Episode Transcript
Speaker 0 00:00:00 Welcome to Words That Move Me, the podcast where movers and shakers like you get the information and inspiration you need to navigate your creative career with clarity and confidence. I am your host Dana Wilson, and I move people. I am all about the tools and techniques that empower tomorrow's leaders to make the work of their dreams and live a full life while doing it. So whether you're new to the game or transitioning to your next echelon of greatness, you're in the right place. Hello. Hello my friends and welcome towards that move me. I'm Dana. Thank you for being here. I really love these episodes. Uh, this is a question and answer special, and I love them because they feel <laugh> a little bit less like I am talking to myself in a closet and a little bit more like I am actually talking to someone and helping to someone, helping to someone.
Speaker 0 00:01:03 Mm-hmm. <affirmative>, it feels a little bit more like I am talking to someone like I am helping someone, like I am getting to you and I love that. Uh, so if you missed this round of question submissions, fear not, I will 100% be doing this again. We are always farming. Farming. Yeah, I guess so. Yep. That's the word I used. Um, we're always looking and farming <laugh>. We're always looking for more cues to a always interested in being in touch with you and the issues that are really happening right now. So now's a great time to reach out. Go ahead and DM us at Words That Move Me Podcast, all one word, no spaces on Instagram, and I will be sure to get your question in the next episode. All right. These tend to take a little longer than I expect. Just a heads up. So let's get into it.
Speaker 0 00:02:02 Ooh, wait for it. That was close. Let's do wins First I start every episode off with wins because I love it. Think it's important to celebrate what is going well. And right now, kind of near the very end of November, I am celebrating a very multi month. It was a dynamic and action packed month. I just, uh, I was looking through my camera roll on my phone and I was like, what? That was all November. Like, does that ever happen to you? The, the feeling of like, wait, that was just, that was two weeks ago. That feels like a month ago. Time is flying. Wait, is that what I mean? How does that work? How does time work? I just got lost. I just got confused. Does that ever happen to you? Like the feeling of time is a slippery, slippery thing that just slips through your fingers.
Speaker 0 00:03:02 And I'm looking at photos that feels like they were a long time ago, but it was just like three weeks ago. So what I'm celebrating is not having done a lot of things, but having done a lot of things that I enjoy, uh, this month. Brought on some pretty fun gigs and really fun dogs and remodeling and teaching and birthdays and art walks and yes, some breakdowns and yes, some buildups. Um, and I, I suppose that's balance. So I'm celebrating doing a lot of what I love, finding balance in work and play and stress and rest. Booya booya, you now you take the floor. What is going well in your world? Tell me all about it, really, truly. But say it out loud. You might cry
Speaker 1 00:03:54 Just saying What's going well? Yay.
Speaker 0 00:04:11 All right, my friend. Congratulations. Dry those eyes and let's get into it. So I put a call out to Instagram and the words that move me community slack channel for some questions. And I'm super inspired and impressed at what came back. I am also stumped on a few of these, which is really exciting. I love that feeling. Um, there actually was a thread of questions that came out of the wooden com, slack conversation all about associate choreographers. So many questions, such good questions, in fact that I don't think I alone can give a well rounded enough answer. And there was like there, there, there was enough to dig into that, that warrants its own episode. So be sure to come back. I'm gonna do this next week a deeper dive on choreographers, associate choreographers and assistant choreographers. And I will be joined by a very special guest who has even more experience in that domain than I do.
Speaker 0 00:05:17 Um, but today is ask me almost anything, almost anything minus the things about associates. Come back next week for that. All right, let's do it. First question, I love this question. What is a style or skill that you don't see a lot of dancers learn that if they did learn could help them, could help bring them more opportunities? In other words, what are dancers not taking advantage of that could really help them book more work? I love this question and I'm gonna answer it first really broadly, and then with some specifics. I think the style or skill is not dance. I think what most dancers are missing in their training is cross-training. Um, take for example, acting. Most of the dancers I know have a very hard time sincerely delivering emotion or dialogue if they have to, which sometimes we have to. So acting I think is a really big one.
Speaker 0 00:06:22 Sports, I never thought I would say that, but, um, I just had a fundraiser, kickball game, which served as somewhat of a networking opportunity if I do say so. Um, so it definitely serves to be interested in sports, but more broadly outside of my one isolated fundraiser, kickball game, uh, I, I can recall several gigs where a sport element will show up. All right, this is high school musical and we're doing a number with basketballs or this commercial that Marty choreographed a long time ago. I forget what it was for Target, I think. Um, and they were looking for somebody who could really handle a soccer ball. Um, we wound up hiring a friend of ours who was going in the pro soccer direction, wound up deciding to pursue dance, and this was the guy for that gig. Um, he had kept his, you know, footwork sharp and kept playing soccer relatively consistently, um, during his pursuit of dance.
Speaker 0 00:07:23 And that came in super handy. Uh, I think also in general, agility, stamina, endurance, that sort of thing. Sports, I guess kind of helpful. Uh, another one is Ariel Riley Higgins, my executive assistant brought this up recently. And you know, who has a fascinating story <laugh> about Ariel training and lying about it at an audition is Martha Nichols. You should go ahead and reach out to Martha. Tell her I sent you cuz she's got a great story about that. I think that Ariel work. Um, and other specialty prop work, I would include pole dancing in there. I would include silks in there. I would include hula hoop in there, like rhythmic gymnastics elements, ball clubs, rhythm, dancer. If you can get real good at any of those things, no harm, no foul. But I think though the, the real cherry on top of this list for me is improv, specifically comedy, but acting improvisation skills come in super clutch at almost every audition or casting where you don't yet have the set the stage, the props, the coac co-star whatever.
Speaker 0 00:08:43 You must use your imagination and you must know how to say yes. And improv skills are so, so important and becoming even more so as the one and only Cat Burns is, is on the comeback with her Raggle Tagle Dance Hour at UCB Raggle Tagle Dance Hour will be making a monthly appearance. So get ready for improv and comedy and dance to be married in a really beautiful way every single month. Super stoked about that. Get your butt in some improv class. Next question. During the pandemic, people started saying that you could live anywhere and still do this work. As the world has opened up. Do you still find that to be true? Hmm, this is a great question. First, I'm assuming that this work is entertainment industry work. And so yes, I understand, uh, and I think LA is the this place in this, in this question.
Speaker 0 00:09:48 Do you have to be in LA to be doing this work? I wanna be super clear. You can dance and you can make dance on film anywhere, almost literally anywhere. And so, so, so, so many productions are moving outside of Los Angeles. Um, actually was just having a conversation with Jillian Meyers, uh, who was encouraging some of our Vancouver friends to stay put in Vancouver, Canada. Um, there are more big budget moving musicals and series being shot up in Vancouver than in LA or New York. Uh, and the talent pool there is so much smaller than either of those two places. It really is, uh, kind of a place to be right now. Um, Atlanta and Nashville are also big hubs as well. You, you absolutely do not need to live in LA or New York to be a professional dancer on camera. But I will say this, and these are my thoughts, <laugh>, the further you are away from a big hub city, the more exceptional you need to be.
Speaker 0 00:11:02 The more exceptional your talent needs to be to stay earning a living wage. That is my thought. Is it possible? Yes, totally. Do you have to be more exceptional? Yes, totally. Those are my thoughts. <laugh>. Uh, next question. If you could be, oh yes, this is great. If you could be in any music video, <laugh> that you haven't already been in, uh, which would it be? O mg another spinoff episode could, could really happen here. Um, is a hard one. I guess since I make the rules around here, I'm gonna give you, I'm gonna give you a top three, okay, just spitball here. Number one, cold-hearted, aka cold-hearted snake by Paula Abdul. Because the music is exquisite, the moves, obviously by Paula are exquisite. Um, oh, you know what? Let me check on that. Hold on.
Speaker 0 00:12:06 Wow, guys, I'm glad I checked. I got duped on that one. I assumed that Paula choreographed her own video, um, for cold hearted snake, but it was not. That video is choreographed by Michael Darin, d a r r i n. Obviously the music is iconic, the moves are iconic and that video is directed by David Fincher, which of course, uh, the wardrobe, the concept, everything about it is absolutely classic. Damn it, jazz, it is so good. Actually, I'm realizing that in saying this, I'm kind of embracing the idea of dancing on scaffolding scantily clad, which typically are two of my least favorite things, but I repeat classic. I stand by my choice. I want to be in that music video. Uh, my number two has to be <laugh>. Oh man, I, yep, it's, yeah, this is real. My love is like, whoa, by Maya, y'all, if you have not seen this video, you are behind.
Speaker 0 00:13:15 You are behind. It was choreographed by Brian Friedman and I stand by this choice even though it would mean that Maya wouldn't be in the video because there's only one person in the video. So for me to be in that video, it would mean that she couldn't be in the video and then there wouldn't be a video. So this is kind of, kind of crumbling in front of my very eyes, but let me just kind of talk you through this. This video has my heart, my early two thousands heart wardrobe changes, mostly men's clothes I would like to point out in incredible hats and pants suits, heels, a tap solo, a cane. Truly, absolutely iconic. I, I'm not sure who choreographed the tap solo. I did reach out to Chloe Arnold. She was like, Dana, I was a child. <laugh>. I did not choreograph that. Um, I'm certain that Brian choreographed the video, not sure who choreographed the tap section, but it's epic. It's so good. Please go watch that video and imagine me in it, even though it would not be as good as Maya as herself. It's just, it's, it's, it's classic. I love it. Okay, number three. This is hard. This is getting really hard.
Speaker 0 00:14:37 I guess it has to be Rhythm Nation, doesn't it? Anthony Thomas. I think it, I think it has to be just let me like hold a formation and hit the step squeaky fricking clean a thousand times, I'm sure a thousand times, 1,005 times maybe. Um, but it's, it's so powerful. It's so good. It's so clean and steamy and awesome. I love it. It's so great. I do wanna list some honorable mentions though, cuz now that I'm thinking there's a lot of great out there. Most of you probably do not know this video and you're gonna watch it and think, really, Wilson, that's suspect. Uh, the video's called Window Liquor. It's by Afex twin. And I'm telling you right now, it is very intense. It's insane. Um, and for that, I would love to have been apart. Also, obviously Slave for you, Brittany, because it's iconic. 1, 2, 3, 4 by Feist is also, it's legendary and it's, I I would wanna be in a video like that because it's about the big picture, not a, not like about the dancers or like them being fierce, which is kind of a lot for me sometimes.
Speaker 0 00:15:48 I just, I love the simplicity, the power, the grand scale of it, the domino nature of it. It's just so good. Um, also honorable mention, I'm just gonna say it, uptown Funk, you don't just go, just go rewatch that. Um, I wanna be in that video because shout out Phil Tig, it's just the choreography is so good. It is the kind of video you could shoot without sweating out your wardrobe, which rarely happens for me. I'm so sweaty on set. Um, and so I love that about it. And then of course, there's if by Janet, because Tana Landon obviously great. Um, anything Ms. Elliott did in the two thousands period, but specifically get your freak on, uh, which is choreographed by High Hat. I would, I would, I mean, I would settle for just being one of those gar oils at the beginning. But really the partnering, the grooves, all of it, it's unforgettable.
Speaker 0 00:16:49 So nasty. I'm obsessed. Thank you for that question. We could, well, let's do one of those every year. I want to be thinking about that always. Okay. Uh, what is my favorite gig that I am the most proud of? Well, this also is an easy one. I'll call it a gig, but it's an, it's an organism. It's a, it's its own little ecosystem. The seaweed sisters, Megan Lawson, Julian Meyers, I love you both so tremendously much. And I am so very proud of this wonderful art baby that we have birthed and that continues to <laugh> spawn new lives and new little, uh, little sproutling new, what am I trying to say? You know what, you know, a spider plant and when it is not doing so well or when it's about to die has this offshoot and another little spider plant is born. I feel like without the, the dying part, that's what the seaweed sisters do.
Speaker 0 00:17:51 We're just this plant that shoots off these other little plants. And I love us. I'm proud of us. Thank you. Seaweed sisters. That's my answer, <laugh>. Um, okay, here we go. Let's get into it. How do you deal with the pressure that we put on ourselves to be good choreographers slash teachers and delivering good work compared to other teachers? Okay, I kind of see two questions here. So that's how I'm gonna approach it. How do we deal with pressure to be good? And how do we deal with comparing ourselves to others? That's how I kind of see that breaking down. I think that we can deal, or, or my way of dealing with my pressure to be good is by deciding what I think good is. <laugh>, you know, what, what is my good class? Like, what do I think the definition of having taught a good class is?
Speaker 0 00:18:52 What is my definition of a good audition? What is my definition of a good podcast? And for choreography, to me the, the definition of good choreography is something that is emotional. Um, something that is interesting to look at and, and digestible on the eyes, not, not an assault on the senses. Um, to, to, to me good choreography looks like it feels good to dance, it is imaginative and it is emotional. That is my metric for what is good choreography. And once I've decided what good choreography is, I can kind of gauge if I'm doing that or not. <laugh>, I think that once you decide what your definition of good choreography is, you might find that either you're already doing it at least some of the time or you'll find that there are some skill gaps or thoughts that are blocking you from it. But if you zoom out and look objectively at what those skill gaps or thought blocks might be, you can get to work.
Speaker 0 00:19:56 Um, and you can get to work at a degree of intensity that you choose in, in order to reach that definition of good. You can gently chip away at it or you can completely obsess and slave away at it. Uh, but that is totally up to you. What I will say a little tidbit here is that your idea of what is good <laugh> will forever be changing and you'll always be on this journey. So I suggest that you choose a mode of pursuit of good that you can endure for a long, long time. Um, actually I just watched a fabulous video on YouTube. Uh, van Nasta, who is an art hero of mine, just released a video, it's called Why Veteran Artists Don't Quit. And, uh, it talks kind of about the difference in the lifetime of a project and the lifetime of an artist, I guess for that matter, for both.
Speaker 0 00:21:00 Uh, a rookie and a veteran artist. And he doesn't use the word rookie, actually, he uses the term probationary artist or inexperienced artist. Anyways, uh, he makes these diagrams that show the difference in the approach of a project or a a, an artistic venture, if you will. And I do, I wanna talk you through it also, cuz I just watched it. So this is an opportunity for me to learn it better myself. Okay? So for the, the inexperienced artist, the first step on this journey to a finished thing is inspiration. The idea that they are enamored by this whim, this like moment of, ah, wouldn't it be great if, or, oh, I should like, that moment is how it begins for an inexperienced artist. Then comes the work, right? They get it done, they get into it. Then comes the wall out of nowhere, the block, the challenge, the crippling self doubt.
Speaker 0 00:22:01 And then comes the quitting <laugh>. Then comes the resentment after the quitting of every step that led them there. They resent the inspiration, they resent the work itself. They definitely resent the wall and they resent that they quit like big resentment pie. The veteran's model in van's description looks quite different. The veteran first, even before inspiration makes a commitment. They commit to making a thing and then they prepare, they prepare to be making, and then the resentment begins before the wall, before the inspiration they prepare to make. And then they resent what they know is ahead, but they go anyway, then comes the wall, which they knew was coming, the, the block, the challenge, whatever it is. And they welcome it with open arms. They don't resent it, they expect it. Uh, they, they don't, yeah, they don't resent it. What they do resent then points out.
Speaker 0 00:23:07 So poetically is distractions and distractions in vans view are anything but the work. <laugh>, they're having to talk to people, they're having to go to meetings, they're having to travel. Those are distractions. And a veteran resents any time not working, unfortunately, those distractions are usually what pay for the work. Enter the bane of an artist's existence. Um, my favorite quote from this movie of vans is the distractions pay admission for the work. I see this and I, I think the seaweed sisters can relate to this a lot. Anyway, off topic, okay? The veteran artist starts by committing, then they prepare, then they resent, and then the wall comes and the veteran breaks through the wall with inspiration, with the aha moment because they keep working on the wall, at the wall through the wall. It's the inspiration that gets them through it. And then of course with that, they're able to complete the task and only upon completion they feel a sense of gratitude and they feel that gratitude just like the, just like the inexperienced person felt it for every step up to that point, the veteran feels it for every, feels their gratitude for everything up until that point.
Speaker 0 00:24:36 Wow. I hope you're tracking with me. Trust me, that was a, a grossly simplified recollection of this, of Van's model. Um, I really encourage you watch the video and all of his work for that matter, enjoy. He's so great. I've gotten off topic, but what I, what I hoped to illuminate there is that in the moment where you have the choice to think you're good or bad, you can quit or you can keep going. I think knowing that you will think you're bad, knowing that you will have a challenge, knowing that you will not have an answer, and knowing that you will keep going and that inspiration will come, a solution will come, you will figure something out. And if you do, you will wind up with a product, an art product, if you will, which is one of my favorite oxymorons. Anyways, that is, that is what I have to say about that. A very, very long winded what I have to say about that. How do we deal with pressure to be good? Define what's good, fill in your skill gaps, keep going. Now how do we deal with comparing ourselves to others?
Speaker 0 00:25:54 Um, my answer to that question is by doing it with compassion and with curiosity. I think that comparison and competition are far too hardwired into us to do away with them entirely. I really don't think we can not judge and not compare and you know, I don't think we can just like erase that. We can't white knuckle grip ourselves away from doing those things, but I think we can choose to do them in a way that doesn't destroy us or the other person that we are completely imagining ourselves to be pitted against. So when I find myself comparing myself to someone else in a kind of icky way, I invite curiosity and that usually sounds like I wonder what they're doing that I'm not doing. I wonder what they're not doing that I am doing. I wonder if I could figure out how to do that.
Speaker 0 00:26:58 I wonder if I know someone who already does know that. I wonder if they would talk to me about exactly that. I love getting curious about my, my, I call it my jealousy map, people that I'm interested in that I have that like, ooh, that little pang of of jealousy for I really in my, in my older years, my more mature life really leaning into jealousy a lot. I think it's super useful comparison, competition, really useful as long as you approach them with a sense of curiosity instead of criticism and a sense of compassion for that other person. Because what you are not seeing is their struggle. <laugh>, what you are not seeing is what they are up against. And trust me, it is 50 50 for all of us. All of us are up against a heaping pile of shit <laugh>. Um, and, uh, I, I don't think that is making you feel any better. It's not my goal to make you feel any better, but that is truly what I believe and I hope that that perspective is helpful for you. Um, yeah, I I, I, I don't think we cannot compare, but I think we can compare with curiosity and with compassion for the other person and for ourselves. Try talking to yourself like you're your friend <laugh>, uh, and see how that goes. Wow. Okay, so fun. These are great questions. I love this.
Speaker 0 00:28:24 Ooh, good one. Okay. How do you deal with creative burnout when you're constantly being asked to create every day or every week? Okay. Oh, here we go. Okay. Ironically, van, nice that, not ironically, but naturally, van has another great video about this. Um, and I recently did an episode number 1 47 on burnout, uh, specifically on burnout at different career stages. So burning out in the early inexperienced, as van would call them, wait, what was the word he used? Probationary. Probationary. I'm gonna try using that word in his end next week. Um, I talk about burning out at the probationary phase as well as at the established but transitioning phase. So that is definitely worth a listen. I'm going to link to Van's video and that podcast, but I will tell you this right now. Burnout happens when you let your stress go unchecked and when your mind goes unmanaged and when you leave your emotional wellbeing, un cared for those three things in tandem is when burnout happens.
Speaker 0 00:29:42 You can definitely have stress without burnout, but you can't have burnout without stress. So you can avoid burning out by managing your stress and caring for your emotional wellbeing. It sounds so simple, right? That is why I will leave that here, but point you to this incredible video and the rest of this episode because I think where, uh, where I left you, they pick off, pick up very nicely. I really hope you find them and dig in there because there's a lot of gold to be dug on the subject of burnout. But that is, that's what I'll leave you with today. Burnout really happens when your stress goes unchecked, when your mind goes unmanaged, and when your emotional being go uncared for. So if you're feeling on the, on the verge of burnout, go tend to one or all three of those things and I think you'll find yourself cooling off.
Speaker 0 00:30:39 All right. Personal question, here we go. How hard was it to get my first job? Ooh, okay, well my first job was not dance. Um, but I think you mean my first dance job, so I'll talk about that one. It was pretty hard. Um, the first dance job that I booked was a contemporary company called Evolution. I've talked about it a handful of times on the pod before. Um, if you wanna go do a word search on the podcast, uh, page of my website, you could probably find it. Evolution is the name of the company and Mark Meer was the creative director. So we, we, we existed for one season. It was a wonderful season. We did wonderful work, wonderful people. Um, I, it, it is like, honestly when I think about it definitely was a dream job. Um, but the audition for it was long and it was hard.
Speaker 0 00:31:33 I remember people dropping like flies with cramps, with injuries. Um, it was a challenging audition back at the dome, uh, the old millennium dance complex in the dome. Oh, it was so amazing. So like on a scale of one to 10, how hard <laugh> eight, 7.95 <laugh>, it was pretty hard. Um, but if you mean like the journey, I'll tell you, I lived in Los Angeles for almost a full calendar year before I booked that job. I was working at Urban Outfitters. I was pretty prepared with a hefty savings account and by the end of that year I was struggling and I was nervous. I was definitely doubting if this was the right move, even with all my connections and opportunities that I'd had built in from dance conventions and competitions and great training at Michelle, Adam Dance Academy. I was really well positioned. Oh, falling speaking of well positioned, um, I was really well positioned and even then it, it took a full year and it was tough <laugh>.
Speaker 0 00:32:42 So there's that. Uh, okay, next question. I also love this one so much. If you came face to face with 12 year old Dana, young Dana and you could tell her anything, what would you tell her? I love this actually. I was asked this question at a birthday party recently. Like what would you tell your young self? It was awesome. Prompted a good, a good conversation. I would probably tell young Dana, uh, some winning lottery numbers if I knew them and then I would tell her two more things. I would definitely tell her, number one, to keep doing what she's doing and not to worry when doing things quote the right way doesn't seem to work. I would also tell her not to get mad when people doing it, quote wrong, still succeeded. I had a lot of ideas about what I thought you were supposed to do and, and supposed to not do in order to succeed.
Speaker 0 00:33:42 All my dance teachers, all my mentors, you know, they had this plan for me, don't do drugs, don't sleep with the boss, be on time, pay your rent, all those things. And I was shocked out in the real world to find that people still did fine with sleeping with the bus, with doing drugs, with paying their bills late and showing up late and they were in the same place I was. So, uh, that flustered me for many, many years and I would just, I would tell young self in the words of my friend, Hozier honey, there is no right way. That's what I would say. I would want a hundred percent tell my 12 year old self about hozier. Oh my gosh, he is the greatest. Uh, and then number two, one more thing I would tell my young self, cuz I do remember even from a very young age, caring disproportionately more about what men thought of me than women.
Speaker 0 00:34:39 Um, even at 12 I remember wanting to impress men more than I cared to impress women. Um, so I would tell myself that they specifically men, but other people in general don't matter more than I do. That their opinions don't matter more or way more that they're not worth more. I probably would also tell her that they probably do make more money, but out here in the future we're really, really, really working on that <laugh>. So that is what I would tell young self. Uh, next question. What advice do you have on staying motivated? Ooh, love this question. Don't even think about it. Is my advice on trying to stay motivated. Um, I was just coaching on this today. Actually, motivated is not the only emotion that generates results or results even. I'll say that again cuz I really mean it. Motivated is not the only emotion. And I do think motivated is a feeling. Like it's a feeling. You feel, I feel motivated, I feel motivated right now. That is not the only feeling that generates desired results I give to you. For example, disappointment, feeling disappointed can lead to so much work, so much good work. Actually feeling disappointed can lead to so much good period.
Speaker 0 00:36:14 That's it. I mean, I could list other examples as well, but motivated is not the only feeling that generates desired results. I really think that trying to stay motivated is actually part of what burns people out. I don't think creativity works like a hose at full blast all the time. I don't think that choosing motivated is the way that you make the creative fountain flow. That's, I just, I don't think that's the one. Is it useful? Yes. Does it feel good? Totally, really love feeling motivated. Is it an option for you all the time? Yes. You could probably, you might become exhausted. I, I, back to my thoughts about endurance and the way that you can do things. I love ebbs and flows. I love fasts and slows and I honestly, I also love struggle. I love ease, I love it when things are easy, but I don't think they have to be and I don't necessarily think they should be.
Speaker 0 00:37:17 So that is my answer to that question. Consider something else. When you're thinking that you have to stay motivated, consider being something else. I'll leave you with that. Um, okay, a couple more personal ones here. Wow, I told you these episodes are sneaky. What was it like working with Austin Butler <laugh>? This is a great question. I will answer it with three words. Working with Austin Butler was a dream, uh, because Austin is hands down the kindest, most hardworking and most willing actor I have ever had the pleasure of working with. Um, it was also a challenge because the scope of work was so large. Um, and I will call it a honor and honor. Mm, that's an interesting one cuz Honor starts with an h It was an honor, yeah, an honor <laugh> because, uh, BAS Lerman has been a hero of mine since Strictly Ballroom was a kid.
Speaker 0 00:38:24 When I saw that movie for the first time and getting to be part of his team and help his vision come to life was, it was exactly that. It was an honor and I learned much. I'm so grateful for that chapter of my life. I cherish it so much. Um, kind of similar related a little bit, but different, what was it like dancing for Justin Timberlake? Uh, well I did it for so long, <laugh> that that experience was really vast. Um, it was exhilarating, it was exhausting. It was a dream, it was a job. It was many, many things, but what it will always be is, uh, is character and career defining. I say that because Justin's way of surrounding himself with good people, um, his way of pursuing fun and healthy competition, his worth work ethic. Whoa, that word is so hard for me every time I try to say it.
Speaker 0 00:39:26 His work ethic, um, the way he takes care of his people, all of those things really left to mark on me. Those are qualities that have shaped the way that I work. And without a doubt, Marty Kudelka and his movement have shaped the way that I move, um, period, the end also the way that I make movement. So yeah, that experience is, is career defining and character defining and I'm also so grateful for that. I am getting emotional. Look at this. Holy cow. Okay, uh, one more question and then one more question. <laugh>, have I ever had a clumsy first impression? Actually, yes. And this clumsy first impression was with jt. Just imagine a 19 year old Dana who grew up watching TRL and was obsessed with NSYNC meeting Justin Timberlake at a casual afternoon poker game at her friend Marty's house. And I was just so not prepared for that moment.
Speaker 0 00:40:32 Uh, did not get a heads up text that that is what was gonna be happening that afternoon. So honestly, I don't even remember what happened. I think I blacked out. Um, but I'm sure that that was clumsy and awkward <laugh>. Okay, final question. And this actually, um, I've had two people ask me very similar question in the last several days, which tells me the CLA Conservatory is recruiting. Um, I've had two people ask Dana, I'm considering the C Conservatory. What are your thoughts? What should I do? Um, one person specifically asked, I'm considering the conservatory for next year, but it's hard transitioning back to a program like this because it feels like I already took a huge step in moving to la. Is it almost like a step back? Here's the thing about big decisions PS please, please, pretty please check out episode 83. It's all about making big decisions.
Speaker 0 00:41:32 I'm a big fan anyways. Here's the thing. Nobody, not me, not Teddy Florence, not Mandy Moore, not Marguerite Dereks. None of us know what you should do. So you must look to yourself and your values to decide. If you think that this is a step back, it will feel like a step back. If you think this is the best choice you've ever made, it will feel like the best choice you've ever made. So sit down and really listen to yourself as you talk slash think about this decision. That's the first thing I'll say. The second thing I will say is that most decisions are posing as a false dichotomy or a false dilemma. Meaning that they're based on the lie that you tell yourself. You must choose one or the other and that one will be good and one will be bad. Like if I do the right thing, then I'll succeed.
Speaker 0 00:42:37 And if I make the wrong choice then I'll fail. If I go to CLI conservatory, I'll succeed. If I don't, I'll fail or vice versa. That's why big decisions are hard cuz your brain triess to tell you it's A or B, and one of them is good and one of them is bad and you don't know yet, but you have to choose now and don't pick the wrong one. So <laugh>, my first thought is to remind you that you already know your values. You know them way better than than anyone else at this point in your life for sure. And the second is that you have way more options than A or B. And just like I would tell my 12 year old self, neither one of them is right or wrong. So now that you know that neither one of those is the right or the wrong answer, now you can really blow the lid off and ask what are your other options?
Speaker 0 00:43:30 Could you go to C next year and do modus this year? Could you do lion and motus at the same time? If that's even possible calendar wise or physical BodyWise, you could try, you could see what happens. That is an option. You could also give yourself a rigorous cli online intensive on your own and do three other intensives in different cities throughout the year. There are honestly a million options in terms of your training, but before you get overwhelmed with options <laugh>, which is funny because right now you might be wishing that you only had two again, but wasn't that hard. It's not nice to only have two options anyways. Please remember that there is an option that satisfies all of your values. Like to be close to family or to be away from family or to be, um, on a schedule or to be close to spontaneous opportunities.
Speaker 0 00:44:26 Like if those are your values, I guarantee one of these options. A, a, B, a, B, C, maybe D, maybe option F, maybe option Z. One of those options will speak to all your values and certainly some of those options won't speak to all your, all your values. With that in mind, make your decision and remember you can always change your mind. None of these decisions specifically about training are eternally binding. Final word on cli. I think the program is wonderful. It is intense. It is for all types of people who want to dance and learn all day every day. It is for that teddy Florence appetite. That is my takeaway. Unfortunately, I will not be there this season, but I know the staff, the crew and the educators, they are top tier and it is sure to be something else. So I'm, I'm glad that you're considering it, but I do not know if you should go or not.
Speaker 0 00:45:33 You do start digging my friend looking at your values and deciding which option is best for you. Wow. Alright, my friends, those are the questions that I have decided to a this week. I have a handful, a heaping, handful of more questions about choreography, choreography, residencies, being an associate specifically, um, what the qualities are of great associates, what working as an associate looks like. A lot of that juicy stuff coming at you next week with a very special guest. So please set your alarms, alarms, reminders, what do people set? I see you next Wednesday. Just let's not forget, whenever it's Wednesday, think of me, think of words that move me. Um, and of course get out into the world. Keep it extra funky and I'll talk to you soon. Bye.
