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
Stance on Dance: Thinking about Western Dance Culture
An Interview with Bradford Chin
by Emmaly Wiederholt
16 November 2020
Can you tell me a little about your dance history – what shaped who you are today?
My name is Bradford, and I use he/him/his pronouns. I am a San Francisco native, which is becoming increasingly rare and comes with its own privileges. I did not take my first ballet or modern classes until I was a freshman in college at Cal State Long Beach. I started as a pre-med biology major. I was introduced to and encouraged to dance at the end of high school by Nina Mayer, but as far as what people would consider “formal training” in Western dance culture, it wasn’t until college. Somehow, I got into the program when I auditioned to minor, which happened to be the same audition to major, and then I switched.
I had a very conservative Christian upbringing coupled with my experience as an Asian American. Undergrad, for me, was a lot of struggle, both internally and externally. I was trying to navigate my sexuality without having role models or support. Doing that alone, along with not having familial support on my new dance journey, was really hard. But it also felt like the right path, and those experiences informed my interest in the minoritized student experience in Western dance culture. I didn’t have the vocabulary to iterate or understand the questions I was dealing with at the time. It’s only after I’ve graduated and continued with this line of work that I’ve been able to contextualize it.
As a freelance choreographer, my questioning revolves around Western dance performance practices, conventions of Western dance theater, why we do the funny things we do, what is it about the choreographer/dancer/audience relationship, etc. Unpacking that led me into questioning how educational practices in dance continue to perpetuate those practices in performance.
I have had the privilege of working with marginalized student populations, like students from very low-income households, people of color, and people with disabilities, which has significantly impacted my pedagogy and how I consider equity in dance. I’m currently a dancer and teaching artist with AXIS Dance Company, a physically integrated dance company which is one of the world’s leaders in inclusive dance education. Physically integrated means we have dancers with and without physical disabilities.
All these experiences continue to build on my questioning of Western dance practices, and now I’m going into the next iteration of these research interests: How does inequality impact the aesthetics of Western concert dance?
Read the entire article here.
Ludwig van Toronto: IN MEMORIAM | With The Passing Of Patricia Beatty Canada Has Lost A Titan Of Dance
By Paula Citron
21 November 2020
Choreographer, educator, writer, collaborator, producer, dancer – Patricia Beatty’s influence has touched generations of contemporary dance artists who work in every corner of this country. Inspired by American dance pioneer Martha Graham, Beatty became a pioneer of modern dance in Canada. She is credited as being among the first to introduce Graham technique to this country.
As a youngster, the overly energetic, Toronto-born Beatty was sent to Jean Macpherson’s creative dance classes for children, followed by ballet studies with Gladys Forrester and Gweneth Lloyd. As Beatty told me in a 1998 interview, she felt hemmed in by ballet’s autocratic system. Her liberation came when she attended Bennington College in Vermont whose liberal arts curriculum stressed creativity. Although she had never seen contemporary dance, Beatty enrolled in the dance program as a performance and choreography major under teacher William Bales. She also attended the summer programs at Connecticut College, where the New York modern dance luminaries gathered.
After graduation she studied at the José Limón School, but switched to the Martha Graham School of Contemporary Dance, mentored by Bertram Ross and Helen McGehee. As she said, “I became enamoured with the modern dance principle of internal, organic movement. I changed from Limón to Graham technique because I needed to be more grounded than was possible with the lighter Limón style.”
Read the full article here.
Inside Philanthropy: As Individual Giving Drops, Performing Arts Leaders Weigh in on the State of Fundraising
By Mike Scutari
19 November 2020
Over the summer, Inside Philanthropy surveyed performing arts professionals about COVID-19’s impact on the sector’s fundraising fortunes. Their pessimistic outlook reminded me of an old quote by Stephen King: “There’s no harm in hoping for the best as long as you’re prepared for the worst.”
I realize it’s pretty macabre to cite the “master of horror” when talking about the state of performing arts fundraising, but these aren’t normal times, and if recent research from TRG Arts and arts data specialists at Purple Seven is any indication, respondents’ worst fears are now coming to pass.
The report found that in the first nine months of 2020, the number of gifts received by performing arts organizations in North America increased by 15%, but the average value of those gifts fell by 24% from the previous year. And while gifts from “super-active patrons”—defined as those who had donated to the organization and/or attended performances at least 10 times—were up 47%, total revenue and average gift size were down 38% and 8% for the nine-month period.
The report is all the more unsettling given the broader economic context. TRG Arts/Purple Seven found that aggregate gift revenue from June to September was down 29% compared to 2019. Yet that tried-and-true barometer of philanthropic giving, the S&P 500 Index, was up 8.4% from June to September 2020, and up 12.9% from September 2019 to September 2020.
“If donors don’t support arts organizations now, when stocks are doing well, they may not be around in the future when the market is uncertain,” said Suzanne Appel, managing director of New York’s Vineyard Theater.
With performing arts nonprofits facing what Julie Wake, executive director of the Arts Foundation of Cape Cod, calls a “long and dark winter,” the TRG Arts/Purple Seven report highlights two questions that will make fundraisers feel as if they just read “The Shining” in a darkened room: Why are donors dialing back giving when the market is enjoying a historic run, and what can they do to ensure their organizations can hang on for another 12 to 18 months?
Read the entire article here.
Chloe Angyal: Code of points
Or, how to solve a pipeline problem…
