I went to a seminar last week where Seth Godin talked about how to become a linchpin.  He talked about the things he usually talks about: being irreplaceable, spreading messages that are worth spreading, being willing to fail, etc.

Photo Credit: Wa-J on Flickr

It was an extremely engaging talk and got me to thinking about how the dance world could really benefit from his advice.

Dance is going through a very interesting and somewhat frightening revolution.  We are seeing a new culture emerge that embraces “the hired body,” the dancer that masters a set of techniques dictated by a specific dance vocabulary, almost like a checklist.

That’s a lot of jargony language, but basically what I’m saying is that today, dancers are being trained so that they can be hired.  They are being trained so that no matter what kind of movement a choreographer gives them, they will be able to do it.

The problem with this is that instead of becoming artists, instead of becoming linchpins, and instead of becoming irreplaceable, these dancers become cogs.  At the very best, they become exceptional at being told what to do.

Photo Credit: PhillyLambs on Flickr

We see this on shows like So You Think You Can Dance all the time.  They accept exceptionally trained dancers that can convincingly perform any style of dance that is thrown at them.  And they are all very good at being told what to do.

So what’s wrong with being told what to do? A lot!  It creates the impression that the only way to be successful as a dancer is to be a hirable body, when in reality if that is all you can do, you’ll be replaced by some 18-year-old by the time you are 27.

You shouldn’t be able to write down art.  Art is about self-expression but it seems that the emphasis in mainstream dance is trending towards perfection and mastery.  It makes people describe the dance world as “cutthroat” instead of supportive and innovative.

I’m not arguing that technique isn’t necessary.  I’m arguing that having good technique shouldn’t be measured by someone being able to execute a checklist of movements.

Singers and musicians aren’t respected just because they can hit high notes; they are respected because they put their heart and soul into their work to create true art.  Dancers should be judged no differently.

Photo by Yannick Bindert

So what do we do? We give dancers the tools to be successful while being different.  We create a community that allows people to fail in order to promote innovation.  I think we can learn a lot from the avant-garde fashion industry, which praises and respects designers and artists that take a chance, even if they (or their models) fall on their face.

We need to show dancers that you can still make beautiful art without pointing your toes all the time or being able to do a triple pirouette into a front flip suicide.

Let’s make real artists and not just hired bodies.

This is my first blog post. I’ve shied away from the idea in the past because of something I think all artists have: self-doubt. Because we grow up in a highly competitive atmosphere, we are constantly questioning ourselves: “Why do I deserve to do this?” and “Why should I succeed over that person?” What I have come to realize is “Who cares?” You probably aren’t unique, but even if you are, it doesn’t really matter. The focus should not be on whether or not you deserve to succeed, it should be on how you can succeed with the skills that you have. That’s where social media comes into play.

No one cares how good you are if they don’t know who you are. From a very early age, in any art form (dance in my case), we are taught that the only way to survive in the world of art is to be the best. “Do you think people will pay to see that pirouette?!” “You think you can fill seats with that documentary?” We are constantly pushed to be the “best”, when in reality, many of the best artists fail. So You Think You Can Dance just started its 5^th season and after auditioning thousands of dancers over 5 years, they are still finding exceptional talent, enough so that the show is already auditioning dancers for a 6^th season in the fall. There is an endless pool of talented artists in all fields and your job is not to be better than your peers. Your job is to get noticed first.

Thousands of people are competing for the same success that you are. Marketing yourself effectively is about making people remember who you are in a crowd of people. I recently got to work with a choreographer, let’s call her Anya. After college, Anya knew that she didn’t have the years of technical training necessary to become a well-paid professional dancer, so she decided to try out choreography. She, like dozens of other dance hopefuls moved to New York, put together a show, and invited critics and members of the dance community to view it. She, unlike the dozens of other dance hopefuls, fed her audience food and got them drunk on cheap alcohol, convincing them it was “part of her Estonian background.” Was it illegal? Probably. But by marketing herself and turning her art into an event, she enjoyed consistent rave reviews while most of her hopeful dance buddies did not.

Art is not just about creating something. It is about effectively sharing that something with a larger community. Anya acknowledges that she is not the best dancer now, nor was she ever in high school, college, or in her graduate experience. Yet now Anya is a very successful professor at one of the best liberal arts schools in the nation. How? She knew how to market herself and her works. What Anya did to make her art look like more than just another post-modern dance piece, you can do using social media. With all the social media tools (Twitter, Facebook, Myspace, Blogger, Digg, Flickr, Youtube) freely accessible, it is now your job to distinguish yourself from all the other artists doing what you do. Independent artists and labels won half of this year’s grammy awards, due in part, no doubt, to their talent, but also to their access to and skilled use of online social resources. It’s easier now than ever to make a name for yourself, by yourself.

“How?” you might ask. Well, that’s what I’m here to tell you. Subscribe so you won’t miss my next post.

Note: Originally published on StillIndie.com