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
December 31st: Jacob's Pillow: Ann & Weston Hicks Choreography Fellows Program, 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, December 31st: Indigo Arts Alliance Mentorship Residency Program, January 22nd: Opera America Grants, March 3rd: Dance | NYC: Dance Workforce Resilience (DWR) Fund, March 31st: SIA Foundation Grants
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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
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
2018
New commissions and opportunities
“In addition to commissioning four new works for Strength and Grace, commemorating both the RNZB’s 65th birthday and the 125th anniversary of women’s suffrage in New Zealand, Patricia is finalising the RNZB’s artistic programme for 2019, to be announced in September 2018. Plans for the 2018 Harry Haythorne Choreographic Award, providing opportunities for young New Zealand choreographers, are also well-advanced. As part of the company’s commitment to developing New Zealand talent in performance and production, Patricia, together with Executive Director Frances Turner and the Board of the RNZB, is also exploring opportunities for establishing an apprenticeship programme.”
The ballet company, it seems, is sensitive to the recent atmosphere of encouraging equality in the dance world, and is focusing on women this year. Led by women, this company is encouraging choreographic growth with its potential choreographic apprenticeship program.
Read more at: Royal New Zealand Ballet Press Release
In a recent article, The Australian discusses the accomplishments of a female choreographer in Australia, Alice Topp. Also a dancer, Miss Topp is one of the few classical, female choreographers in Australia at this time – or, at least, is one of the few garnering attention due to the dearth of female commissions in choreography.
Read more at: The Australian: Alice Topp
Originally published in Dance Australia
9 October 2017
In the October issue of Dance Australia, and article discussed the issue prevalent around the world, inequity in female choreographic representation. “In an artform that is otherwise so dominated by women, it is strange that female choreographers are so far and few between. In Australia, you can count them on one hand.”
The article continues to discuss the work of Alice Topp, one of the few female classical choreographers in the country. According to this source, many female choreographers move to contemporary companies, where they are more likely to receive commissions and better pay.
Read more at Dance Australia: Where are the women?
With the “widely popular” Fall for Dance festival returning to NYC in 2017, NY Times writers teamed up to describe the programs within the festival.
In this instagram clip published by the New York Times, two NYCB principals dance to the difficult counts of “Stravinsky Violin Concerto,” a work of George Balanchine.
Blogged by Isabelle Vail
“In 2013, American Conservatory Theater (A.C.T.) partnered with the Wellesley Centers for Women (WCW) to conduct a study on the gender equity of leadership opportunities in the nonprofit American theater.”
Announced this summer by the A.C.T., the aforementioned initiative produced findings on the lack of female leadership in the top American theatres to results similar to the preliminary DDP findings. The study focused on three problem areas preventing females from assuming equitable leadership positions: Familiarity and Trust, Work-Life Balance, and Mentoring and Affordability.
The discussion of these areas acting as “barriers” is likely highly similar to reasons females struggle to lead in the dance world. Like theatre, dance is an all-encompassing passion and lifestyle. Women with children, who work to spend as much time as possible acting as mothers struggle to allocate time to moving up in dance leadership. It is not wonder the men, who feel less pressure to be full-time dads, assume these roles before women.
Similarly, with the leadership in the US large companies having been male for the past two centuries, it is likely that male board members and current leaders are eager to bring on the “unfamiliar,” or female collaboration.
Lastly, the mentoring required to generate a successful artistic leader is difficult, as women have not experienced the same control as men in the past, so male directors are needed to assist women who could move into their roles. Perhaps new focus on using the ballet mistress position to foster leadership skills, in addition to technique coaching, could act as a start to mentoring women in this area.
This study is not to be missed and shines a bright light onto areas that can be touched by the DDP.
http://www.act-sf.org/home/about/womens_leadership.tablet.html
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
