Pay Equity, Transparency and Safety Archives - Page 20 of 21

Long Hard Road Ahead According to The Conversation: Gender equity—the way things are going, we won’t reach true parity until the 22nd century

March 17, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Rebecca Cassells and Alan Duncan

8 March 2019

The good news this International Women’s Day is that women are now moving through the ranks into management roles faster than men.

If things continue at this rate it will take just two more decades for women to hold the same number of full-time management positions as men.

For lower-level managers, it could happen even sooner, perhaps in just ten to eleven years.

But for the top spot of chief executive, we are unlikely to see women holding half the positions until 2100. That’s right: until the turn of the 22nd century, 80 years away.

Credit: BCEC|WGEA Gender Equity Insights Series 2019: Breaking through the Glass Ceiling via The Conversation

Projected dates women should achieve parity with men

The Bankwest Curtin Economics Centre has crunched five years of data collected by the Workplace Gender Equality Agency and discovered that while the glass ceiling that has prevented women from holding high-level jobs is receding, the ceiling governing salaries remains pretty much in place.

At every management level, in every industry, the spread of salaries available to male managers is much wider and higher than the spread available to female mangers.

The top paid 10% of male mangers earn at least $600K in total salary, whereas the top paid 10% of female managers earn $436K, a difference of over $160K.

Read more at: https://phys.org/news/2019-03-gender-equitythe-wont-true-parity.html#jCp (The Conversation)

Financial Times: How Ballet Black changed the dance landscape

March 11, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Louise Levene

A March 8th article for the Financial Times discusses Ballet Black’s (UK-based) founder Cassa Pancho. She began the troupe as an 8-person endeavor when she was a mere 21 years-old. Her company were spotted by a Covent Garden director, who gave the group residency. According to the Financial Times, funding arrived at this point via private donors and grants.

Today, the London Arts Council’s NPO award has praised the company for bringing in a diverse range of choreographers. Next up on the roster, we hope, will be female choreographers getting the start artists like Liam Scarlett got from the company.

Read the article in the Financial Times.

The Guardian: International Women’s Day 2019: celebrations and protests take place around the globe – live

March 8, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

8 March 2019

The Guardian is celebrating International Women’s Day with live coverage of all events from the day – good and bad. Follow all the news and developments as people mark International Women’s Day around the world.

Follow the link for live updates in The Guardian.

The Washington Post: Former ballerina takes legal action against managers of Balanchine’s ballets

March 1, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Sarah L. Kaufman

28 February 2019

One of George Balanchine’s former ballerinas has filed legal action contending that the choreographer’s legacy is in jeopardy.

Susan Gluck, a trustee of the George Balanchine Trust, which administers the rights to perform Balanchine’s ballets, filed a 136-page petition Thursday in the surrogate court of the state of New York seeking a full accounting of the financial management of the trust. Gluck was a member of New York City Ballet, the renowned company that Balanchine founded, from 1978 to 1986.

Her petition landed on the same day that New York City Ballet made its long-awaited announcement that Jonathan Stafford would be its new artistic director, with former ballerina Wendy Whelan taking on the new position of associate artistic director.

…

Gluck alleges in her petition that “over the span of 20 years, Horgan has leveraged the trust to consolidate her power over Mr. Balanchine’s works and maximize her income to the detriment of other trust beneficiaries.” Gluck further accuses Horgan of crafting “a web of partnerships” that led to more income than she was entitled to.

Neither Horgan nor anyone at the trust office immediately returned calls and messages seeking comment.

Read the full article in The Washington Post.

Nederlands Dans Theater’s Female General Director Leaves

February 28, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

Amsterdam’s resident company with an internationally renowned reputation is saying goodbye to its female leader. In a statement from the Supervisory Board of the company, Pauline van der Meer Mohr wrote:

Janine Dijkmeijer, General Director of Nederlands Dans Theater (NDT) since 2014, will resign from her position after this season 2018/2019.
The Supervisory Board is grateful for what has been achieved under Janine’s management. The company is in good shape, with a solid financial position, excellent occupany rates and visiting numbers, and a world-class reputation.

Janine Dijkmeijer: ‘It was an honor to work for this beautiful, passionate company and I look back with pride and satisfaction on what has been achieved in recent years. I leave the organization with peace of mind and will spread my wings on my way to a beautiful new challenge.’

More information about Janine’s successor will be shared in due course.

This comes during the company season that features a surprisingly small amount of female work. The Settle for More performance features no young women choreographers on its roster, instead providing choreographic opportunity to two young men in the company. The two world premieres by Bryan Arias and Felix Landerer will accompany a piece by associate choreographer Marco Goecke and a quartet by Hans van Manen. The Up & Coming Choreographers in June/July will feature three young male choreographers and no females. The program will allow Juliano Nunes, Ihsan Rustem and Dimo Milev to create their own ballets with full control and resources provided.

As the company turns a page to new leadership, we hope to see another woman take the role of General Director and a more equitable production in next year’s Up & Coming Choreographers performance. In a year when companies are doing so much to give emerging female choreographers an equal shot, Nederlands Dans Theater falls behind.

See the resignation announcement on the company’s website.

See the Up & Coming Choreographers description here.

The Chronicle of Philanthropy – Preventing Sexual Harassment and Promoting Gender Equity: 5 Ways to Get Started

February 25, 2019/0 Comments/in Pay Equity, Transparency and Safety, Other Arts & Related Fields/by dancedata

As the Chronicle has documented, sexual harassment at nonprofits is a major challenge. Fundraisers face harassment by donors, and allegations of abuse in the workplace have led to resignations at more than one organization.

Yet there is cause for hope.

Some nonprofit leaders are addressing inequities and seeking solutions, as Katie Leonberger, president of Community Resource Exchange, details in a new article entitled Preventing Sexual Harassment and Promoting Gender Equity: 5 Ways to Get Started.

And these two articles from the archives offer additional guidance for leaders seeking to stop discrimination and abuse:
Ending Harassment at Nonprofits Means Changing Office Culture Experts Say
5 Steps Nonprofits Can Take to Combat Sexual Harassment.

Read the articles in the links above, or visit The Chronicle of Philanthropy resources.

New York Times Magazine: Why Aren’t Women Advancing More in Corporate America?

February 25, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Emily Bazelon

MORE THAN 40 years ago, the Harvard business professor Rosabeth Moss Kanter published a pivotal book, “Men and Women of the Corporation.” Kanter showed that the disadvantages women experienced at work couldn’t be attributed to their lack of ambition: Women aspired to leadership as much as men did. But organizations often funneled women into jobs that didn’t have much of a career ladder.

By understanding gender-based expectations at work, some women were able to overcome them. From the 1970s into the 1990s, women made serious progress in the workplace, achieving higher positions, closing the gender wage gap and moving into male-dominated fields. Then that progress stalled, especially at the top. Why?

To answer that question, I talked with two experts who direct centers for leadership: Katherine W. Phillips, a professor of organizational management at Columbia University, and Shelley Correll, a sociologist at Stanford. They’ve known each other for a long time; they went to graduate school together.

Read Bazelon’s interview in New York Times Magazine.

Andrea Mohin/The New York Times

New York Times: Peter Martins Left City Ballet a Year Ago. But He’s Not Entirely Gone.

February 25, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Robin Pogrebin

22 February 2019

Peter Martins was supposed to have bowed out of New York City Ballet, the company he ran for 35 years.

But more than a year after he left amid allegations of sexual harassment and physical and verbal abuse, he continues to make his presence felt in ways both big and small — including by ordering last-minute cast changes in performances of his ballets and showing up backstage after a show.

Ashley Bouder, a star dancer, said Mr. Martins removed her at the 11th hour from the opening-night cast of “The Sleeping Beauty” — a position she held for nearly a decade — as retribution for publicly calling for a new day at the company.

“It completely blindsided me,” Ms. Bouder said.

Contractually, living choreographers are given final approval in artistic decisions, including casting, and the right to go backstage after performances, though they typically yield to the wishes of management.

Read the full article in the New York Times.

Photo by Pascal Perich/Contour by Getty Images

Ashley Bouder Takes a Stance – DDP Stands with Her

February 25, 2019/0 Comments/in Pay Equity, Transparency and Safety, News/by dancedata

Many will remember in April 2018 when Ashley Bouder wrote an OpEd for Dance Magazine, “It’s Time for Ballet to Embrace Feminism.” She wrote with honesty and a well-informed ear:

Personally, I like receiving flowers and being escorted offstage. I like dancing in pointe shoes and being lifted and supported. Yet that doesn’t mean a man shouldn’t be able to have those things too. It seems that whenever a man is escorted offstage or receives flowers—other than at retirement or a single rose from the ballerina—it’s only done for a humorous reaction, to make fun of him for being like a woman.
The problem with these traditions is that they highlight more serious gender inequality. It’s as if the image of a man leading a woman into the wings is a metaphor for how the dance world is run. A male director leading the careers of dancers. A male choreographer laying down the pathway of steps to perform.
Of course, there are women who have broken through this mold. But there it is in the phrase: “broken through.” A simple place at the table would be sufficient. Instead, it’s like women are crashing the dinner party.
In order to move forward socially, and, yes, artfully, we must be willing to break from tradition and make room for all types. That doesn’t mean that the traditional male and female roles cannot exist. As long as performances of Petipa’s Swan Lake keep selling out, it is guaranteed that they will exist.

Bouder, leader of The Ashley Bouder Project, is constantly doing more to reinforce and stand by her statements from both this OpEd and her social media accounts. Recently, however, Bouder faced retaliation from her ex-male director, Peter Martins. This time, instead of laying down the pathway of steps to perform, Martins took away all steps, more specifically, an opening night, first-cast performance of the Sleeping Beauty, from Bouder. According to the New York Times, Martins continues to maintain the authority to change casts and whatever else he wants in his version of the production for New York City Ballet, despite no longer serving as Artistic Director for the company after severe allegations of abuse and sexual misconduct. Jonathan Stafford, the interim Artistic Director, had no authority to prevent this last-minute change to his first cast.

Bouder has chosen to fearlessly speak out, revealing the disturbing truth of a reality she and her peers face. Dance Data Project stands with Bouder as she remains steadfast and strong – “‘I feel like he is punishing me, even though he is not my boss anymore,” Ms. Bouder said. “And by talking about it I can be punished even further. But that’s a risk I have to take.'” Her honesty is the advocacy this community needs to fight the policies and leadership that do not promote equity and fairness in classical dance.

Read the New York Times article on Martins’ continued control here.

Read the New York Times article featuring Ms. Bouder’s project and advocacy here.

Read Bouder’s OpEd for Dance Magazine here.

Visit www.theashleybouderproject.com to see first-hand the dancer/leader’s advocacy.

Herald Sun: Kerri Turner reveals how she wrote The Last Days of the Romanov Dancers

February 17, 2019/0 Comments/in Pay Equity, Transparency and Safety/by dancedata

By Denise Raward

16 February 2019

New author Kerri Turner has combined her two great passions — ballet and writing — in an impressive debut novel set in the troubled final years of Russia’s Tsarist dynasty.

Author Kerri Turner who features in this weekend’s Sunday Book Club. Picture: Sam Ruttyn

While rich in detail and peppered with real life historical figures, The Last Days of the Romanov Dancers is, at its heart, a love story centring on two dancers in the Imperial Russian Ballet.

Valentina has clawed her way through the corps, with ballet the only thing elevating her from the poverty of her childhood.

As well as her talent, she has relied on alliances with influential men to advance her career, as was the practice of the times.

When Luka, the gifted son of a factory worker, joins the company, their attraction threatens the life she has built for herself.

It’s clear the plot has been built on a foundation of meticulous research.

Read the full article in the Herald Sun.

DDP Talks To