199. Inside the Dance Industry: Nia Lonette's Path to Success in LA

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Today it's time to talk about life as a professional dancer in LA handling nerves and negative thoughts in class, staying in the moment during an audition, and what to do when you first move to LA. Welcome to Passion for Dance. I'm your host, Dr. Chelsea, and my mission is to create happier, more successful dancers through positive mental skills.

And I have a special guest today who has so much experience and knowledge to share about making it as a professional dancer. Her name is Nia Lonette. Nia has worked with big brands like Tiffany and Company, and she was also on the Grammys recently, and got to be in a music video with Usher choreographed by none other than Galen Hooks.

Nia shared with me how she handles the pressure of those big moments, how she's prepared for every class and audition, staying present in the moment, keeping her attention when the stakes are high, and all the mental skills that have helped her be successful so far.

So let's get into my conversation with Nia Lonette.

Welcome to passion for dance. I'm Dr. Chelsea, a former professional dancer, turned [00:01:00] sports psychologist. And this podcast is for everyone in the dance industry who wants to learn actionable strategies and new mindsets.

I know what it feels like to push through the pain, take on all the criticism, and do whatever it takes to make sure the show will go on. But I also know that we understand more about mental health and resilience than ever before, and it's time to change the industry for the better. This podcast is for all of us to connect, learn, and share our passion for dance with the world.

Dr Chelsea: Hi, Nia. Thank you so much for joining me today.

Nia L.: Thank you so much for having me. I'm super excited.

Dr Chelsea: Aw, thank you. Will you share a little about your own dance journey that led to the work you get to do now?

Nia L.: Oh, my gosh. Yeah. So it all started four scores ago when I was three years old. Um, I started my first tap class, , back in Maryland is where I trained at mostly. And then from there I started taking classes like ballet, hip hop, jazz, contemporary, all the styles you can name under the sun. Um, I trained at the Kirov School of [00:02:00] Ballet.

Dance Theater of Harlem. I trained a little bit with Alvin Ailey Dance Company when I was younger and then I moved to LA in 2017 and was training ever since. And I think that's my journey.

Dr Chelsea: Yeah. What's your favorite style?

Nia L.: Oh, I'm going to say jazz. I'm going to say jazz because I was going to at first say ballet, but I love the structure and discipline of ballet, but I love the freedom and the sass of jazz.

So I'm going to say jazz.

Dr Chelsea: love the little shimmy that came with that. I'm

Nia L.: You know, I'm just, I can't sit still when I talk about it.

Dr Chelsea: Yes. Because that's how dancers go. We have to move. I love that. Uh, okay. So how did you get started in that professional world? So you moved to LA. Let's talk about that transition for me. Did you move with any resources there? What was that like when you first went to LA?

Nia L.: So I love telling this beginning part of the story in Maryland in 2017, I did a summer intensive in LA Debbie Allen's hip hop intensive for about a week. And when I [00:03:00] came back I told my mom like, I'm so really, I really wanted to move to LA because it was just a really great experience.

So she asked me, she kind of challenged me if I would say. She said, okay, so next year you're moving, right? I said, um.

Dr Chelsea: Hmm.

Nia L.: know about that one, sister. So I don't know. So then she's like, you know, your brother's moving. You can move with him. I said, again, I don't know. So a year later, , there's a program happening, in Maryland called Hollywood Biz where they take kids from the DMV area and take us to LA.

We get to take classes. And then at the end, we auditioned for an agency. So I'm like, okay, that's a perfect time. We could take the baby steps to get there. You know, we're gonna work our way there. And my mom was like, so are you going to, you know, make that leap when you get an agent? I'm like, uh, if I get an agent, why are you so hopeful?

I don't know. And she's like, okay, that's fine. Literally 24 hours later, she calls me. She says, when you get signed with an agent, I'm going to move you out to Los Angeles and you're gonna have six months free of rent [00:04:00] because I want you to figure it out, but you're going to make it. And I'm

Dr Chelsea: Oh

Nia L.: Wow, like I just started crying in the car because I mean, what was I doing?

Nothing. So once I moved to LA, I did the program, did everything went great. And just like she said, you know, mothers know. I got signed to an agency and from there is when I started booking all this professional work from working with people like Remy Ma, Chris Brown, Megan Thee Stallion, Beyonce, going on tour and things.

It was all because my mother just threw me out the nest and said, here, you'll figure it out. I know you're great.

Dr Chelsea: Oh, I love that story. Okay. How old were you when this is happening?

Nia L.: I want to stay a good fresh 21,

Dr Chelsea: Right. Okay. That's amazing. Cause it is, it's young and yet so amazing for your mom to say, but you've got this. And almost, it sounds like calm wise, like you'll be fine.

Nia L.: right. And I'm just looking at her in panic. Like, are you sure you want to throw your child to the wolves by herself?

Dr Chelsea: Right?

Nia L.: Oh my gosh.

Dr Chelsea: Yeah. So did you feel confident when you got [00:05:00] there or was like, what's that balance of feeling confident and ready or the fact that your mom really did believe in you that shifted it for you?

Nia L.: I think it was a combination of both when I got to California, of course, being on the East Coast and First, a lot of people also in the dance industry or non dance industry, you watch these videos on YouTube, Instagram of people like to say the red room, but we know it as millennium dance complex. And you watch these dancers have so much energy and are so like, they just perform so well.

And at first I was just. I come from a studio of, you know, ballet where we're just moving with grace and things. So that was kind of intimidating. But my mom also giving me the confidence to tell me you're capable of doing this, and then when I got there and realizing, Oh, it's just literally what I do all the time.

Just more energy. in a different space with people who do it all the time. So once I had my first class, the nerves kind of like went away. And I remembered why I came here to be, to pursue the dance industry and to pursue this thing we all love called dance.

Dr Chelsea: Yeah. Oh, I love that. Yeah. I talk about confidence a lot and I think there [00:06:00] is this mystery around it. Like I'll be confident when I get an agent or I'll be confident when I get that first job. But like you said, once you just take that, even that first class, I'm like, Oh, I do know how to do this.

Oh, I'm okay.

Nia L.: Yeah. And remembering why we started this, I think this sometimes, um, is what I discovered from being in LA for so long. Sometimes we forget the reason why we started dancing in the first place. We get so locked in on the jobs, who's better than me in the room, and when it all started from us just loving music and wanting to move our bodies and become better dancers, you know, so I think once you get back into that mindset, everything starts to fall more into place, like, okay, even if I didn't do well today, I'm confident to show up again to do better the next class, you know, or even preparing myself for other auditions, like, all right, I'm not in the mood or the season for auditioning, but class is where I feel confident and this is where I can get my, like, my love back.

Dr Chelsea: Yeah. Oh, that sounds great. Will you talk a little about what you learned in those early years or maybe challenges or things that have led [00:07:00] to your desire to help dancers who are trying to move now? Right? Like I think now your work is being able to support dancers who are trying to make this transition.

So maybe you wish you had then or lessons learned at the time that has led to your work?

Nia L.: I will say, I keep shouting out to my mom. I think she prepared me really well for these type of transitions, even before I knew it. So always coming prepared with a list of, I guess, studios or places of where you want to train at. Um, just going somewhere and kind of just like going with the wind. It's cool, but it makes it easier when you know exactly where the studios are, how far they are from your house, what teachers teach where, what programs are going on, so you know how to really get that networking piece in, as well as the good training that you're looking for.

Um, I, I highly recommend the program because that was where I had really good mentorship from teachers at the time to share with me, you know, like, I will never forget this guy. Bobby Dacones told us, especially for dancers who are trying to work. Always look at. [00:08:00] Your favorite film or music video or broadway play find that choreographer Find out who the choreographer's assistants are and keep following the chain of commands and take those people's classes Because it helps you prepare for the jobs. You're willing to work. Um, so I would highly recommend Good mentors and good programs that can really shape your career. Um, doing your research again on where these studios are so you're not traveling all over the world just to get to class, you know. Um, never be afraid to really start from, it's gonna sound crazy, but really just start from a very humble place. Don't be afraid to start from a humble place. You know, sometimes we want to move and have our own place in Los Angeles, expensive California. Or we want to be able to just live off of our, um, our art when you have to maybe probably start with a normal job, which is okay. That's perfectly fine, doesn't take away any of your artistry at all, but it's better than people, I guess, trying to be super What's the word I'm looking for?

Be [00:09:00] too high and mighty just to be able to say, okay I need a job for right now But I know the job that I want in the arts is coming and when I'm consistent Keep continuing classes and making sure I'm networking for events. I'll be able to live off of my art.

Dr Chelsea: Yeah. Oh, that makes a lot of sense. That's great advice. So it sounds, I've heard you say this to this mentality of kind of doing it scared of being able to just, I love that the planning, cause I think there's that balance of like, do it scared, but that doesn't mean do it unprepared, right? Like you have a plan and you know what you need, but then in that moment, you might be scared to go to that audition to take the class from this person who choreographed your favorite thing.

And yet you do it. Will you talk about that mentality a little bit?

Nia L.: Yeah, because I've noticed that sometimes we can plan. Every nook and cranny, but life is forever changing. Something can really go, someone can tell you, take class, go to this audition, and in that order, you'll book your job. Sometimes going to class books you that job.

Sometimes being, um, at the audition and then just, life can just [00:10:00] really change at the blink of an eye. So I think being able to do it scared just shows you how resilient you are. And the courage you really need because you can sit here and have your head shot, have really amazing reels, have all these different things and every audition for the first six months, they can tell you no to your face.

And we don't know as artists what the reasoning is. And sometimes we can start to say like, Oh my God, it's because I'm not a great dancer. Oh my God, it's because all these different things. That's not true. You've performed, you've done the solos, you've done the small groups, you've done being called out in class, you've had people tell you you're amazing, otherwise you wouldn't have made it this far.

So now it's just reminding yourself, okay, what have I done in the past? I've done great in the past. Me currently right now, I got signed or got Into the space because I was that good, but now it's just having that constant reminder, having that community to remind you. Sometimes you need an outside ear, um, just reminding yourself to keep doing it while you're scared.

That feeling is normal. I think sometimes we try to avoid or feel like we're [00:11:00] invincible to fear. Like, Oh yeah, I can never be scared. Fear is normal,

Dr Chelsea: Uh huh.

Nia L.: but it's being able to move through it and not let fear cripple you from chasing your dreams. Cause that's when resentment comes in,

Dr Chelsea: absolutely. And I've been talking about emotions a lot recently on the podcast about how Again, yeah, exactly what you just said fear and anxiety is normal And when we try to stuff it down or pretend like it's not there that doesn't help us and instead Understanding it making sure it's not , bubbling up too much that it hurts your ability to dance.

But also like you said, like those butterflies in your stomach are good and helpful and here you go. Like, it's

Nia L.: They are. Oh, yeah. I think for the longest, sometimes they try to tell you like this. Don't feel this feeling. Don't feel this as a human. We are going to feel it. The best thing you can do is acknowledge it and counteract it with again, reminding yourself like, Oh, I'm so nervous, but even if it's not this job, I'll get the next one.

Okay. It's okay. There's a bunch of dancers in this room, but I know I dance. Special to how I am. My gift is my gift. [00:12:00] Okay. I didn't get it this go round, but I'll take his class so I can learn his style later on. It's just finding ways to counter act that thought that negative thought in your mind.

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Nia L.: Yeah.

Dr Chelsea: or a class and how you handle that?

Nia L.: Oh, wee. So here's my process. If I'm in class and I'm feeling a little nervous, I'll stand in the back, but in the middle.

Dr Chelsea: Okay.

Nia L.: Because for some reason, and I know everyone can acknowledge this, for some reason the center of the room really freaks people out. The front is scary, the back is comfortable, the sides are comfortable, but something about the center middle of the room, you just feel like there's a spotlight on you.

So I try to stand there. To at least give myself a little like wiggle room for things. Um, I'll, if I start to feel a little anxious, I'll breathe. And I'll make sure I watch the choreographer do the combination a couple of times and not move at all. I think sometimes we take advantage of that and we're just like, Oh no, I need to get, I need to do exactly what they do.

Sometimes you're sitting and [00:14:00] watching, you see so many things that you never noticed before, cause you're moving so much. So I try to make sure I just stand still. If my brain is going a thousand miles an hour, just stand there and watch. Just so I can see what's going on. And sometimes also what helps me, I'll move around the room during class.

If I feel too comfortable in the center, I'll move to the back so I can practice in case there's a large room. Um, of people at our audition, I practice from the back. What does it look like if I can't see? Giving myself challenges in classes, especially as a professional, I think sometimes we'll get comfortable in just taking class repetitively when honestly, it's a way for you to practice anything you want to do.

So it removes the nervousness from me. And now it becomes my playground of like, okay, this is class, but. What happens if I go in the front, on the side, to the back? What happens if I just turn around completely and do it a different direction? So that's how I really remove this, these nerves.

Dr Chelsea: I love that process. And I think two things to that one, putting yourself in a place that's a little uncomfortable, but you can do, which to you is the center. And [00:15:00] I agree. That would probably be that place for most dancers, but then also the preparation piece. Like you said, yes, it's class, but what if I'm in the back and I can't see the choreographer as well?

How do I handle that? The practicing, the uncomfortable things that are going to happen in an audition is we can get into a rut in class and be like, this is how I prep. This is how I warm up. I'm familiar with this person's style. And then an audition feels so much different. Or, yeah, feel so much bigger and different that it, that's where it gets scary.

Nia L.: I've noticed too that sometimes we're afraid to even say, Hey, can you do that again? I can't see. That's perfect. Just a perfect way to practice your voice, which also raises your courage to say, Okay, I'm not perfect. I can't see, so can you please do this again for me? Or can the front people sit down so I can see?

That's a perfect way to start the practice of your speaking up and being courageous in class. So that you don't have the fear of doing that in an audition, you know, or moving around the room. So if you can't see and the teacher just for some reason doesn't feel like explaining again, learning [00:16:00] how to maneuver around the room.

If you don't have to stay in one spot, no one told you to, you can move around.

Dr Chelsea: It seems so simple and yet you're right. I think we have, maybe we feel like we're being disrespectful by like speaking up or moving around, but that's, like you said, that's not true. You're allowed, you're there to learn and they're there to teach and being able to clarify and ask, you know. Politely is so normal and yeah, and advocating for yourself.

And I could see if you never do it in class, you're certainly not going to do it in an audition.

Nia L.: Oh my gosh, and that's the perfect place. Yeah, and that's the place like where your anxiety is at its highest. Like you're really gunning for this job and you're not thinking about like, Oh, I don't want to say anything because I'm supposed to be perfect. I'm supposed to just go about it the right way.

But in the rehearsal space, if you need to say something. It starts in class. Practice speaking up in class. Then you can, you can speak up at auditions. Then you'll feel more comfortable speaking up in the actual rehearsal space and not feeling, Oh, I'm nervous. Cause now if for some reason you mess up or don't say anything in rehearsals, choreographers and teachers [00:17:00] always say like, why didn't you say anything?

Or why didn't you ask the question,

Dr Chelsea: Yeah, that's what I was just thinking is like a choreographer would want you to ask the question and would want you to clarify or like, I love what you said about actually standing there and not moving and watching. And there's some good brain science behind why that would be helpful and you've just intuitively found that like, I just need to stop moving my body so that I can process what I'm seeing and seeing the details and then you don't have to ask as many questions either because you've noticed the little things about their weight shifts and their, their hands to be able to.

Pick it up more easily.

Nia L.: Exactly, and now is just the time for you to actually apply it and see how does my body Do this choreography. Now that I've watched it, I really, I just recently did a job and it was about 130 girls at this job. And so there's a lot of us, there's tall girls, short girls, medium sized girls, and they taught us some choreography at the last minute.

And it involved you having to do some specific hands and the girls in the back, poor things are just like, I can't see, I don't know what's going on [00:18:00] murmuring in the back. It takes a simple. Hey, can I just know what this detail is because on the performance day, God forbid, no one actually said anything.

Now you're doing the wrong hand from what we're doing. It's just as simple as, you know, raising your hand. Hey, just so we all look good and we can clarify for us in the back. What is this supposed to look like? I think it goes a long way and some people don't want to be annoying, but it's very important, especially if we're remembering that we are a smaller picture to a bigger piece of art.

Right.

Dr Chelsea: asking a question. Absolutely. I want to answer that and I want to be there to help that. Yeah.

Nia L.: And that does involve again, turning your listening ears on and being very present in class will be super in auditions too, super quick to do the moves. And then you miss a person's question. That's exactly the same question that you're about to ask. And that's when it starts to become, like you said, were you not paying attention or [00:19:00] what's going on?

Yeah.

Dr Chelsea: you get distracted, right? Those distracted thoughts come in and then you weren't paying attention. So you miss the choreography. And so being able to stay focused during a class or an audition, is that something you struggle with or you have like kind of that process that helps you with that?

Nia L.: Um, I think as I got, I've always just been very attentive. I've always been a person who needs visual, like learning things. And then as I got older, I started to learn terminology. So when I hear choreographers or teachers explain things, When it's the right space, I'm able to put the two and two together.

If I'm moving my body, my back is turned. I'm able to understand what they're saying when they relate this message. So I have learned and thank God for the professionalism over the years. If I happen to miss a detail, I'll just make sure I [00:20:00] look around the room to catch the detail of what I missed. That's another thing of just being very like focused and also just being able to be a professional and look around the room to see what that change is.

And acknowledge it too. Sometimes if you're going through and you messed up this one part, it's like, Oh, okay. That's what it is. Let me just make sure I fix it. But in class, a lot of the times, if I was very spacey in my head, it's because I didn't eat before class.

Dr Chelsea: Oh, that's fair. Yep. Yep.

Nia L.: eat before class. Normally I'm just too into class to try and miss anything. But again, that's me standing still and watching before I do anything because I want to make sure I see everything before I actually attempt. The steps. Um, but yeah, the eating part is very serious. Drinking water too. I don't know why we're super anti water for some reason, or we don't think about it until the last second, but that plays a huge role in like your attention span in class.

Um, yeah, I just think for me, it

Dr Chelsea: Oh, absolutely.

Nia L.: [00:21:00] bad.

Dr Chelsea: Yeah. I'm so glad. Well, maybe it's not that bad because you have found the strategies and the teacher and me, and I think any teachers listening are like, yes, please just pause and look around and figure out what you missed. And that so many dancer, younger dancers, not yet professional their go to when they miss something is just to blurt out the question before even like, pause, can I just look around and figure this out for myself for a second?

Nia L.: gosh,

Dr Chelsea: And so nice to hear from a professional. That's like that. That step one is pause and look around. What did I miss? Can I easily fix this before going straight to interrupting the flow of things by asking questions?

Nia L.: Absolutely, because a lot nine times out of 10 if you did miss it, it's catchable if you just know how to look around the room. I think that's been something that I've always learned from my teachers growing up when they say stop and just watch the first time. This was just to also train our brains with terminology.

So if you had to stand still and we forcibly told you what the combination is, can you do it without us moving? Um, and [00:22:00] also if we are able to, if it's contemporary or like jazz or anything else and they were showing it to us. We still should be able to stand still and be able to watch to understand like what transitions look like.

How does this feel? If we happen to miss it? Yeah, I would say the first thing is to just watch. Look around the room because nine times out of ten there's other dancers practicing the exact step you're trying to figure out.

Dr Chelsea: Absolutely.

Nia L.: So watching people around the room just like, okay, I missed this part. She's about to do it.

Mm hmm. That's what the step is. Let me just go ahead and fix it. Second for sure is ask your peers. Because for teachers and choreographers, like you just mentioned, their minds are constantly creating and constantly trying to like, get the combination going for themselves and teaching it for the students.

So once it's shared, it's kind of like, don't interrupt this beautiful flow that's going on through their minds. So you want to make sure like, in my opinion, the last resort should be to ask the teacher what it is. There's so many ways you can figure it out without having to ask your teacher, honestly.

Dr Chelsea: I love hearing that from a professional. My teacher in me is like, yes, [00:23:00] please. That's awesome. Uh, okay. So kind of along the lines of paying attention or being focused is the idea of being in the moment. And I think maybe that's more. Of a flow when you're performing about being in the moment, but also when audition and things of being able to, uh, stay present, feel the music present in your body.

Will you speak to that about being in the moment? What that means to you, how you're able to capture that?

Nia L.: On the profession, but I'll start with the student side before I even stepped on stage. It was just simply class Being in the moment in class is really understanding your intention when you come to class I come to class to learn more about this said style and to grow And be better than I was yesterday or last week.

So being in the moment is being present, not thinking about what I'm having for dinner. What are my friends doing right now? Who texts my phone? What's happening on Instagram is paying attention to, okay, is my time due [00:24:00] in front of me or is it off to the side? Like they told me last week to fix it. Okay, let me fix it.

Is my APOM mall correct? Is my head doing what I needed to do? Is my leg higher than what it was last week? Being in the moment is really paying attention to what your intention is in that moment, in my opinion. When it comes to auditions, same thing. Being in the moment is really understanding, what is this choreography speaking to me?

Me as my brand, how can I make this look like me if this is not what I do all the time? If I'm a jazz dancer but I'm in a hip hop space, how can I channel in this type of groove that's different from being upright? Um, When it comes to performance, that one for sure. What is the music saying to me that can go from class to auditions, to professional rehearsals and things, but it's all about, how can I be engulfed in this moment right here?

And right now, what is my intention? What am I trying to get out of this? What are me and the artists trying to convey this story right now?

Dr Chelsea: Yeah, I love that. I've definitely talked about intention and it's so lovely to hear it [00:25:00] coming from somebody who's still doing it and, and found it helpful that. It isn't an, I was gonna say intentional set of an intention, too much intention, but being able to like purposely decide this is what I'm doing right now and not just expecting yourself to be like locked in and ready.

You have to choose to do that.

Nia L.: I like that you said purpose because I always used to say my motto for a long time and what my name means in Swahili, it means purpose. So I always love to say, say to people, walk in your purpose, especially for dancers, be in this moment. And just, um, be the moment when you're even doing, it's so funny.

So ballet is always either a very lovable thing for people are very, okay. We're going through the motions again, when you're in the moment, ballet. Just is a stunning work of art when you're really into it. And even that goes for any style. It can go from looking very. Dreadful, like I can tell you're bored.

You're not in this moment. You're not here Or this can look like you're [00:26:00] you and the music are just and the choreography are one you guys are Meshing together so well because I can tell you're being in this moment right now You're not thinking about anything else. You're not thinking about you may be thinking about technicalities But you're being engulfed in the performance aspect of it all You know, so that's what I think.

It's just Just that intention that intention and being in your purpose. This is amazing

Dr Chelsea: Yes, I fully agree. I would love, you shared a little bit at the beginning about some of the amazing artists you've worked with and some of your professional work. So I would love to hear, maybe it's like the resilience stories, like a high and a low. So maybe like a favorite An audition that went really well, a favorite, um, job and how this mindset plays into that.

And then also maybe like the job you didn't get, the lesson learned from there, the highs and lows of some of your professional work.

Nia L.: Um, I'm going to say. oh, there's a lot of jobs that are my [00:27:00] favorite, but I will say one of my favorite jobs, and I'll speak on the exact resilience that you're speaking about. So I did a music video with Usher at the top of the year last year, um, for his recent album. The song is called Ruin if you want to check out the video.

But, The part that made me so happy that, yes, it was Usher, but I got to work with this choreographer who I have been dreaming about working with for a long time, Galen Hooks, if you guys know who she is, I was so over the moon about working with her. The part that's crazy is that beforehand, I was not booking any Like any auditions, every audition I was going to was no, no, no, no, no.

And there was one audition I went to that someone I knew was running. And at the end of the audition, he was just hyping me up saying like, oh my God, yeah, I can't wait to work with you. I'll see you at rehearsals. I heard nothing about that job. And at that time I was just really just like, you know, I know it's not my talent, but my goodness, what's going on?

When's the next job [00:28:00] coming? So I took a trip to South Africa in December for a whole month. Came back and the first audition I had was for this job with Galen Hooks and the job was strictly freestyling.

Dr Chelsea: Oh,

Nia L.: And the thing about me, I, I, I, I get kind of nervous when it comes to freestyling. I do. I get a little nervous, but you know, if I have to do what I have to do, I'm going to do it.

So they were just telling us that the entire audition from top to bottom is freestyling. She gave us the intention. She said, we're looking for main girls. We're looking for stars. We're looking for someone who can captivate the camera, but also captivate and tell the story of what we're looking for. I'm just like, okay, I don't know what else to do, but to be in this moment.

Dr Chelsea: Mm-hmm

Nia L.: And just, you know, be myself. There's a bunch of amazing women in the room and they were all going for blood in that room. So good. I couldn't even sit here and say like, what do I need to do better? What to do? Just be myself. Just be myself. And the whole entire time, any [00:29:00] notes she gave me, she said something like, you know, when this beat drops, dance harder.

Just take the notes and be in the moment. Um, okay. Can you try and do this? Sure. I don't even know. I'm not thinking anything of it. I'm just like, let's just try and see. Have fun. At the end of that day, she called me and said, I got the job. And it was like one of the best things I've ever experienced. The entire day was super amazing, watching the creative process and being present, if I would've allowed fear to come over me.

Oh my God. I don't really freestyle. I don't know what, I don't know what I'm gonna do. I'm not gonna go. I wanna book the job. Oh my God, it's such a big artist. The girls in this room, they've danced with him before. They're probably gonna get this job. Then more than me when I have shown up, it would not have happened for me.

Um, so I think that was my favorite

Dr Chelsea: That. I love that story. Thank you for sharing and also not letting it like during the process. Cause I can imagine when, you know, a choreographer hero comes up and gives you a, even a simple note to be able to just say, cool, all right, let me try that rather than like, Oh my [00:30:00] God, she thinks I'm doing something wrong and like imploding over it.

Nia L.: and like, I think. you The minute I stepped into the space of choreography and teaching is when I had to turn my brain off and say, Okay, yeah, it's not, you're not a bad dancer. I just want, they just want to see you do this differently to see if you can take the note. That's the biggest thing too, to all the dancers listening.

Can you take a note? Cause that's the part two where I think we again, have this thing engraved in our brains that we have to be perfect and we have to be robotic. That's not what this is. Just, can you take a note? I know you're a great dancer. I know you can move around the room. Now, can you take a note?

If I told you this, you know what I'm saying? So in that moment was when I was able to just, again, be present, be present. She's speaking to me for a reason. In my mind, I'm just thinking, Oh, she's watching me. She's watching me. So that means something good is coming about this.

Dr Chelsea: Yeah. That's such a great reframe. And I, I feel the same thing as a dancer. I eventually learned that. And as a teacher try to share, that's like, no, if the [00:31:00] teacher is giving you corrections and feedback, they see potential, they see something that you are capable of more. And if you receive it that way, rather than, yeah, Oh, I'm terrible at this.

And that goes for these huge auditions, but also your ballet class with your teacher that you see every day. That like it's still a correction to help you be better because they see more in you and that reframe changes everything.

Nia L.: Yeah, I completely agree.

Dr Chelsea: Oh, thank you for sharing that little story. That's amazing Uh, you have shared some incredible advice and I haven't yet mentioned that you have a new book called industry survival guide Which clearly you know how to do well in this industry and have lots to share Can you tell us a little about the book or any other advice that you haven't already shared that's in there that you?

Uh give to us now,

Nia L.: Yeah. So in the book, it really goes through every single thing I've talked about or the things that I think will prepare a dancer to really be prepared for the industry. Literally. I can't promise that she will book a job by tomorrow, but by the [00:32:00] grace of all things, I pray it definitely helps you prepare because some people don't even know about the structure of a headshot or your, um, your resume, how that's supposed to look.

So it gives examples on how to structure your resume. How to, um, do your head shots. How to even figure out what your brand is. That's something that we don't talk about enough when it comes to artistry and dancers in their artistry. Sometimes we assume that we have to look a certain way when you, you may not be that person.

Perfect example as a woman. Um, sometimes in the industry they say, take a sexy photo. For some women they don't want to take sexy photos because they don't want to be in revealing clothing. But I love, and in the book it explains, That sometimes everyone's sexy is not the same type of sexy. Some people have edgy, some people are commercial, some people are very, um, quirky, some people have different styles.

So now it's to understand what does your style look like so when it reads through your resume and your headshot, people can really understand where to place you in the industry. Um, we talk about [00:33:00] that in the book. We also talk about choosing, when it comes to choosing where you want to move to. I think sometimes artists, again, just move for the heck of it.

And they're saying, well, this experience, this was terrible. Well, you didn't really do the research of where you were going. Some people may go to New York and think that there's a lot of commercial work out there. There are some, but that's where a lot of it is in Los Angeles. They go to Los Angeles and think there's a lot of like runway or a lot of modeling jobs.

There's commercial things happening, but New York has a lot of the modeling jobs that you're looking for. Oh movies and film. Atlanta is starting to come up with those things and overseas. So we talk about um, How to really strategize where you want to move to when it comes to your moving or transitioning when it comes to the arts.

Um, some of the things we talk about, one big thing I talk about in the book too is community. And I've spoken about this before in this, but having a solid community. It doesn't have to be a thousand people, it can be four or three people, but having a solid group around you. [00:34:00] That can help you when the times get tough and it sounds so cliche, but really those moments, especially when you're a professional and you're an adult, it seems like your friend group gets smaller and smaller and smaller.

So you want to make sure you surround yourself with people who can encourage you through the process, people who can remind you you're, you're a human being, it's okay to rest. Let's plan this out. What do you need help with? Okay, this audition is happening on this day. This is happening on this day. How can we be of service to each other and not just taking from one another?

So those are some of the things I talk about in the book.

Dr Chelsea: Oh, good. So good. When you were just saying that makes me want to think about your life now as a professional when, you know, young artists aren't sure exactly what they want or what they're hoping for when they pick somewhere to move and imagine, Oh, I want to dance for Usher.

Like, okay, what do I do? Will you share a little about what your like day to day life is like now as a professional artist in LA?

Nia L.: Yeah, so in L. A. Um, I wake up, I help. Gosh, I should do [00:35:00] better about taking class, but I do a lot more creating now. Um, in this space, I now love to create. So some days I'll wake up. I'll call some friends and just see if they're available and I'll go to a studio and I'll session some choreography that I want to create with.

I also am friends with a lot of people in different industries. So like producers, directors, photographers, and I'll collab with them on what can we do to create a beautiful masterpiece. Um, because I just feel like we're surrounded by so many amazing people. How can we create our own outside of just always trying to be hired by other people?

So I'll just create a group of people and just create me, maybe my own visuals or things like that, create my own projects. And then if I happen to get an audition that day. A casting or something i'll just set up my ring light take my photos or do my um video my slates and things And if I have audition in person, i'll make sure I get dressed look at the description to see what they need exactly Get dressed for the occasion and go to that audition and just yeah, have a good day and wish myself some luck[00:36:00] 

Dr Chelsea: I love that you're still creating for yourself. I think that's so wonderful because dancers often are,

Nia L.: You

Dr Chelsea: work and being able to create for yourself as a dancer or where the dancer is the star of the work. Um, I think that is, that's amazing. I love that. Do you feel that's shifting?

I think it's, I feel like it's shifting a little bit to like honor dancers

Nia L.: I think it is. I think it's becoming very beautiful to see now, especially on the artist side, seeing artists now bring on a lot of dancers. This past Grammys, I just worked the Grammys recently, and seeing the majority of the pop artists are bringing on like a lot of dancers to fulfill the visuals. I think people don't realize, but dancers really do make a visual look that much more.

Just chefs kiss so good to me in my opinion. And I think now that people are realizing what we're capable of and it's becoming so much, it's just expanding our horizon again, I came from a ballet studio, so they always assumed for me, company life was where I was supposed to go. So that's maybe also why I love [00:37:00] to create, because I like to challenge myself.

Like what does a. A piece on stage look like, what does a video look like to you? What does this look like to you? But also just giving myself the opportunity to also still be available to be of service to, uh, another person's creativity. But yeah, I just love where this things are going with the arts.

Either concert dancing or music videos, tours, it all just, it's so beautiful to watch the movement happening.

Dr Chelsea: it is. I agree. And I love the diversity in it in that sense too, that like you could do maybe more traditional concert dance and company work, or you could do some of this more commercial work, but there there's room for both and you're not pigeonholing yourself as a dancer in the sense of this is where I grew up.

This is my only option.

Nia L.: Absolutely. I did a, um, a summer, or not a summer, I wouldn't say. I did like a one day intensive in New York, and this dancer, Ebony Williams, was The first person who I feel I looked at her and she did exactly what you're speaking about. She did the company life, but she also was in the [00:38:00] commercial life. She, when I first saw her, I think she performed with Cedar Lake.

their dance company, I believe. And she was like their prime dancer. And so she was a phenomenal dancer. And then I also saw her in single ladies with Beyonce. I'm like, Oh, this is so cool. Like she's able to do both. Um, so I just did a deep dive on her career. And I was just like, she has the training and the facility of a beautiful ballerina, but she also still is able to hit a jazz or funky step with Beyonce and go on tour with her and other artists.

So once I saw that, I just knew like, water, everything that I can do on my down day, I always say, do at least one thing that brings you closer to your dream. So I would try and just either watch videos of. Concert dancers, attend the show if I can. I will always go see Alvin Ailey's show every single time if I

Dr Chelsea: Yes, absolutely. Okay, and now I have to dig in a little bit. You said you're down day. Do you have one day that you try to not work, but then you're using it for your own?

Nia L.: [00:39:00] Sundays. I try. I try to use Sunday as my down day, a day where I do absolutely nothing. And if I do get creative, I'll just listen to a song a thousand times and just try to see like, where does my head go with this? How am I feeling with this song? Or just even go outside and experiencing life so I can get inspiration for my artistry.

Dr Chelsea: Yeah. It's like rest doesn't mean close yourself off from the world and don't move. But rest maybe means not, you know, not booking auditions, not scheduling yourself to be somewhere to allow for the space, for the creativity, because otherwise we start forcing the creativity and that's not going to happen.

You need the time to be in your thoughts and be in your body

Nia L.: Yeah. And at least, yeah, and experience life. Like, that's the biggest inspiration I think we can have. Like, sad to say, a lot of um, artists are inspired by the pain they've gone through in life. So they feel this feeling and they get so involved or invested in that one sad song that plays all the time.

And now you're just like, I want to choreograph to this song. And it's like your best work because you had to go through something and not saying we always need to be hurt to create. [00:40:00] Absolutely not. But experience something so you can get a feeling. So you know that when I create this piece, Oh, I, I know what joy feels like.

So how do I make this feeling come alive in this dance piece? You gotta experience life.

Dr Chelsea: Oh, of course. I was just talking about that with emotions recently, that like, it's the positive emotions too. It's not just the pain, but you have to know what you're really feeling to be able to put it into movement in a way that communicates that feeling to the dancers you're choreographing for to the audience you're trying to show.

And if it's just like, be happy, like, no, there's 15 different kinds of happy. What, how, how do I actually feel? And what does that look like? And yeah, you have to live life to get

Nia L.: Yeah, I was, I would do these classes, um, like improv classes, because again, there's people who are petrified of improving or just freestyling. And a lot of times to help get their minds going, I will always give them a scenario to go off of, like, Oh, it's raining outside, but I'm happy. What does that feeling feel like for you?

Cause it's different for everybody. Or, you know, it's sunny outside and [00:41:00] you walk outside, you stepped in a puddle. What is that feeling? How do you convey that through movement to me? So I think giving people those type of challenges and like wording it in a certain way, helps people guide that feeling that they may or may not know about, like, okay, I stepped in some puddles.

Maybe I'm, what is that feeling? How do I exude that?

Dr Chelsea: Yeah. That's such a great tip for teachers and dancers to challenge yourselves, even to think about how would I portray that? And it's the mixed emotions because art is not usually one flat emotion, right? The piece is going to change. It's going to evolve and go up and down in different ways. And sometimes conflicting emotions, you said it's, it's sunny, but you stepped in something and can you feel both?

And can you feel excited for a friend who got a job and sad for yourself? Yeah. We have conflicting emotions all the time. But practicing what that looks like in your art

Nia L.: Exactly.

Dr Chelsea: is huge. So many good things. Thank you. Where can people find you and your work and your book?

Nia L.: You can go on my [00:42:00] website, um, NiaLonette. com and also on social media, it is Nia Lonette on all platforms.

Dr Chelsea: Wonderful. I'll make sure everything is linked. Thank you so much, Nia. This is a wealth of great advice. I'm so happy to have you today.

Nia L.: I'm so happy I was able to be here, and thank you so much for allowing me to be here.

Dr Chelsea: Thank you.

Nia L.: Of course.

Dr Chelsea: Thank you for listening to Passion for Dance. You can find all episode resources at passionfordancepodcast. com. And be sure to follow me on Instagram for more high performance tips at doctor. chelsea. parati. That's P I E R O T T I. This podcast is for passionate dancers and dance educators who are ready to change our industry by creating happier, more successful dancers.

I'm Dr. Chelsea, and keep sharing your passion for dance with the world.