BASIC BUSINESS COMMUNICATION SKILLS FOR DANCERS

  Ever received voice mails like these?

 “Hi!  I need to talk to you…. Bye!”

“When is the class?”

"I can’t make it to the _______”  (rehearsal, gig, audition, or ??)

 “ Call me, it’s important!”

  “What time is the show?”

 I’m pretty sure you have, and sadly, I’m also reasonably sure you’ve probably left messages like this as well.  

These messages usually come in on the day of a show, when someone is supposed to be subbing a gig for you, or just before a hectic workshop weekend.

 Whether for a performer or an event producer, troupe director, stage manager or venue owner, these messages are   enough to send  a normal, healthy  person’s  blood pressure through the roof!

 The somewhat grim reality is that most of us dancers are so focused on dancing and on our own performances that we don’t stop and think about effective business communications!

 All of the messages above have these things in common:

 The person leaving the message is not identifying herself and expects that the recipient will automatically know who is leaving the message

 No concrete information is given as to what the message refers to

 No date or time is left on the message

There is no number or email address left, so the recipient may not be able to answer back

  So how do  we learn   how to communicate effectively?

 Do not assume that the  recipient knows who you are, or how to get in touch with you.

 Always leave your name as well as the date and time you called.  Start the message with your contact information, and repeat it at the end of the message, slowly and clearly.

  Make your message short and to the point, but always be extremely specific   in what   you are referring to.

  If you are talking about a class, a gig, rehearsal, workshop or whatever… refer to it by date, time and by the name of the event.

If you are going to be late for something, let the recipient know whether you mean you’ll be tardy by ten minutes or two hours.   If you have a flat tire or some other emergency, state   the facts in a brief, succinct manner and also offer an Estimated Time Of Arrival, even if that might mean you will not be there at all!

If you cannot attend a certain class or  time on a workshop weekend, make sure to specify which class or show you are referring to. Chances are, there are multiple events going on   during the course of the event. 

  Merely saying that a message is “important” can have a wide range of meanings.

What is important to you may not be  something earth-shattering to the person you are communicating with- or it might be a major game changer!  Juicy gossip is not important… the fact that your brand new costume looks amazing is not important.

  Remember, “important” can refer to anything from  “ I forgot   the matching head band we’re all supposed to wear” to  “I’m in the emergency room because I just broke my ankle!”

  For certain information needed on the day of the event, refer to websites or previous emails before calling the producer or stage manager.

 Remember, most of this information is probably already available- read the “fine print” on the performer emails or   do some research on the web before causing panic for a stage manager or an event producer…they are trying to do their job while fielding   a number of insignificant, time-wasting calls such as yours. Yes, I actually said that!  Don’t make their lives a living hell by causing unnecessary stress.

Don’t leave anybody high and dry… if you cannot show up for some reason-offer a solution in your message.

 If you need to miss a club or restaurant gig, supply the name or names and contact information of a suitable substitute performer in your message.

If you are a principle in a show, as a professional, you need to   be there, unless it is truly impossible.   Do not make a producer or club manager   replace you at the very last moment unless you are having a bona fide emergency.    Being stranded in an out-of-state airport is an emergency; having a headache is not. 

If you need to get your music in but cannot email it, make sure to send a CD in well ahead of the time it’s supposed to be there. Don’t make the producer or stage manager chase you down.

  By remembering these important tips, you’ll have   much better communication skills, and through your consummate professionalism, will make yourself beloved to whomever you are calling… which of course, will lead to more gigs for you!

GOING PRO PART FOUR: PROFESSIONALISM

One thing that always separates the amateurs from the professionals is their attitude.

True professionals are competent, calm, and collected. They are courteous to other performers, to the producer, and to the venue staff. They’re punctual for shows, rehearsals and classes, and in the (odd)event that they are running late, they call or text.

A pro thinks ahead and is prepared for anything that might go wrong... and if it does, they handle it with poise. They know how to negotiate for gigs firmly but politely. They return emails and telephone calls promptly and don’t leave anyone hanging.

If a producer has asked for promotional materials, a professional dancer sends them in immediately. Professionals don’t make scenes or hog space in the dressing room, perform longer than their allotted time, or drop out of group choreography the day before a show. Professionals are kind and polite to the wait staff, technicians, stagehands and volunteers working at the venues where they perform…because without these people, there would be no show!

A true pro can take direction or constructive criticism well, and can distinguish between critique and a personal attack. Critique is beneficial to you, but when it’s unsolicited, uncalled for, mean spirited, or comes disguised as a backhanded compliment, it’s not critique, it’s designed to make you feel bad. Don’t let it! Act professionally...but don't let some idiot make you feel unworthy, either.

As a performer, you’ll constantly be subjected to scrutiny. Deal with it, learn from it, take the good with the bad, and don’t let “haters” get you down. Professionals know how to deal with rejection- because they have to. If you’re passed over at an audition, lose a competition, or aren’t invited to perform on a show, there’s always a reason why. Often, it might not have anything remotely to do with you or your dancing. You could be too short, too tall, too blonde, not blonde enough, too young, too old, or whatever! Maybe you’ve been doing a lot of local gigs, or a particular show was only open to dancers from a certain studio. Rejection comes with the territory, don’t take it personally.

Remember, any time you get a gig, someone else will be disappointed that they weren’t picked!

A professional dancer needs to strive to prevent injuries of any kind. Your body is literally your moneymaker, so protect your health. Curtail any activities that might hurt you, including exhausting yourself by over practicing-before important gigs…. and they’re all important. Get enough sleep, eat clean and healthy and maintain your weight, but don’t fall prey to eating disorders.

If you need to cancel a gig for a good reason, do it without waiting until the last minute- unless it's an absolute emergency- and offer to find a replacement. A good reason is that you have a serious injury, a death in your family or a communicable disease ( like the flu) that might make those around you fall ill.

Having your period is not a reason to cancel a gig. Can you imagine this scenario playing out in any major ballet company, among the Rockettes, on "Dancing With The Stars" or "So You Think You can Dance"? I thought not! Our dance world is roughly 95% female...and menstruation happens to everyone once a month. Take some Midol, and get a grip!

Professionals know how much to charge for performances, classes or workshops. Different types of gigs demand different pricing, but no matter what, you need to know what other dancers in your area are charging for their services. This is called “the going rate”. While well-known dancers may charge more than the going rate for their shows, you have to realize that when you charge less than the going rate, you are undercutting.

Other dancers do not take undercutting the regional minimum for performances lightly, because in the end, it hurts everyone – especially those who make their sole income from dancing...and that's what you're trying to do, right? If you are unsure of what to charge, ask your instructor or other professionals in the area. Believe me, they’ll be glad to discuss money and minimum rates with you as a professional courtesy.

This being said, sometimes it’s wise to take unpaid gigs. While you should never undercut other dancers, and it’s a no-brainer to turn down a “regular” gig that only pays in tips, it can be very beneficial to take legitimate unpaid gigs. I'm not talking about those annoying situations where a venue or private party is trying to wheedle a free show out of you... so before your get your panties in a bunch, please hear me out.

If you use your discretion and pick wisely, you’ll be able gain experience and get exposure, build up your resume, give back to your community, be seen and make contacts at unpaid gigs. Often, the perks of doing select unpaid gigs are worth way more than cash! I’m talking about dancing at haflas, neighborhood festivals, fund-raising benefits or charity events, dance festivals, in student or indie films or music videos, and for certain situations when an event producer you have worked with is putting on a great show with a limited budget.

You could also decide to take a gig where no cash is exchanged, but get paid via the barter system, such as with an ad in the program, free admission to a workshop, or something like that, which will enhance and compliment what you are striving for in your career. Before accepting or declining an offer to work for "free", weigh the options and figure out if this specific opportunity will be worth something to you, by helping to further your career.

A professional doesn't fall prey to gossiping and "high school" style games and power plays... They rise above that pettiness, knowing that at any moment, for any reason, in person or online, they could be the next "victim". Unfortunately, this is all too common in our industry, so try not to get involved. "Be Switzerland", ie. take a neutral position. You'll be glad when you did.

Conversely, if you are the victim of bad-mouthing or gossip based upon assumptions, take the high road and keep quiet about it until it blows over- because it will. The people that participate in this behavior are always looking for the next big scandal to gossip about. If you know anything about my own history as a "public figure" you may know that a few years back, I was gossiped about and defamed online incessantly over a period of time. There are also a number of other constantly working - and respected- professionals that this has happened to in the near past. This happens in every line of work, from the arts to the corporate world. If someone is targeting you, it's usually because they are jealous. That doesn't make it hurt any less when it's happening, but don't let it get you down...

The people who are participating in this bullying are usually not the dancers who are working constantly, touring the world, organizing festivals, producing shows, and making DVDs.

A professional shows up with her music, cosmetics, and every piece of costuming and props in good working order. Nothing is forgotten at home. Make a checklist, keep it on your computer, and refer to it as you pack for every gig.

A pro is specific in all forms of communication: emails, voicemails and texts. Never assume someone knows what gig you are referring to, never assume that someone has your contact information. List it at the end of emails and texts, or say it slowly and clearly at the beginning- and at the end- of every voicemail you leave.

Act like a professional and you will be treated like one!