“Making it” in the entertainment industry is extremely competitive; “making it” as a dancer even more so, and in New York City, it is a category of its own. New York City ranks among the most competitive cities in the world, and navigating opportunities in the city that never sleeps as an independent performing artist and educator can be simultaneously daunting, enriching, and unpredictable. Yet New York is an epicenter of culture and artistry, with an experience and collection of opportunity like no other. The demands of such a life practice that requires intensive commitment, diverse skills, and risk-taking can be overwhelming and the addition of unhealthy competitiveness can make this combination challenging to manage. However, collaboration is an alternative that leads to greater innovation, inclusion, and authenticity. This concept has always been a guiding light in my artistic journey, but participating in the New York State Teaching Artist Mentorship program revived this principle in my practice.
Through mentorship, artists can develop themselves, fellow artists, and the larger community through compassion and authenticity that can elevate the impact of the field as well as combat racism, sexism, ageism, ableism, and any other -ism that can be fueled by unhealthy competition. Sometimes to “make it,” to get the contract, to teach the residency, to make ends meet, artists conform and work in inauthentic capacities. Some take work that does not align with their artistic vision, or do not speak up for areas that need improvement to get or keep a work opportunity. This competition creates misalignment that impacts artists, the field, and audiences. With mentorship one artist’s gain does not have to be another’s loss, we can encourage and empower each other and take the initiative to create opportunities we want if they do not already exist. We can work together to creatively find ways to build partnerships and match opportunities as genuine wins for all involved.
In my mentorship experience with the New York State Teaching Artist Mentorship program, accomplished artists and leaders in related fields shared their insights on how they successfully navigated challenges from grant-writing, to proposals, to gaining opportunity in higher education. Their specific methods from diverse backgrounds was impactful because it centered individuality, difference, and resisted the -isms associated with unhealthy standardization. In collaboration, there is heightened innovation and room for many to solve problems that would be too difficult for an individual. Hearing the narratives of how unique artists made their path successful was empowering and helped to create an inclusive vision grounded in possibility.
I moved to Harlem more than two decades ago excited about the possibility of crafting a dynamic arts career as a dancer, choreographer, and teaching artists from North Carolina with an interest in cultural dance traditions and community building. After performing with a number of dance companies, teaching with different organizations, and expanding into interdisciplinary practices, I shifted to working independently and becoming the Artistic Director for Threads of Truth, which shares the traditions of the African Diaspora with students, families, communities, and multicultural audiences in workshops, residencies, performances, and other events. I applied for the mentorship program to expand my agency in creating opportunities and outreach to communities. I was connected with a mentor who shared many of my experiences and values.
My mentorship experience was rich with virtual and in-person opportunities for development such as the Face to Face conference, but also individual mentorship sessions. The individual mentorship sessions for me were especially transformative. My mentor Lisa Green, a dancer, educator, and team leader, combed through her library of experience and tried solutions to help me craft approaches to improve and extend my practice. She listened and probed questions and selflessly poured into my process which not only benefited me, but all those my work impacted as multicultural and intergenerational audience members and students. Lisa asked me honestly what I wanted to accomplish, not within the bounds of what was socially considered acceptable, but with what was authentic to me. Reflecting on these goals, I arrived at a greater clarity to my niche, my specific unique and individual angle into arts performance and education. This helped me be more strategic and creative in how I created opportunities that aligned with my artistic vision.
However, this process had beautiful reciprocity. Throughout the session discussions, it became evident Lisa and I shared some similar goals for community outreach, arts education reform, compensation for artists, and creating space for culturally relevant and appreciated programming. In many ways, helping me from her experience also benefited similar communities and goals that were critical in Lisa’s journey as an educator and artist as well. The collaboration of the mentorship positively impacted all involved.
Competition has its place. There was a level of competition included even in the mentorship program by the application process to select a cohort of teaching artists from the New York area. However, with collaboration as artists within a demanding community we can help each other to authentically pursue, create, elevate, and enrich the work that is reflective of our individual artistic visions. In this way, though competition will continue to exist as a healthy motivation in the pursuit of excellence, collaboration and mentorship can ensure authenticity and innovation. Mentorship can help us get the right educators and artists in front of the right communities in the evolution of artistic excellence, learning, and passion. It was a valuable resource for me.
