Zora: What It’s Like to Perform Ballet While Black
Though I loved to dance, I felt pressured to conform to a particular kind to make strides in the industry.
January 22nd: Opera America Grants, March 3rd: Dance | NYC: Dance Workforce Resilience (DWR) Fund, March 31st: SIA Foundation Grants
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Though I loved to dance, I felt pressured to conform to a particular kind to make strides in the industry.
One of the most equitable companies over the past two years is led by – you guessed it – a woman. Read The Register-Guard’s feature on Toni Pimble of Eugene Ballet.
Women are worth a lot of money – more than we are given credit for.
The Mariinsky Ballet went on a recent tour to the US, performing in D.C., New York City, and California, where the incident took place.
The company is taking themes from ballet and translating them to community engagement – giving back to the community that supports them.
Another take on the McKinsey and Lean In annual study, Women in the Workplace.
In her recommendation for the “Goings On About Town” column for The New Yorker, dance writer Marina Harss made reference to DDP within the context of an upcoming Guggenheim Works & Process panel with Dance Lab New York and the Joyce Theater Foundation’s women of color Choreographic Lab alumni.
DDP shares our first ever Meet the Company feature. Hear about the success story that is the inaugural company, Richmond Ballet, from its founding artistic director Stoner Winslett and managing director Brett Bonda.
Women supporting women: Joyce Theater’s lab cycle is supporting female choreographers of color in ballet.
Learn more about Annabelle Lopez Ochoa’s A Streetcar Named Desire, which has its US premiere in Nashville this season.
Reach out to us to learn more about our mission.
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
