more respectable places,[23] it rarely crossed into prostitution. The taxi dancers who engaged in treating, or the receipt of "presents," typically drew sharp distinctions between the activity and that of prostitution, but they often walked a fine line between the two. Periodically, licentious "close" dancing also was happening (see taxi dancer experience below) in some of the shady halls. Considered scandalous and obscene by many reformers, this kind of dancing was another concern to the authorities. Before long taxi-dance hall reform gained momentum, leading to licensing systems and more police supervision, and eventually some dance halls were closed for lewd behavior.[24] In San Francisco where it all started, the police commission ruled against the employment of women as taxi dancers in 1921, and thereafter taxi dancing in San Francisco forever became illegal.[25] 2351a5e196