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
by Alastair Macaulay
12 January 2017
“Can ballet express a modern view of the sexes?” This questions guides Alastair Macaulay’s article for the New York Times. It is apparent in his writing that, no, Macaulay does not think this can be the case. But, he hopes the future will bring more Hermiones from “The Winter’s Tale” and more Martha Grahams.
Read more in the New York Times.
DDP reaction by Isabelle Vail
Led by Melissa Silverstein, Women and Hollywood is a nonprofit dedicated to women’s parity in film. Like the Dance Data Project, though ten years older and more established, the organization researches female involvement in a plethora of areas in the art form. Directorships, productions, attendance, award representation – you name it – Women and Hollywood sets the tone for 2018, a year of change.
On their website, the nonprofit includes a page with striking statistics. Its display is concise and to the point: women simply don’t get the opportunities that men do. Take a look below and see all the areas studied by the organization. With enough resources, DDP could too study such diverse areas of the dance field.
See Statistics on Women and Hollywood.
The New York Times: After Flood, Houston Ballet Returns With a Romantic Masterpiece
By Alastair Macaulay
24 September 2017
Houston Ballet performed “Mayerling” at the Hobby Center for the Performing Arts this fall, following destruction in the city from Hurricane Harvey floods. Macaulay praised the company, describing this ballet as perhaps its best work yet.
Read more in the New York Times.
by Brooks Barnes
26 October 2017
The major shift occurring in Hollywood and the world of film currently is of great relevance to the DDP mission. Inequality. Harassment. Assault. Who knows if the same crimes are go unspoken in the dance world?
In a recent article during this critical time, published in the New York Times, Brooks Barnes describes the atmosphere at the ArcLight Hollywood, held by Women and Hollywood. Characterized by the simultaneous premier of the newest movie in the “Saw” franchise, horror stories of statistics describing the unequal representation of women in the film business were spread across the room by attendees. Led by feminist Melissa Silverstein, Women and Hollywood is much more than a blog and is one of the leading organizations combating female parity issues in this art form.
Read more about it in The New York Times.
by Tamara Cohen
A Jewish feminist philanthropist, Barbara Dobkin is described in this biography as pursuing the full equality of women through several modes of dedication. According to this article, in 1998 Dobkin received the Woman of Vision award from the New York Women’s Foundation, and she continues to serve her mission today.
Read more about this philanthropist in the Jewish Women’s Archive.
Video produced by Griselda Murray Brown, filmed and edited by Richard Topping
16 March 2016
Video originally posted on the Financial Times.
By Robert Greskovic
1 August 2017
In this article by the WSJ, critic Robert Greskovic expresses dismay over the choreography presented this summer at Joyce Theater. Though a diverse crowd of dancers and creators, the festival fell short in many critiques. A step forward for equality, but little representation of the genius in the art.
Read more in the Wall Street Journal.
By Alastair Macaulay
8 October 2017
Critic Alastair Macaulay divides the fall season of NYCB in two halves in his recent work for the New York Times. He describes Rebecca Krohn’s quiet retirement performance and touches on everything from his impressions of the dancers this season to issues in the orchestra pit.
Read more in The New York Times.
By Siobhan Burke
6 October 2017
The downtown dance scene is changing, and in doing so is remaining relevant, according to an article by Siobhan Burke. Five dance companies have new directors in power, and all are implementing new initiatives to fight the difficulties of small performing arts organizations in a time of rising rents, disinterested new generations, and high competition.
Read more in the New York Times.
A woman, Patricia Barker, leads the Royal New Zealand Ballet as Artistic Director. The country’s premier ballet company, known internationally in the dance community, is one of the few to embrace both a female artistic and executive director – Frances Turner is the executive director and has been since 2016.
To read more about the season and Barker’s goals as AD, follow the link below.
Read more at: Royal New Zealand Ballet: Women
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