Teaching on the convention circuit can mean lots of travel, busy weekends, and a steady stream of new students. For some faculty, it’s also become a place to build a professional network, expand artistically, and find stability in a freelance world. Three teachers, ranging from new teacher to seasoned pro, share how they got started—and what the work has offered in return.
Tiffany Maher, Tremaine Dance Conventions & Competitions
How she got her start: “I grew up at Tremaine. I was Teen Dancer of the Year at age 12, and I traveled with the Tremaine Performance Company. When I graduated from high school, I did a few movies, ‘So You Think You Can Dance’ Season 9, and danced on a few other television shows and for a few artists. The experience I had at that point in the industry definitely helped me get hired [in 2013]. Joe Tremaine has known me almost my whole life. He knew my work ethic and morals from watching me grow up.”
Career opportunities: “[Teaching at conventions] has given me opportunities to teach internationally. I’ll be teaching with Disney parks. I just worked with the NFL Miami Dolphins cheerleaders at their auditions.”
Dream job: “I’ve gotten to dance for artists like Taylor Swift, Justin Bieber, and Ariana Grande, and those have been once-in-a-lifetime opportunities. But I will say there’s nothing like the feeling of getting to work on a dance convention stage. It’s an unparalleled sense of fulfillment.”
Financial stability: “Teaching for a convention has definitely brought stability, because you have a schedule. You know what’s coming, whether it’s five cities, or 10 cities, or 20-plus cities.”
Christian Smith, NUVO Dance Convention
How he got his start: “I was offered a faculty position with NUVO this season. I used to be a competitor. I had then done three years of consistent assisting [for various conventions]. A lot of the time assistants teach the really young kids, so that was my first demonstration of my ability to hold the room.”
Career opportunities: “This role has opened the door for teaching. A lot of opportunities in L.A. have come up at bigger studios, like Millennium, Movement Lifestyle, and Playground. It’s been nice to be close to other choreographers and teachers on faculty. I was signed by an agent while working at NUVO.”
Proving himself: “One of the biggest challenges was breaching that wall from assistant to faculty. It was hard to be taken seriously, especially at the age of 23. The toughest part for me was going against people with crazy stacked resumés. I had to really, really dig and take every opportunity to showcase what I could do.”
What he’s learned: “At first I was looking for something profound to say all the time, but I’d notice that simplicity was key. Sometimes reminding students of the basics takes them way further than trying to say something really complex and profound. That pressure definitely exists, though, for sure, especially when you’re holding a microphone onstage in front of hundreds of kids.”
Lindsay Giedl, Ignite Dance Competition
How she got her start: “I found the posting on Indeed. It’s really interesting to get a dance job from Indeed! Ignite was a brand-new business—they started in 2018, so I’ve been with them from the start.”
Career opportunities: “It’s led me to booking choreography and teaching gigs. People bring me in for their summer intensives, private lessons, and choreography. I’m meeting so many different people from around the United States—studio owners and students—and they fall in love with your vibe and your choreography.”
Why she does it: “It’s not phenomenal money. It’s not glamorous. But I’m doing it because I love Ignite and what they stand for, and I also love teaching. I do it for the experience and for the artistry.”
What she’s learned: “I’ve learned that you need to offer an experience that is not only inviting and welcoming, but also beneficial for every level. [Teaching at conventions] has helped me learn how to teach at an open level, which goes into teaching in my everyday life, as well.”
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