How I Got Here
The path to dance success isn’t always a straight line. We asked three pros to reflect on their careers—including the disappointments, unexpected opportunities and inspiring moments of perseverance.
Daniel “Cloud” Campos
Currently a commercial performer, choreographer and director
(Photo by Joe Toreno)
Performing at Universal Studios Florida
Campos began breaking at a very young age, but he didn’t join a crew until he moved to Tampa, FL, at age 12. “I went to a roller rink, and there they were—the Skill Methodz! I was so impressed,” he says. “We started going to competitions and traveling around the world, making a name for ourselves.” Eventually the Skill Methodz landed
a job at Universal Studios Florida in a show called Street Breaks.
Touring with Madonna
On a visit to NYC, Campos heard about a Madonna tour audition. “I didn’t have an agent, but I crashed the audition anyway,” he says. He pushed through the choreography portion—an experience he’d never had—to get to the freestyle section of the audition. “I knew if they could see my breaking, I’d have a good chance of making it.” He did make it, and ended up working on two of Madonna’s tours.
The Commercial Life
After his Madonna audition, Campos got an agent in L.A. and started building his resumé. He landed gigs with a variety of directors and performers, including Jon M. Chu, Shakira and Jennifer Lopez. Campos quickly discovered just how intense the commercial dance world could be. “The audition process is intimidating when people have expectations of you,” he says.
Discovering His Passion for Directing
While dancing in music videos and films, Campos realized he had his own ideas about how to capture movement on camera. He shot his first short dance film, The Paperboy, while
he was working at Universal Studios, and posted it on YouTube. “It ended up getting a lot of attention,” he says. “I know I can’t dance forever, and I realized this was another creative path to take.”
Campos’ newest dance short, Today’s the Day, is about facing your fears and walking into the unknown. “I enjoy telling stories with my body,” he says. “I want to bring back the golden days of dance films.” He’s looking forward to more dance-inspired directing projects.
Currently a member of Nederlands Dans Theater (and a new mom!)
(Photo by Marty Sohl)
Dancing with LINES Ballet
After graduating from the Pacific Northwest Ballet School, Jacoby immediately accepted a job with the contemporary company Alonzo King LINES Ballet, in San Francisco. “I had hoped to join PNB, but they didn’t want to take the risk of hiring me because I was so tall,” says the 5' 11" dancer. “LINES was a different path than I had imagined.”
Though she enjoyed working with LINES, Jacoby still dreamed of a super-classical ballet job. She continued to attend auditions while working with the company. “I met so many people through auditions,” Jacoby says. “In the end, the conventional ballet path didn’t work out for me. But those endless auditions were very enriching. I figured out there’s more than one way to make it in the ballet world.”
Freelancing in NYC
After a few years with LINES, Jacoby decided to strike out on her own in NYC. “I created a DVD and website, got a commercial agent, started auditioning for movies and Broadway shows and took classes at Steps on Broadway every day,” she says. “I landed a gig with choreographer Lar Lubovitch, and from there, it just snowballed.”
Jacoby & Pronk
One of Jacoby’s freelance jobs was touring with Complexions Contemporary Ballet as a guest artist, and that’s where she met dancer Rubinald Pronk. They began to perform together as Jacoby & Pronk, building a name for themselves by collaborating with choreographers such as Christopher Wheeldon and performing at festivals like Jacob’s Pillow.
Joining Nederlands Dans Theater
While Jacoby was collaborating with Pronk, Paul Lightfoot and Sol Léon, then resident choreographers with Nederlands Dance Theater, brought up the idea of Jacoby joining NDT. But at that point, “I was still excited by making my own path,” Jacoby says. Two years later, after Lightfoot was made artistic director of NDT, he offered Jacoby a contract—and she was ready to accept it. “One of the reasons I stopped freelancing was fatigue,” Jacoby explains. “We were performing four pieces a night, I was doing all of the administrative work and we were traveling nine months of the year. I was trying to get funding, which was way over my head. So I was ready for company life again.”
Jacoby has now danced with NDT for three seasons. She’s able to maintain her professional connections by teaching, producing galas and performing at festivals. These days, she’s enjoying spending time with her new baby.
Ephrat “Bounce” Asherie
Currently a teacher at Broadway Dance Center and founder of Ephrat Asherie Dance
(Photo by Matthew Murphy)
Discovering Her Passion
Asherie began studying ballet at age 10 and Graham-based modern dance at 14. She loved hip-hop music, but “it was the ’90s, so hip-hop classes weren’t available at most dance studios,” she says. She went on to study at Barnard College, majoring in Italian. Halfway through her degree, she saw Rennie Harris’ groundbreaking hip-hop work, Rome and Jewels, which gave her a new perspective on dance. “It completely blew me away,” she says.
Adventures in Italy
Asherie was studying abroad in Italy when opportunity struck. “I was looking for an apartment, and I accidentally walked into a b-boy gym,” she says. “It just fell into my lap!” She started breaking, and found that it gave her the voice she’d been looking for. “I didn’t have to look in the mirror at my body—it was freeing to just be connected to the music and the movement.”
Back in NYC, Asherie discovered the city’s underground breaking scene. “You had to
prove yourself there,” she says. “The guys always thought I was someone’s girlfriend or a groupie.” One dancer in particular, Richard Santiago (aka Break Easy), took her under his wing. “He would teach me mini classes, spin records, show old breaking footage and share newspaper clippings,” Asherie says. “It was such a nurturing approach to my education.”
Committing to Dance
Life after college was challenging. Asherie waited tables, worked as an Italian tutor, wrote grants and danced at night. “I landed a breaking gig, and called in to work well in advance to get someone to cover my waitressing shift,” she remembers. “But my boss ignored the request, and I was fired.” It was a crucial moment: Asherie had also just landed her first jobs teaching dance, at Peridance Capezio Center and Broadway Dance Center. “I decided it was time to commit myself entirely to my practice, and I got an agent.”
Forming Her Own Company
Asherie began to develop as a choreographer as well as a dancer, and eventually founded Ephrat Asherie Dance. The group earned residencies at New York Live Arts and Jacob’s Pillow, which allowed Asherie to further explore her creative voice. She also kept up a busy teaching schedule. “When I’m fulfilled in my choreography, that makes me a better teacher,” she says.
After Asherie curated a show at Dixon Place on the Lower East Side of NYC, she was commissioned to do a full-evening work for the venue. The result, A Single Ride, was nominated for two Bessie awards—one of NYC’s highest dance honors.
Asherie recently finished a residency on Governors Island through the Lower Manhattan Cultural Council. She’s also an MFA candidate at the University of Wisconsin—a low-residency program that allows her to continue making work in NYC. This spring, she’ll be touring with Get on the Good Foot, a dance tribute to James Brown.
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Dancers are naturally "in their heads" all the time—but not always in productive ways. Long days of receiving and applying corrections, taking class, and performing can get to even the most composed individuals. What should you do when you feel like your mind is just as busy as your rehearsal schedule? Try meditation. Dance Spirit turned to Adreanna Limbach, a head teacher at NYC-based meditation studio MNDFL, for a breakdown of this highly beneficial practice.
It's an increasingly common scenario: A talented dancer wins big at a competition, is offered an assistantship with a famous faculty member, and ends up leaving her hometown studio to travel with a convention. Convention-hopping has obvious benefits. Every event generates new content for dancers to post on social media, gives them a better shot at ending up on their favorite choreographers' accounts, lets them learn from the best of the best, and helps them make valuable connections. "Traveling is a great way for dancers to gain admirers around the country," says Jen Jarnot, owner of Artistic Fusion Dance Academy in Thornton, CO. "That's something every dancer craves." So it's no surprise that weekend FOMO has been blazing through studios like wildfire.
But is this jet-setter lifestyle really the most effective road to take? Can weekends of dancing with top talent truly replace the bread and butter of daily work at your home studio? The answer, according to most industry experts, is no. We asked five pros to explain why.