Money is a challenge for every artist. Despite the buzz around Intimacy work for theatre, film, dance, tv, and opera, payment remains a sticky subject for any Intimacy Director or Intimacy Coordinator.
I saw this on Facebook, that had been copied from another post. If you created this image, please let me know, so I can credit you for your beautiful work!
I charge what some folks might say is “a lot” for my work, both in teaching dance, creating dance, facilitating intimacy workshops and/or being an Intimacy Director or Intimacy Coordinator. But, I have never turned down a gig because of the payment they were offering.
I have changed my rate structure in 2023 from hourly to more of a sliding scale, so a student film is different from a SAG production, and scene of “light” intimacy between 2 performers is different than a full-on orgy with 60.
I also make it really clear to a company what they are getting when they work with me. My work starts way before our first rehearsal, and could even start before you get into auditions. Have more questions about what’s included in my process? See my “Why Hire an Intimacy Professional?” for the details!
Also, when we talk money, I’m willing to negotiate. Often, this means the company agrees to do photos and/or testimonials for my website. Sometimes it’s a press release, or a networking connection. I would absolutely love it if a theatre offered me a few hours of time in their space, to host a workshop or hold a rehearsal for one of the dance works I create as part of my compensation. I do need to be paid fairly for my work, but that isn’t always cash money.
What goes into consideration for me when I set my rates:
What is the content of the scene?
What are the actions needed to tell the story?
How many performers are involved?
Both of the above determine how much time choreography takes to create, teach, and clean.
I have extensive training in these things.
I have graduate and undergraduate degrees in dance.
I have advanced movement certifications in Pilates and Laban/Bartenieff.
I have dual certified in Intimacy- both for live performance and for recorded/streaming.
I have ongoing training in all of the above.
I didn’t get my certs or degrees and check them off a list and have now “arrived”. I’m almost perpetually enrolled in some course to give me fresh perspective, new feedback, or more practice opportunities for at least one of these fields.
If you were going to the doctor, you’d want to know that they completed medical school. And not only that, but that they were up to date on the latest science, techniques, best practices, etc. in their field. Why is it any different for teachers and choreographers who work with your body? Your body is no less fragile or important in a technique class or on stage than it is in your doctor’s office.
I have a lot of experience.
Approximately 20 years of both teaching movement and creating story-telling movement for both dance and theatre.
My Intimacy credits range from two-person shows for regional theatre to independent bootstrap films, to credits on Netflix, Hulu, and network television.
I, and Intimacy Director and/or Intimacy Coordination in general are good press for your production. Use me to get noticed!
There isn’t a lot of situations in movement or in entertainment that I haven’t encountered, or through my network of colleagues, can’t get a perspective on.
I am well-networked and well-resourced.
I may be an independent artist, but I am not alone. I have many wonderful colleagues who support me.
I know how to do my research, prepare, and take care of myself.
Because I am in a good network with my colleagues, I will not undercut them.
We’ve all worked really hard to be where we are. If I undercut myself, I also devalue their time, training, commitment, and excellence.
This work is still new. We are all out here trying to prove the worth of it, and ourselves, every day.
When someone significantly discounts their rates, for whatever reason, they cheapen the work, and play into the expectations that art should be free and artists should just be grateful to do a job they love, so they don’t need fair compensation. This is harmful to every artist in the industry, whatever their role. Art work is work and artists deserve fair compensation.
All of these things were on my mind when I created my rates. My rates are not set in stone. Every context is different and should be met with adaptability. So, let’s talk about your project, your needs, and your budget. It is really important to me that everyone who wants access to this work for their production get it. And I will have an open dialogue with you about how we ca make that happen. Because when you pay for years, and not the hour, the value is evident in the performance.