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Professional Standards for Dance

Section 4 - Fees & Payments for Dance Artists


4. Fees & Payments for Dance Artists

4.1 Terms of Engagement 

1. Prior to the beginning of the engagement the type of payment (e.g. hourly, weekly or flat rate) will be negotiated by the Engager and the Engagee.

2. Prior to the beginning of the engagement the frequency of pay will be negotiated by the Engager and the Engagee.

3. The Engager will indicate to the Engagee the quantity (e.g., hours, weeks, months) and type of activity required for the engagement.

4. If the Engagee works hours beyond the hours negotiated in the Agreement then the additional time:

will be overtime paid at a rate to be negotiated by the Engager and Engagee prior to commencement of the engagement, or

the Engagee will be given paid time off in lieu of pay.

5. The Engager will respect public holidays (see Glossary). When this is not possible, an overtime rate may be negotiated or the Engagee may be allowed a substitute day off with respect to public holidays.

6. Dance Artists agreeing to payment less than the recommended minimum, or to in-kind donations in lieu of monetary compensation, will be properly contracted as such.


4.2 Hourly Rates of Compensation

1. Suggested minimum hourly rates do not preclude the Dance Artist from negotiating higher than these rates.

2. The Engager and Engagee should be aware when working on an hourly basis that the standard practice is a minimum 2-hour call. This means that should an Engager choose to work less than 2 hours, they must pay Engagee for no less than 2 hours.

3. Should the Engager choose to work more than 2 hours but less than the contracted number of hours for the activity, the Engagee shall be paid for the number of hours originally contracted.


4.3 Weekly Rates of Compensation

1. Suggested minimum weekly rates do not preclude the Dance Artist from negotiating higher than these rates.

2. An Engagee contracted for 20 or more hours per week of rehearsals may be paid a weekly, rather than an hourly rate. A weekly rate means that the Engager and Engagee have agreed upon a determined number of work hours and a set rate of pay per week.

3. Should an Engager choose to work less than the contracted number of hours in the week, the Engagee is still paid the weekly rate originally negotiated.

4. Should an Engager choose to work more than the contracted number of hours in the week, the rate for extra hours should be negotiated and paid out to the Engagee in addition to the weekly rate.

5. Should the Engagee be required to work in excess of 30 hours in a week, overtime will be in effect (see 4.1.4).

6. During an agreement where the Engagee is paid a weekly fee, the Engager will provide space and/or training as part of paid time for the purposes of the Engagee’s required rehearsal preparation.


4.4 Flat Rates of Compensation

1. A flat fee may be negotiated and agreed upon by the Engager and Engagee. A flat fee remains subject to the provisions of 4.1 Terms of Engagement.

2. A flat fee Agreement covers any single work period that may include one or more of the following: choreographic development, rehearsal, performance, workshops remounting existing work, technical and dress rehearsals.


4.5 Rates of Compensation for Exclusivity

1. Exclusivity requires that the Engagee does not work for another Engager on another activity during the agreement period, unless otherwise negotiated.

2. Where an Engager requires the exclusive right to an Engagee, the Engagee cannot expect their requests to adjust the rehearsal, technical or performance schedule to be honoured.

Note: It is not recommended that an exclusive Agreement be agreed to when payment is less frequent than weekly or bi-weekly as there is little remedy for non-payment.


4.6 Rates for Compensation for Other Activities

1. Even if the Engager does not anticipate activities such as costume fittings, publicity photo shoots, fundraisers, teaching, Q & A’s with the public or receptions, an hourly rate for the Engagee for this type of activity will be negotiated and included in the Agreement.  The engagee will be informed with ample time to prepare for such activities, at a suggested minimum of 48 hours.

2. The rate of pay for this type of activity should be the same as the rehearsal rate.

4.7 Royalties

4.7.1. Overview

When a dance is re-mounted after its original production and presentation, royalties must be paid to the choreographer for performance, unless some other agreement has previously been negotiated. It is the responsibility of the Producer to ensure that the necessary permissions and agreements are in place (see 2.3.2.1)

4.7.2. Specifics

Royalties should be negotiated outside of the initial choreography fee and stipulated in the contract.  CADA-East supports per-minute rates for choreographic royalties and recommends $6 per minute per performance. Given the small size of dance production budgets compared to most theatre, the relative financial precariousness of dance in general, a per minute rate is a known quantity that will support the choreographer and the producer.

Alternately, the Choreographer may receive between 1 and 10 percent of the original fee paid for choreography in royalties. 


4.8 CADA/East Recommended Minimum Fee Payments

Note: All CADA/East rates and fee structures have increased to match the inflation rate (rounded in some cases) based on the Consumer Price Index (CPI). In Ontario, overtime pay is generally 1.5 times (time and a half) an employee's regular hourly rate for all hours worked over a regular work week. 


DANCER FEE STRUCTURE

TYPE

SUGGESTED RATES

NOTES

Rehearsal Fee (hourly)

$33 - $66 

Minimum payment of 2 hours is suggested even if the rehearsal is shorter.

Rehearsal Preparation (hourly)

$33 - $66



Rehearsal Fee (weekly)

$1400 - $1675 


Performance Fee (weekly)

$1400 - $1675 

36 hours maximum, otherwise an overtime rate should be paid.

Performance Fee (per performance)

$240 - $600


Technical and/or Dress Rehearsal (hourly)

$33-$66

Negotiate separately, even if they fall on a performance day.

Minimum payment of 2 hours.  


Dancer Fee Structure 

Suggestions and Examples


Rehearsal Fee  

The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it. 

Examples of when to negotiate at a higher rate: 

  • In the case where the rehearsal process is condensed and dancers are required to learn material quicker than a usual process.  

  • Dancers are asked to do additional duties such as rehearsal direction and/or relaying information (remounting work), mentoring in the studio, and coaching other dancers.  

  • Dancers are asked to rehearse in a public space (site specific work) where the conditions are unregulated and/or are more precarious in terms of physical conditions.  (ex. Outdoor rehearsals in a park where the ground is uneven and the weather conditions are uncontrollable). 


Note: Include information on breaks and payment allocation for lunch/dinner if applicable.


Rehearsal Preparation

Negotiate payment for pre-rehearsal process preparation.  

  • Viewing material/videos, listening to music, familiarizing yourself with the choreographer’s work, research, etc.

  • New creation asking dancers to research and gather inspirational materials for the rehearsal (interviews, stories, writing, objects, photos, wardrobe, etc).


Exclusivity Rate

If employers are using an exclusivity rate, then the language around what that entails should be clear. Negotiate what that means and agree on them.


Refer to section 4.5 - Rates of Compensation for Exclusivity.

1. Exclusivity requires that the Engagee does not work for another Engager on another activity during the agreement period, unless otherwise negotiated.


2. Where an Engager requires the exclusive right to an Engagee, the Engagee cannot expect their requests to adjust the rehearsal, technical or performance schedule to be honoured.


3. It’s understood that there may be different understandings or sensitivities around the language of ‘exclusivity’. Ideally, you as the artist will negotiate what the boundaries of ‘exclusivity’ means and its value/importance.


Note: we strongly recommend against entering exclusivity agreements when payment is less frequent than weekly or bi-weekly.


Performance Fee (weekly) 

The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it. Consider the length of performance, number of performances, and overall hours.  


Awareness of details or firm breakdown of elements, requirements, timelines, rest periods, breaks, costume fittings, etc are clear in the contract and agreed/signed.   


A clause should be negotiated in advance of the performance week to facilitate specific and reasonable needs outside of work (caregiving, mental health practices, important health practices).  


Ideal scenario:  The dancers offer feedback on the performance week’s schedule for optimal performance, including rest and breaks, etc., and relay this information to the production team. In most cases, the production team creates the schedule for the performance week. 


An understudy should always be available and prepared for unforeseeable circumstances.


Performance Fee (per performance) 

The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it. Consider the number of work hours, including call time and performance duration.


Technical and/or Dress Rehearsal

The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it.


CHOREOGRAPHER FEE STRUCTURE

TYPE

SUGGESTED RATES

NOTES

Option 1: Per Week of in-studio rehearsal

$1640-$1960 

36 hours maximum over 6 days.

Option 2: Per Minute of completed choreography

$328


Option 3: Minimum of total budget

20%


Option 4: Hourly rate

$33-160

In studio hours, remounting, as well as preparatory hours outside of the studio, including admin hours.

Royalty/Remounts


See suggestions and examples



Choreographer Fee Structure 

Suggestions and Examples


The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it.  


Examples of when to negotiate at a higher rate: 

  • In the case where the choreographer is asked to fulfill a number of roles in the studio. including: create steps, rehearse dancers, archive, administrative tasks, social media, etc. 

  • Based on the choreographer's practice and skill set. Creative input, responsibility and liability in the studio. 

  • Dancers are required to do work that has more physical risks. Responsibility and liability are carried by the choreographer to ensure safety of the dancers. 

  • Choreographers attend performances of the work and give notes. In some cases, the choreographers are allotted an additional $50 to attend a performance and give notes.


Royalty/Remounts

  • Royalties for dance choreography are negotiable (i.e., not fixed), and will depend on contracts created with producers.






DRAMATURGE FEE STRUCTURE

TYPE

SUGGESTED RATE

NOTES

Dramaturge Fee (hourly)

$33-$66

2 hour minimum



Dramaturge Fee Structure

Suggestions and Examples


The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it.  Clearly define the role and responsibilities and negotiate fees accordingly.  Commensurate with experience. Take into consideration travel costs. 



REHEARSAL DIRECTOR FEE STRUCTURE

TYPE

SUGGESTED RATES

NOTES 

Rehearsal Fee (hourly)

$33-$66

2 hour minimum

Rehearsal Preparation and Notetaking (hourly)

$33-$66





Rehearsal Director Fee Structure

Suggestions and Examples


Rehearsal Fee 

The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it.  

Clearly define the role and responsibilities and negotiate fees accordingly. Commensurate with experience.  Take into consideration travel costs. 


Rehearsal Preparation and Notetaking 

Negotiate payment for pre-rehearsal process preparation. 


  • Viewing material/videos, listening to music, familiarizing yourself with the choreographer’s work, research, etc.

  • Preparing the rehearsal schedule. 

  • Any administrative tasks (relaying information, check-ins with directors, choreographers, etc.




TEACHING RATES

TYPE

SUGGESTED RATES

NOTES

Under 5 years experience (hourly) 

$35-$50


5-10 years experience (hourly)

$48-$85


10+ years experience (hourly)

$65-$160


Guest Artist Workshop 

(hourly)

$80-$250


 


Convention Teaching (>50 participants) 

$250-$700 

Per workshop or event (to be negotiated)

Post-Secondary Instruction (hourly)

$85-$165



Teaching Rates Fee Structure

Suggestions and Examples


  • Compensation should be negotiated with consideration of class size, level of participants, length of workshop, and if travel/accommodation/per diem is included.

  • Commensurate with experience (teaching and performing) and education/training of teachers.

  • In Convention Teaching, fees can be negotiated in recognition of the level of experience, planning, skill and energy required to teach in this setting.

  • In Post-Secondary Instruction, fees follow a pre-set tier payment model or negotiable pay. 

  • When applicable, It is important to check the current teaching policies and/or any union changes.



ASSISTANT FEE STRUCTURE

TYPE

SUGGESTED RATE

NOTES

Assistant Fee (hourly)

$33-$66

2 hour minimum





Assistant Fee Structure

Suggestions and Examples


This rate is for dance artists in teaching-focused contexts. The sliding scale is being used to encourage paying out at the higher end, if budgets allow for it.  Clearly define the role and responsibilities and negotiate fees accordingly.  Commensurate with experience. Take into consideration travel costs. 



RATES FOR PHOTOGRAPHY, FILM & VIDEO (COMMERCIAL)

TYPE

SUGGESTED RATES

NOTES

Professional Artists (hourly)

$120


Royalties 


See suggestions and examples


Note: CADA/East recognizes ACTRA as an authority in the mainstream television and video industry; the suggested rates are presented as options for dance artists’ participation in independently funded, non-union film projects.


Rates for Photography, Film & Video (COMMERCIAL)

Suggestions and Examples


In addition to compensation: 

  • It is recommended that artists negotiate access to photography, film, and video for their own use. 

  • It is recommended that artists negotiate limitations around usage and subject rights where possible.


Royalty/Remounts:

  • Royalties for dance choreography are negotiable (i.e., not fixed), and will depend on contracts created with producers.



TOURING RATES

TYPE

SUGGESTED RATES 

NOTES

Daily Meal Allowance/Per Diem (breakfast, lunch, dinner)

$65 


Breakfast only

$13


Lunch only 

$20


Dinner only 

$32


Dance artists are required to make payment for their own accommodation and meals.  

$150 (daily) 


Note: All rates are based on Canadian (CAD) currency. 



CADA/East Gratefully Acknowledges the Generous Support of




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