DDP Talks To
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
July 31st: Community Engagement Artists and Creatives Grant, December 31st: New England Presenter Travel Fund, December 31st: Central Pennsylvania Youth Ballet Scholarship, December 31st: 24 Seven Dance Convention, December 31st: National Theater Project Presenter Travel Grant, December 31st: Breck Creek Artist-in-Residence Program
×"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
05 April 2021
By Chloe Angyal
This spring, the Pennsylvania Ballet’s season will feature precisely zero ballets made by women choreographers. It will feature three separate nights of programming, combining 11 different ballets, all of them made by men, most of whom are white. This programming is, wait for it, a tribute to the company’s late founder, Barbara Weisberger.
The “Where are the women choreographers?” debate, also known as the “Did you know women also make dances?” discussion, or the “Is it really THAT HARD to hire women?” discourse, is decades old at this point. It was old in 2014, when New York City Ballet put together a program of works by five young white men and called it “21st Century Choreographers,” suggesting that in then-artistic director Peter Martins’ view, the 21st century was going to look an awful lot like the 20th, 19th, and 18th. (He then patted himself on the back for his purported daring and courage, telling the New York Times, “what can I say, I’m gutsy. I liked the idea of having all these people in their 20s, making new work. It shows the art form is really alive.”)
It’s old, but it’s clearly not over. And it’s exhausting.
The Pennsylvania Ballet spring season is a particularly egregious example, but not by much. It is not unusual to show up at the ballet (or on your couch, in this age of digital seasons) and see a series of short ballets, all of them by men. It’s totally normal to spend a night at the ballet — to hand over a sizeable sum of your hard-earned money — and not see a single piece of art created by a woman choreographer. In fact, according to the Dance Data Project®, in the 2019-2020 session in the US, that happened 62% of the time. In an art form where women make up 70% of audiences.
This is meant to be fine. This is supposed to satisfy us. This is not meant to bother us, or strike us as strange.
It is not fine. It does not satisfy. It does not merely bother, it confounds. It rankles, it insults. It is not strange, it is embarrassing.
To read the full piece, click here.
Note: Ms. Angyal was interviewed for DDP’s Global Conversations Round 3: The View from 30,000 Feet, which aired in the Fall of 2020. Her forthcoming book, Turning Pointe: How a New Generation of Dancers Is Saving Ballet From Itself, will be published May 4, 2021 and will feature DDP’s work.
24 March 2021
By Elizabeth “Liza” Yntema, For The Inquirer
Dance Data Project® Founder & President Liza Yntema wrote an OpEd for The Philadelphia Inquirer about Pennsylvania Ballet’s decision to honor their female founder with a three-program series of works choreographed entirely by men.
Read the full piece here.
26 March 2021
By Maggie May
On Thursday, March 25th, the Philanthropy Women team welcomed attendees and honorees alike to the first Feminist Giving IRL Top Tier Awards Ceremony. Celebrating the exceptional leadership of the interviewees from the past year, this year’s FGIRL Top Tier winners are Elizabeth Yntema (Dance Data Project), Dr. Tessie San Martin (Plan International USA), and Sara Monteabaro (MIT Solve).
The FGIRL series started two years ago, inspired by Gloria Steinem’s idea that “people should be linked, not ranked.”
“I wanted to be able to show a huge collection of diverse women,” said Editor-in-Chief Kiersten Marek. “All of the women we’re celebrating today, I see as the solution to breaking the silence and sharing that truth.”
Yntema describes a “glass cliff syndrome” in the dance world, where women are “pushed into” leadership because no one else is willing to step up. Her “Aha!” moment comes from sitting in a ballet theater and realizing 70% of the audience was female, as well as 70% of the donors to the program–however, female choreographers were missing from the industry.
“I’m Scottish and Dutch and tend to get really mad when people say, ‘Go over there, sit down, write a check, look pretty, and don’t leave your lane,’” she said. Yntema set out to build out a database of female donors, choreographers, and leaders within the dance industry–what would eventually become the Dance Data Project.
When asked “Why ballet?” Yntema identifies two main reasons this is her target area: Ballet is “where the money is in dance,” and the lack of female representation is something Yntema feels like she can fix.
She stressed that she wants to make an impact in climate change, gender violence, and any number of social justice issues, but knows that she can enact real change in this industry.
“Once people realize that this art form, which is occupied by women at every level, is populated with unfunded and underfunded women, there will be real change,” Yntema said. This turned out to be an overestimation, and her efforts have now switched to advocacy and education programs to bolster women in the dance industry.
Read the full recap here and watch the Top Tier Awards panel here.
18 March 2021
By The Dance Edit
DDP was featured in on The Dance Edit Podcast specifically related to our AFTA ARTSblog post.
Margaret Fuhrer:
Well, I am sad to say that our next segment is not going to make us any less angry. It concerns another under-covered aspect of the pandemic’s effects on the arts world. Liza Yntema and Hannah McCarthy from the Dance Data Project®, more friends of the pod, they recently wrote an article about why the “shecession”—which is a maybe too cutesy, but we’ll go with it, term for the way COVID-related job losses have pushed more women than men from the workforce—that’s hit the arts community especially hard. And there’s been a lot of talk bigger-picture about the pandemic’s disproportionate effect on women. There’s been a lot of talk about how the arts and culture sector has been devastated by the pandemic. But we have to start talking about how those two problems are connected. Because women are overrepresented in our field. And if the arts are going to make a real comeback, post pandemic, securing and ensuring better support for women in the arts and particularly for women of color is going to be a really important part of the puzzle.
Lydia Murray:
The blog post pointed out that women are overrepresented in the working class of the arts world, and gave the example that 65% of lower and mid-tier employees in the arts and culture sector in New York are women. And men tend to be in leadership positions, and they tend to have better pay and better job security. And the burdens of home, elder and childcare tend to disproportionately fall to women. Without support, women’s careers are going to lag, especially given the effects of the pandemic. And this has been reported for some time now, but of the net 140,000 jobs that were lost in December of 2020, all were held by women. And the jobs in the arts that were most vulnerable to furlough or layoff were primarily held by women of color, typically making minimum wage with no benefits or jobs security. This is kind of a stats-heavy intro, but the Institute for Women’s Policy Research found that two in four mothers, and three in four black mothers, are breadwinners for their families, which really underscores the importance of paid family leave.
Courtney Escoyne:
I think also, especially looking at the statistics in terms of men largely being in more leadership positions than women, it’s not just that that doesn’t make sense for the representation of our field—the fact that there is no comprehensive childcare leave, like paid childcare leave, that actually largely is going to be what is preventing women from being able to go into those positions. Not because they can’t do both, but because the people who are making the decisions about who to hire are likely to have these implicit biases that, Oh, someone who is male and doesn’t have a child that they’re responsible for caring for, is going to be able to devote more to the organization. Whereas women might go off and have babies. It’s like we’re 50 years ago in how this is being thought about.
And the solution is so obviously there needs to be comprehensive childcare made available just across the board to everyone, not just women, but men as well. Men need to be incentivized to stay home if they have a kid at home. There’s just so many things here that even though this doesn’t on the surface seem like an arts world story, this is affecting the way that our leadership is going forward, and continues to affect it.
To listen to the episode, click here. You can find a transcript of the episode here.
5 March 2021
By Maggie May
Congratulations again to the winners of Philanthropy Women’s inaugural Feminist Giving In Real Life (F-GIRL) Top Tier Award! We will be celebrating our winners and their work in feminist giving with a virtual awards ceremony at 2:00 PM ET on Thursday, March 25th.
This virtual celebration will feature all three winners and members of the Philanthropy Women team, as we celebrate the winners’ accomplishments and start a conversation on the future of feminist giving.
The event features Elizabeth Yntema, Founder and President of Dance Data Project, Dr. Tessie San Martin, President and CEO, Plan International USA, and Sara Monteabaro, Director of Strategic & Partner programs at MIT Solve. We will crown our F-GIRL recipients and allow them each to share about their mission to bring more gender equality to the world.
We are delighted to facilitate this new conversation surrounding the future of feminist giving! Besides honoring the inaugural class of our Feminist Giving In Real Life (F-GIRL) Top Tier Award, this event will focus on a collaborative panel discussion looking toward the future. Together, we’ll look back on the campaigns and causes that formed the basis of these incredible women’s interviews, and identify the ways the COVID and post-COVID worlds have and will impacted feminist giving.
To read the full article, click here. To register for the event, visit this link.
This blog originally was published on Americans for the Arts’ ARTSblog.
11 March 2021
By Liza Yntema & Hannah McCarthy
Women in the United States suffered a net loss of over 5 million jobs in the first 10 months of the COVID-19 pandemic, the majority of which were held by women of color, wiping out at least a generation’s worth of progress in the workplace. As women continue to bear the brunt of childcare and domestic responsibilities, many are left wondering if their hard-won positions will ever be restored.
Meanwhile, the U.S. arts and culture sector has suffered an estimated $15.2 billion in financial losses (admissions, non-admissions and expenditures), as performing arts organizations also are dealing with an additional estimated $15.5 billion reduction in sales and audience spending.
These are two devastating blows to the U.S. economy, yet they are too often treated as if they are separate issues needing wholly different solutions.
Federally mandated paid family and medical leave would offer women, especially women in the arts, the ability to maintain their jobs, destigmatize familial responsibility in the workplace, and pour billions of dollars back into the U.S. economy, as working families currently lose $22.5 billion in wages annually due to lack of paid family and medical leave.
We hear constant rallying cries to “fund the arts” and are told how essential arts organizations are to the U.S. economy, yet there is deafening silence when it comes to the disproportionate burden the largely female arts workforce bears in terms of childcare, home schooling, and elder care. U.S.-based activists and pundits frequently point to the European model (or in Australia or New Zealand) of government support for performing and fine arts, yet they largely ignore the vital second part of this equation: Those same governments that fund the arts so generously also broadly support mechanisms such as paid parental leave and government subsidized neighborhood childcare centers—reflecting full recognition and compensation of women workers for their vital labor in arts and culture, as well as their roles at home.
The fact is, women are overrepresented in the working class of the arts world (e.g., 65% of lower- and mid-tier employees in the arts and culture sector in New York are women). Men, meanwhile, are demographically more likely to be leading arts organizations, and those women who do get into leadership positions lag in their ability to reach the highest rungs of the ladder. As noted in the Dance Data Project® Data Byte on our Connecting the Dots – #YesThisIsAnArtsStory campaign, America is looking at a generational loss of female leadership because they must either choose between their families or their jobs. The pipeline is now going dry.
The presumption in the U.S. seems to be that despite the vital contribution of arts to the economy (4.5% of the GDP, $878 billion industry, 5.1 million jobs) and to quality of life of our communities, the decision to have a child (or children) is a personal lifestyle choice that comes at individual expense, having no bearing on how these institutional “impact accelerators” conduct business.
A coalition-built proposal “To rebuild and reimagine the United States post pandemic, we must put creative workers to work” includes 16 specific recommendations for necessary systemic change. While recommendation #10 urges the “overhaul of outdated employment, insurance, food, and housing policies,” it doesn’t recognize that female creative workers, like their sisters in the rest of the workforce, simply cannot return to work without updated childcare and paid leave policies. Any national policies to “activate the economy” cannot ignore that women in the U.S. bear asymmetric burdens of home, elder, and childcare, which have caused them to leave the workforce at four times the rate of men. As has been reported widely, of the net 140,000 jobs lost in December of 2020, all were held by women.
A recent survey by the Institute for Women’s Policy Research found that, across race and ethnicity, 69% of women surveyed support paid sick time and time away from work to have a child, recover from serious health conditions, or to care for a family member.
For many families in the U.S., paid family leave and childcare make the difference between their place above or below the poverty line. Two in four mothers and three in four Black mothers are breadwinners for their family, according to the Institute for Women’s Policy Research.
Senate Bill S.248 – Family and Medical Insurance Leave (FAMILY) Act, sponsored by Senator Kirsten Gillibrand (D-NY) and Congresswoman Rosa DeLauro (D-CT-03), would ensure that all workers, no matter the size of their employer or if they are part-time or self-employed, will have access to paid leave.
“Nearly a year into a devastating pandemic and recession, we need the FAMILY Act more than ever,” said Olivia Golden, executive director of the Center for Law and Social Policy (CLASP) in a press release introducing Senate Bill S.248. “92 percent of workers who earn low wages—who are disproportionately Black and Brown—have no access to paid family leave. When a baby is born or illness strikes, families are forced to make impossible choices between their economic security and the needs of their loved ones.”
The recent decision to furlough “workers whose jobs require them to work onsite, or whose work can effectively be deferred for the period we will be closed” at The Philadelphia Museum of Art sounds fairly neutral … until you realize that the jobs on the chopping block (such as security guards or cleaning staff) are held primarily by women of color, often making minimum wage, with no job security or health benefits. The same is true in other female-dominated professions—where leadership, better pay, and job security all skew male—such as service, K-12 education, and nursing. In many cases, this uniquely American approach makes it impossible for women to continue in their careers in these female-dominated professions, including the arts, at all.
The corollary is that the pool of candidates for leadership deemed competent by Boards of Directors radically favors men, and often men without parental responsibilities. This phenomenon is not confined to the arts, by the way, and is now threatening to return throughout the broader workforce.
“Everything we worked for, that has taken 25 years, could be lost in a year,” said UN Women Deputy Executive Director Anita Bhatia in regard to the generation’s worth of setbacks women are facing due to the pandemic.
There are direct, negative consequences to viewing a child-free workplace or childless status as synonymous with leadership ability and readiness. Any first-year economics student can tell you that these costs don’t simply disappear if mothers are made to bear them on their own. Just because a dance or opera company says they “cannot afford” parental leave or childcare does not mean there isn’t an impact. That impact is felt in both obvious and subtle ways, and particularly in the inevitable mono-culture of upper leadership.
In summary: we can imagine no better way to ensure the artistic and economic stagnation of the arts, post-pandemic, than the continuing systemic denial of creative and leadership opportunities to women, ongoing erasure of their past contributions to the field, a continuing gender pay gap, and overall refusal to acknowledge the overwhelming impact of unequal elder and childcare burdens.
Dance Data Project® offers these recommendations and calls to action for rebuilding and reinventing the arts industry in the U.S. The requests are nothing new, as advocates have backed similar policy reform in the arts for over 50 years, but here are six ideas to revisit as we move forward:
26 February 2021
By Rachel Howard
[Luke] Ingham described himself as Rowe’s “biggest fan.” He didn’t want her to retire from dancing after she left Nederlands Dans Theater in 2015 and had their first child, and encouraged her to join the local company SFDanceworks, first as a choreographer and then associate artistic director. Aside from wishing her success, Ingham said he hopes she also has “the opportunity to experiment and fail,” which male choreographers have done without seeing their careers halted.“Dani is only the second woman choreographer I’ve worked with here,” Ingham said, “and it wasn’t until recently that many of us have thought about why that is.”
A Dance Data Project® survey reported that 72% of all works presented by ballet companies in 2019-20 were by men, while Data USA reported a $17,239 salary gap between male and female dancers and dancer-choreographers.
To read the full interview, click here.
1 March 2021
By Kiersten Marek
Feminist Giving IRL Contest Winners Announced! Final Vote Shows Strength in Numbers and Rising Interest in Gender Equality in the Arts, Global Development, and Women in Tech
Gender Equality in Dance, Global Girls Equality, and Women in Tech are the 3 Big Winners
A total of 563 people voted in our Feminist Giving IRL Top Tier Contest with DDP’s Founder & President Liza Yntema receiving the highest number of votes and is being honored as Top Tier Feminist Giver #1.
Read the full announcement and Liza’s interview on Philanthropy Women.
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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery