Alright – so today we’ve got the honor of introducing you to Annelise Eastes. We think you’ll enjoy our conversation, we’ve shared it below.

Annelise, thanks for taking the time to share your stories with us today Can you tell us about a time that your work has been misunderstood? Why do you think it happened and did any interesting insights emerge from the experience?

As a professional dancer, I initially set out to have a career in classical ballet. However, the pressures and restrictions of ballet didn’t sit right with me. I was always too tall, too curvy, too outspoken, too unorthodox, the list goes on and on. I joined a modern dance company after college to get away from the toxicity of ballet, only to find the environment there was largely similar. I was mischaracterized as “difficult” because of my inability to fit the traditional dancer mold.

I ended up booking some gigs performing in nightlife somewhat by chance and found that I loved it. Suddenly, all of those things I was told were wrong with me as a ballet dancer, I was being applauded for. I learned to celebrate my individuality and started booking jobs in a variety of dance styles. Eventually, I moved to Las Vegas and created my own niche as a performer and choreographer. My work is still rooted in classical ballet, but draws inspiration from burlesque, contemporary, jazz, and other styles of dance.

I’ve seen similar situations with other dancers where they are considered difficult or inadequate, when truthfully, they just haven’t found a genre of dance or company that’s a good fit for them. It’s crucial for dancers to reflect on their strengths and what sets them apart from others in order to determine what path they might be most successful on.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I’m a Choreographer and Entertainment Manager who coalesces art and entertainment to explore themes of femininity, sensuality, and women’s empowerment. I strive to inspire reverence for femininity by demonstrating that women can simultaneously be sensual, intelligent, and multidimensional.

My background is primarily in ballet and I have a BFA in Ballet Performance with a minor in Business Administration from Butler University. I have had a uniquely diverse performing career, which culminated in performing as a soloist and ensemble member for the show residency A Touch of Burlesque in Las Vegas.

I have choreographed acts for the Barcelona Burlesque Meeting & Festival, Instrumental Bodies’ residency at the Foundation Room, Off Strip Fantasy Ball & Cabaret, 1Oak NYE Takeover of Aspen Kitchen, and an opening act for Ludacris at the Ogden Theater. As a choreographer, I have earned titles such as “Industry Disruptor”, “Rising Star” and “Top New Creator” as well as a JCA Collaborative Grant.

As an Entertainment Manager, I have managed dancers in nightclubs and worked as a stage manager for the show residency Extravaganza in Bally’s Hotel in Las Vegas. I have directed dozens of collaborative art projects incorporating dance alongside other artistic mediums including photography, videography, clothing design, live music, poetry, painting, and shibari.

Can you share a story from your journey that illustrates your resilience?

Right before the lockdown happened in 2020, I had just been promoted to Dance Captain at Instrumental Bodies’ residency at the Foundation Room in Las Vegas. It was a dream job that I had worked incredibly hard for. Then everything got shut down, and suddenly performers were out of work indefinitely.

I knew, however, that people needed a light in their lives more than ever. I believe strongly in the power of art and despite the uncertain times, I had to find a way to keep going. That’s when I first launched my page on Patreon and delved further into collaborative projects. It was not easy to figure out logistically how to create with others while adhering to safety protocols, but I made it work. I incorporated dozens of artists in mediums including photography, videography, clothing design, music, poetry, painting, and shibari.

I learned a lot about business while completing these projects as well. Running this platform meant that in addition to directing and performing in the projects, I was also organizing livestream events, managing patron relations, editing videos, hiring collaborators, running online ads, and managing financial records. It was a lot of work, but the response I got from patrons and fellow artists made it worthwhile.

Many of the awards and features I’ve received have been because of those projects. I’m proud of myself for persevering and continuing to create art, find ways to share it, and provide work for artists during those trying times.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

Growing up in the ballet world, we were conditioned to do as we were told. Speaking up for yourself or being different was not encouraged, particularly for women. We were taught that we were easily replaceable and that if we did rock the boat, our spot would be given to the next dancer in line. It took me a long time to unlearn this and realize that I was allowed to set boundaries and that we all deserve to be treated with respect.

It frustrates me to see so many directors in dance who believe that emotional abuse is a “right of passage” and that because they were mistreated, they should do the same to the next generation. This doesn’t make better artists; it makes artists who are afraid to take risks, which does a disservice to our art form as a whole.

Contact Info:

• Website: https://www.anneliseeastes.com/
• Instagram: https://www.instagram.com/annelise_eastes/
• Facebook: https://www.facebook.com/gamzattiballesque
• Linkedin: https://www.linkedin.com/in/annelise-eastes-001994141/
• Other: https://www.patreon.com/gamzatti

Image Credits
T77 Photography, Eliza Marie Visuals, Sin Ropes, Ben Mayben, Richard Novella