How much do king of diamonds dancers make
Here's How Much Strippers Actually Make
- The amount of money a stripper makes on any given night is unpredictable and influenced by factors ranging from the weather and the economy to a dancer's mood and costume.
- One dancer who was working on New Year's Eve received $500 for talking to a man about neuroscience for 20 minutes.
- Another dancer said it's possible for strippers to lose money in a night if they can't cover their tip out and house fee.
The number one thing that dancers like about stripping is the money. Most women expressed that, at least in the beginning, to be given rolls of cash for making conversation, drinking freely, and giving the occasional private dance was very exciting.
For many dancers, like Laura, who is 19 years old, money made from stripping also allowed them much needed financial security, and the means to provide some luxuries for their children. Laura said:
I have a little boy and I’m married. It's helped our life a lot because financially speaking — I moved out when I was 16, had my little boy at 15. Financially, I was making $7.25-an-hour and things were hard. Whereas now, in two weeks I'm doing a big haunted house for all the kids in the neighborhood. I've put thousands of dollars into it just for the kids, and we're still okay. So we’re able to relax a little more. Things aren’t as stressful outside of here. Birthday parties, Christmas, wanting to just go to the zoo, or do something — that's a possibility now, and it's really not that hard for me to achieve because our work is so flexible and we can work as much as we want. So I can just work an extra night and these things are possible.
Some of the women I interviewed also shared stories of men who gave them a large sum of money without expecting any sexual favors in exchange.
These experiences are important to dancers not only because it is gratifying to receive a gift of money but also because they reaffirm the woman's belief in the generosity of some clients. Dana's story is typical of these lucrative encounters with clients:
I had a really good customer come in, a younger guy, and I totally didn't trust him either. He always wanted to go out, and I thought he was married. I still wonder to this day if he was married. But he came in, and on my birthday last year he brought in seven or eight hundred dollars: here you go, no strings attached, no anything. I thought that was really neat. Most of them are just like that, people just being nice. An older guy — he was a car dealer — he came in around Christmas time, and I sat with him for a little bit, and he asked me what I bought for my daughter. And I said I hadn’t bought her anything yet. I wasn't able to. And he said, "You need to get that baby something, here," and he slaps two hundred dollars on the table. "Tell her this is from me." And I had just met the guy. So it’s just people who do nice things out of the blue, out the ordinary. I know it’s money things, but it's just the thought that went behind it giving you the money.Some dancers have encountered customers who come to strip clubs not expecting dances in return for their money. via Before The Door Pictures
Recently single, and working on New Year's Eve, April was feeling a little blue until she danced for a generous customer:
I was single and I was kind of depressed. He comes in and we go up to the VIP room. We’re up there twenty minutes, and he has to leave because he’s having a New Year’s Eve party, and he gives me $500. So that was pretty cool. That doesn’t happen as much as people think—20 minutes of work—$500. And I didn’t do anything. I was a neurology major at the time, and we were talking about the structure of the brain while I was dancing for him, and it was really weird. It was actually the least sexual dance I’d ever done. We were sitting there talking about serotonin levels and dopamine levels and neurons and the limbic system, the temporal lobe, the parietal lobe, all this stuff. I’m sitting here dancing for him, and he just gives me $500 and leaves.
Like Dana, April appreciated that this customer recognized her as a person and, in her case, as an intelligent woman, in addition to giving her a large gift of cash.
The desire for money, the need for money, and the impact of money on dancers' lives cannot be overestimated. But, as April’s reflections indicate, the meaning of money for dancers goes beyond its purchasing power. It may signify, as it did for Dana, that a customer appreciates and can empathize with her struggles.
At the same time, the amount of money a woman makes on any given night is unpredictable, and influenced by uncontrollable factors like the weather, the economy, the time of the month, and the number of other performers working, as well as elements under a dancer’s control, like her mood and costume.
Beverly, who is 24 years old, has made as much as $500 and as little as $3 in a shift. Beverly also described nail-bitingly stressful days when she made no money at all for four hours and then, at the very end of the night (1:30 a.m.) collected $250 from last-minute table dances.
Stacy, who is 32 years old, wonders how girls working day shifts even survive. She said, "I’ve seen day shifts where we've had one guy come in here and buy one dance." It’s particularly distressing for a dancer to leave work owing money if she does not earn enough to cover tip-out and her house fee.Jenny Cheng/INSIDER
STRIPPED is an INSIDER series featuring adapted excerpts from the book "Stripped: More Stories from Exotic Dancers" by Bernadette Barton. Bernadette Barton is an author and Professor of Sociology and Gender Studies at Morehead State University. To read more from "Stripped: More Stories from Exotic Dancers" you can purchase the book here.
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Disclosure: Axel Springer is Business Insider's parent company.
How Much Do Las Vegas Strippers Make? Try $300,000 a Year
By Michael Kaplan
Updated on 4/20/2017 at 12:26 PM
If you're even thinking of being in Vegas, check out the rest of our DestiNATION: Vegas guide. It's stacked with expert advice from locals on what to eat, where to drink, and what to do.
I first caught sight of Sydney two years ago watching the Pacquiao vs. Mayweather match on TV. You may have noticed her too: a stunning, statuesque brunette, carrying out ring-girl duties. She was just 22, a stripper. And raking in around $300,000 a year. That makes her one of the highest-earning strippers in Las Vegas. The LeBron of strippers. How does somebody pull something like that off? I tracked her down to get her story. It includes rebellion, hustle, manipulation, (literally) slippery cash, and a streak of cold pragmatism you don't see outside of the realm of accounting.
It also includes some confused men dropping trou in front of her.
But first: Catholic school.
People ask me what I do for a living. Then they ask me when I'll get a real job.
They don't know how much money I make. I tell them I already have a real job. I get paid like a surgeon.
It started when I was a senior at an all-girls Catholic high school in Cleveland. I had been doing competitive ballet and wanted to try go-go dancing, with a bikini on. So I tried it, made $150 per gig, and really liked it. One of the girls there said that I should check out stripping. I told her there’s no way in hell. I thought strippers were like porn stars. But she talked me into it.
So, during Christmas break of my senior year, I told my mother that I had gotten a catering job and tried stripping at the club where my friend worked. I was scared, but I immediately enjoyed it. Plus, I was 18 years old and walking out of the place with about $500 for six hours of work. That was more money than I had ever seen before. I kept it in a pillowcase under my bed.
Then, one day, after the break, I got called into the principal’s office at school. They had website pictures of me hanging out at a nightclub, and the person who sent them in said that I partied and stripped. If I started crying and asking for forgiveness, they would have let me stay in school. Instead I told them they could kiss my ass. I was 18, wild, and a bitch, earning what I thought was a ton of money. My mom was upset, my father was out of the picture -- daddy issues! I moved into my own apartment, got my high school diploma at a public school, married a tattoo artist, and kept on dancing.
I loved it from the start, but it could be hard. Early on, I’d sometimes go into the bathroom at work and cry. Those were the nights when I’d be on stage four times, walk around the club practically naked, and nobody would buy a dance. You feel like a cow at a meat market when nobody wants steak. They’re all eating chicken, and I’m like, “What the fuck?” Plus, you’d get some unusual guys. Wearing silk shorts to a strip club is an Ohio thing. I remember seeing a guy in the shorts, and saying, “You’re not wearing underwear.” I didn’t give him a dance. It was just too much.
You learn what to look for, though. I figured out how to recognize within three minutes of meeting somebody whether or not it will be worthwhile to spend time with him. If his arms and legs are crossed, that is a bad sign. If he doesn’t offer me a drink: bad sign. And you learn from your mistakes. I accidentally left my locker unlocked once and somebody stole the $300 jeans that I wore to the club. It was the middle of an Ohio winter and I left work with no pants on. I needed gas but was wearing a g-string and boots. After driving home, I walked through the snow like that to reach my front door. My then-fiancé was waiting for me. It could have been hot if I hadn’t been so pissed off.
Thrillist TVCourtesy of Mona Shield Payne
I spent a few years living in Ohio and traveling around a bit. I stripped in Chicago and Tampa and New Jersey. Finally, I came to Vegas in February of 2014, after I turned 21, because it’s where the best of the best come to dance. I wanted to see what I could do. On my very first night here, I went to Crazy Horse 3 for an audition. They saw me and didn’t want me to leave. They didn’t have any tall brunettes with real boobs, so I was perfect for the club. I’ve had no work done and make more money because of it. If you want a girl with real boobs in Vegas, I’m among the only ones. They have taken amazing care of me ever since.
I've seen girls light their nipples on fire. People were like, "What the fuck is that?"
I moved here with my husband. Let’s just say that it was hard for us to stay married. Vegas is not Cleveland, and the stripping didn’t help. But it’s a little hypocritical to say that you don’t like your wife stripping when you like the money she earns. In his defense, there were times when we’d be arguing and I would throw $5,000 worth of hundreds into his face.
He’s now my ex-husband.
For some people, stripping is a lifestyle. Before I came to Vegas, I saw girls taking things too far: they partied every night, drank every night, got into drugs. Drugs fucking take over. Girls fall asleep at work and go off the deep end. I have not seen that in the club where I work now. The girls there look like professional models. You won’t get hired if you’re strung out.
My goal is to make $1,000 per night, working six days a week, but there’s no such thing as an average night. Sometimes I make nothing. Other times I can walk out with $20 grand. I’m still trying to figure out how to pick the guys who have money and are willing to spend it. Expensive shoes and a nice watch are good clues. But sometimes it’s the construction worker who has never been to Vegas before -- he budgets $5,000 for the trip and spends it all on me. I can’t feel bad about that. I’d rather his money be in my pocket than a casino’s. I know how to spend it better. When guys tell me they have used all their money, I suggest that they charge it. Enjoy now and pay later. Sometimes they listen.
I'm like, "You better get your pants back on."
Other girls have gimmicks. I’ve seen crazy things at clubs outside of Vegas. I’ve seen girls light their nipples on fire, wear costumes with angel wings, do topless river dancing. People were like, “What the fuck is that?” I just chat with customers. Men appreciate a woman who can hold a conversation. I keep up on the news and I learn from other people. For example, I recently danced for a guy who does Internet marketing; he knows how to drive traffic to websites for advertising. He told me about how he gets paid, how the business works. It was fascinating. I didn’t even know that was a job.Courtesy of Mona Shield Payne
The VIP room is where I generate 80% of my money. You can do twenty lapdances on the main floor and make less. I’d rather know that I am getting $700 up front. And the money is easier. I once had a guy brush my hair for an hour and give me $700. Are you kidding me? Generally, when you sell a room, the guy wants to talk to you, get to know you, have fun. They want that connection, that fantasy experience. You give him a couple of dances but it’s usually not a guy wanting 60 minutes of dances.
Though I did have one guy buy two hours in a private room and want lap dances for the entire time. That was exhausting.
Then there was this guy from New York recently. We sat for two hours in the VIP room and I didn’t even have to take my skirt off. He just kept pulling out hundreds. He gave me almost $8,000 and I literally did nothing. The host gave me a signal to make sure I wasn’t wasting my time because I wasn’t dancing. I signaled back: I’m not fucking moving. We talked about his wife and kids and his fantasies. I didn’t even get his phone number. I think about this guy a lot. He was just so fucking cool. I one-hundred percent would have taken his number and given him a call.
You might not know this, but money is really slippery.
But not everybody’s like that. I’ve had foreign guys who don’t know how strip clubs work and they immediately pull down their pants. I’m like, “You better get your pants back on. ” And recently a guy was using his iPhone to video me while I was dancing on stage. I flagged my host and told him what was happening. He took the guy’s phone and deleted the recording. This guy got so mad. He said to me, “I would never record you. You ain’t shit.” Then he ripped up 10 $1 bills and threw them at me. After that move he got thrown out of the club.Courtesy of Mona Shield Payne
Still, I love being on stage and dancing. A lot of the girls don’t do it because, ironically, they’re dancers who don’t know how to dance. But I do, and I love being up there, having people throwing money at me. And you might not know this, but money is really slippery. I’m up on stage, wearing heels that push my height to six-four, and I can barely move around because the stage is covered in money. At that point, I just lie down and roll around in it. I love doing that. Especially if the bills are new. New bills smell so good.
As much as I like what I do, it’s not something that I tell everyone about. I don’t put it on Facebook or talk about it with my family when I go home for Christmas. Most of my family, except for my grandparents, knows, but it’s really nobody’s business, and we don’t discuss it. Plus I work at enough other things -- modeling for magazines like Playboy and Maxim, working some of the big conventions, being a ring girl. This is not my only job.
I realize that the money I make at stripping is not normal. Doing other things keeps me down to earth a little bit. I try to maintain a daily routine -- going to the gym in the afternoon on most days, relaxing before work, saving money, making investments. When I’m ready to stop dancing -- I’m not sure when that will be -- I want to become a real estate entrepreneur. I want to buy a house a year for the next three years. I want to be a landlord and have my money working for me. In this business, I see so many girls who carry $10,000 handbags and can’t pay their rent. I own my house and my car.
Admittedly: a Jetta.
People tell me that I’m the only successful Vegas stripper who doesn’t have a nice car.
Sadly, Jettas run forever.
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Michael Kaplan is a journalist based in Brooklyn. He has written for publications such as Details, Wired, Playboy, and The New York Times Magazine, covers gambling for Cigar Aficionado, and is the author of four books. Follow him: @kaplanwords.
Nikolai SLICHENKO: There is no motherland without love for her!
Despite the dubiousness of the attempt to reduce the list of famous Russians to two names, and remembering the not very friendly attitude of the Japanese media towards us, one cannot but admit that the sons of the Land of the Rising Sun, stingy with emotions, have outdone themselves. These and other compliments were caused by the play “We are Gypsies”, which has already gone through more than 2000 performances, in each of which the People's Artist of the USSR Nikolai Alekseevich Slichenko certainly went on stage, completing without exaggeration an enchanting spectacle that resurrects a complex, tragic and at the same time time the wonderful history of the gypsy people…
The longest-lived performance of the Russian stage and the problems of the Romen Theater were discussed in the conversation of the artistic director of the unique creative team.
- Nikolai Alekseevich, the play "We are Gypsies", one of the playwrights, director and indispensable participant of which you are, set an absolute record of audience sympathy. Even the legendary "Dance Teacher", in which Vladimir Zeldin has been shining for half a century, was much less frequent at the Theater of the Russian Army. The closest thing to your record is Tartuffe from Taganka, but even he harvested applause a little more than one and a half thousand times. What is the secret of the unfading appeal of this production of "Romaine"?
— We tried to tell about us. Tell sincerely and without sparing your efforts. This applies both to our renowned artists and to beginners, because the entire troupe is involved in the performance, and this does not happen often in modern theater. I think that the audience understood and appreciated it.
— This performance is called the "visiting card" of your theater, it was applauded in many countries of the world. What tours do you remember the most?
- On the one hand, this is India - the ancestral home of the gypsies, from where they scattered around the world for many reasons, France, Turkey ... And it all started with Japan. Before the start of the tour, we were warned that the Japanese are reserved people, therefore, they say, one should not count on success comparable to the European one. But the islanders, stingy with emotions, could not resist our team.
- Is it true that a respectable Japanese woman came on stage and placed a fan at your feet?
- It was very touching, because a fan for a Japanese is not what it is for us. They are not just fanned for the sake of coolness, a fan is also a means of communication, with its help you can convey a lot of information and feelings. The Japanese tour was generally significant. We were approached on the streets, trying to speak in sign language. The audience was especially touched by my performance of a Japanese song. They constantly asked how you know Japanese. And I didn't know him.
- But, judging by the reviews, you sang almost without an accent and with an understanding of the text ...
- The producer explained the essence of the content to me, and the feelings of all nations are essentially the same. Probably, I managed to catch the meaning, and the listeners understood that I didn’t just memorize the words, I don’t repeat, but I experience them.
- Nikolai Alekseevich, you constantly perform on stage as an actor, stage performances as a director, but at the same time you found time to release two "gypsy" groups of students in "Gnesinka" and in "Pike". Pedagogy, of course, is a sacred thing, but have you not deprived your viewers, listeners, in a word, admirers in the best sense of the word, by this avoidance of working in the theater?
- No way! It's just my duty. There is no second "Romen" in the whole world. And we are not eternal. Unfortunately, many of our very talented actors have already left this world. Everyone remembers them... Therefore, we must think about the future. After all, many believe that if a guy is a gypsy, and a girl is a gypsy, then they will automatically dance and sing. But this is far from true. Artistry is in their blood, but education is necessary for a big stage.
- But you once simply came to Moscow without any preparation, without money, without patronage and convinced the then leaders of "Romen" that the future of the theater is connected with you.
- Yes, I did not convince anyone of my future. I just showed everything that I could, what I learned when, on a collective farm somewhere near Voronezh, together with my gypsy peers, I sang ancient songs, mastered gypsy dances. The rest came already in the theater. But now such spontaneous knowledge of the basics of mastery is no longer enough.
At the same time, I would like to note that today almost ninety percent of our actors have a theatrical education. I would even say that they have double diplomas - one state, and the second unofficial. They actually deserved it, constantly communicating at rehearsals and on stage with our patriarchs, who, so to speak, "did not graduate from universities", but were and remained the bearers of the primordial traditions and eternal wisdom of the people, adopting it from their fathers, grandfathers and great-grandfathers.
- How did you find candidates for students and future actors of "Romen"? Advice from people in the know?
- Tabors are no longer in Russia. Modern gypsies have become sedentary. And the search was not easy. We can say that we literally combed the whole country. And what is sad is that we were not able to attract everyone who showed serious hopes to study. There was a case: they told us an amazing guy. Truly a talent, except that there is not enough cutting, but his parents did not give consent for his departure to us. They ask, how much do your artists get paid? We answer that for a start about 12 thousand, and people's artists receive about 23 thousand a month. They immediately waved their hands: he is now a tractor driver, he feeds his whole family, but you can’t live on your salaries.
Housing problem - of course. Of course, we are looking for ways out, but everything is very difficult. Previously, the very word Moscow attracted, now everything is different.
— But the talent that we were talking about could go against the will of relatives…
— Somehow I was asked to highlight the main thing in the gypsy mentality, in the national character. I replied that this is an attitude to the family. No wonder they are strong and have many children. Whether it's good or not, but the family comes first, so he could not argue with his elders.
— Nikolai Alekseevich, there used to be a saying-joke around theater Moscow that the “Living Corpse” in “Romen” is the most alive…
— It happened, we ventured to stage the famous Tolstoy play. The risk was that in different theaters of the capital there were already three "Living Corpses". The competition for the audience is fierce, but we withstood it…
— Indeed, there were legends about your performance of the role of Fyodor Protasov… By the way, how do you look for plays to stage? Of course, "The Living Corpse" seemed to have been specially created by Leo Tolstoy for "Romen". But... although the gypsy theme in world and domestic drama is, of course, not forgotten, it still does not occur very often.
— Problems with the repertoire are not only our concern, they are a headache for almost all theaters. But our concerns are special. "Romen" is a national theater, we are especially close to the romantically elevated tone. The play must match the temperament and mentality of the people. It is very important.
— Among the premieres of this season, in my opinion, an undoubted success is “Gypsy Paradise” based on the play-parable by Vladislav Starchevsky directed by the People's Artist of Russia Pavel Bobrov. What other recent or upcoming performances would you like to highlight?
— Plays by our artists and directors appeared on the stage — “The Horseshoe of Happiness” by Honored Artist of Russia Nikolai Lekarev, who made his debut in dramaturgy and directing. He also wrote the music for the play. At the exit, the author's performance by the People's Artist of the Republic of North Ossetia-Alania Oleg Khabalov "King of Diamonds". Khabalov, both as a playwright and as a director, is no longer a novice. I only support experiments.
- Nikolai Alekseevich, another very delicate question. It is no secret that in the mass consciousness, some representatives of the gypsy people are associated with all sorts of unseemly manifestations - such as drug trafficking.
- This is our headache. What can you do, the family has its black sheep. But it is bitter that the press sometimes pedals this topic. Now the State Duma of Russia has come to our aid, forbidding mentioning the nationality of offenders. I'm not going to make excuses, but not only gypsies trade in the same drugs. We cannot attribute all sins of this kind to us. And it is necessary to fight them.
—How would you define the relationship between Roma and Russians, or, more broadly, between Roma and Russia?
- I would say that this is love - big and long, starting with Pushkin and Tolstoy. But this is in the literature, but in fact it all started much earlier.
— The excellent Russian writer Vasily Belov wrote in his essays on peasant aesthetics: “Gypsies were loved in the North. For what? Maybe for national identity, for a strange dialect, for beautiful songs. And for that, apparently, recklessness and carelessness, which the Russian peasant (entirely dependent on nature and his own labor) could not afford. He also told me about the gypsy blacksmiths who seemed to appear out of the ground, helping out the villagers when their craftsman of the hammer and forge fell ill or left the village on some business.
- Probably, our distant ancestors did not choose Russian lands 500 years ago by chance. I think this choice was also influenced by the fact that the gypsies heard Russian songs with their characteristic melody and depth, songs that very much coincided with what the gypsies sing. It is not for nothing that many Russian songs are now perceived as gypsy, and gypsy intonations are clearly heard in Russian melodies. Russian gypsies have found their new home in Russia. And there is no motherland without love for her.
Interviewed by Oleg DZYUBA
How much do dancers earn and how to become a professional - 1 November 2018
Members of the FAM Factory dance team told Sport24 about the difference between a professional team and an amateur one, how much coaches earn and how long it takes to become a good dancer from scratch.
Our team is called FAM Factory and has been around for a very long time. We regularly perform at the largest dance championships throughout Russia, we work at major events. Our choreographer, Yevgeny Kevler, is one of the top choreographers in Russia, staged dances for "Dances" on TNT, "Dance" on Channel One, and has brought up more than one generation of dancers. Our team is diverse - students, office workers, teachers and coaches, but they all have one thing in common - an unimaginable love for dancing.
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and you start to plow, as if not in yourself, but in reality everything is a little different. Classes in schools last an hour and a half twice a week if you are in the same group with the same teacher.As people living this, let's be honest, two hours a week is very little. Yes, and you should not be limited to one style. To start getting real pleasure from dancing, at least a month of regular classes must pass. And at first it will definitely not be easy, especially if you didn’t do anything like that in childhood: in the first classes, it generally seems that the body, which, it would seem, has been yours all your life, has abruptly stopped obeying. And the legs cannot work with the hands at the same time. The main thing is to survive this moment, in reality it passes quite quickly.
At first, technique is not so important, it comes with experience. It is worth paying attention to physical form, especially if you prefer styles that are characterized by frequent level changes or powerful energy: you may simply not have enough strength. The breather also needs to be developed: fast choreography cannot be danced to the end if the volume of the lungs is not enough. Many dancers take up running to develop their lungs. And for the development of physical strength, functional training or crossfit are suitable - of all training, these will probably be the most useful in our business. If there is no time for this, then you need to at least minimally pump the press, do push-ups, squat. We sometimes conduct physical training classes at team training.
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and year, everything is very individual here. Many schools have their own reporting concerts and parties. As a rule, at such events, students go on stage for the first time.
If we talk about more complex numbers, then it takes a month and a half to set them up with 3-4 workouts a week for 2-3 hours. The mode of training in a serious team changes, especially if the number is complex and many dancers participate in it. A fairly common occurrence is night workouts. As you might guess, they take place at night, and, as a rule, last 5-6 hours. It's not easy, especially at first and if you have to go to work in the morning, but it's also more efficient in terms of the speed of staging the show, and the result is definitely worth it.
In the dance world, the year can be conditionally divided into two seasons - spring and autumn. All this time, championships of various levels go one after another, the most "fruitful" in this regard are April and May, as well as November and December. As a rule, all groups put on a performance a month or two in advance, but it all depends on the level of training and available time for the dancers themselves.
In general, championships are a separate and very entertaining cuisine. Dancers are constantly preparing for some kind of competition, it rarely happens that you just come and hang out aimlessly. Everything is almost like in the movie "Step Up": the whole season is the process of preparing for the competition, and in the off-season, everyone either rests, or pumps, or shoots a video.
At dance championships there is always a division according to the level of training and age: children are separated from adults, beginners are separated from professionals. And within these categories, there is also style: hip-hop, ladies, contemporary.
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Our favorite category is best dance show. The name speaks for itself: there are no style bindings here, the main thing is the idea and combination of styles. At some major competitions, the styles used in the show must be declared in advance, at some there are no restrictions, only creativity. Now even in some championships there is a separate Show nomination, and a separate Performance nomination. In the first case, the show should have a story and plot, in the second case, it is important who dances stronger, more powerful and cooler. And there are also solos with duets, which are not limited by styles at all, only by timing. In general, there are a lot of nominations. Beginners or people unfamiliar with dancing can get confused. But as soon as you immerse yourself in this world, everything becomes clear pretty quickly.
Refereeing at championships is always represented by top dancers: sometimes Russian, sometimes foreign, but always super authoritative. The evaluation criteria, like the judges, are also different, but they look primarily at choreography, technique, synchronism and creativity. You can earn money at good status tournaments. On average, you can get about 30 thousand per team for winning such a tournament. But it is not at all necessary that there will be prize money for winning any championship: somewhere the organizers limit themselves to cups and gifts from sponsors.
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Most dancers are ordinary people, so until their legs start to fall off, few people even think about nutrition and injury prevention. Many are killed in training, and few people know how to recover, they do not take care. If you don’t eat normally, you may not have enough strength for the whole season. Protein and BCAAs often help out, but in reality, for some reason, few people use them.
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A: Regular exercise is usually enough to stay in shape. Although, of course, you need to take care of yourself, but adults who have survived a couple of injuries or dancers who work in commerce are already thinking about this.
Sneakers kill instantly
As for clothes, this is a separate topic of conversation, which will take more than one hour. Firstly, the style of dance and what you dance in are very closely related. No one will go dancing popping in leggings or short shorts, twerk in sweatpants, too, you know, I don’t rub, like a strip in a baseball cap. Things are, of course, very important. You can't really train in Chinese sneakers. Not even because they are uncomfortable, they just fall apart in a moment. In general, if you danced at least once in shoes, then you can say goodbye to it - it only kills if you train often and for a long time. Especially for us, jazzfunkers, because a lot of techniques are combined, the foot is actively working. And it’s good for contemporary people in general: they dance barefoot in socks, and with simpler things - they put on something very wide and similar to oversized pajamas - and you are the most fashionable in the class.
Income and expenses
As for the payment for training for teams, it is similar to amateur sports sections: in many teams, participants pay a monthly fee, which includes the rent of the hall and the work of the choreographer.
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Is it possible to make money from dancing? Of course, there is plenty of work. First, dance schools. There are now ten of them at each metro station, a novice teacher, if desired, will quickly find a job. But if you want to get into a top school as a teacher, then you need to work hard, have a name, constantly upgrade, be socially active, shoot videos and shine at the same championships. The main thing is not to be lazy.