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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

Dance Magazine: Diana Vishneva Hasn’t Let the Pandemic Stop Her Festival

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By Oksana Khadarina

27 October 2020

What does it take to organize a dance festival in the middle of a pandemic? International ballet superstar Diana Vishneva has an answer or two. Her festival of contemporary choreography, Context. Diana Vishneva, currently in its eighth season, is taking place from October 14 to November 29, with live performances at a number of venues in Moscow and St. Petersburg, Russia. This year, for the first time since its inauguration, the festival also features an impressive online program.

Dance Magazine spoke with Vishneva about the challenges and the rewards of holding this event during the pandemic, her return to the stage of the Mariinsky Theatre and her avid new fan: her 2-year-old son, Rudolf.

Why did you decide to go ahead with the festival during the pandemic?

We never thought of canceling. Our mission is to support young choreographers, and there were more than 100 applicants this year. We launched our own digital platform to connect with the audience and to have the option to switch to the online-only format, if we had to. A number of live performances had to be postponed until 2021, including Revisor, by Kidd Pivot, and Playback, by Batsheva Dance Company. Fortunately, we were able to present our key live event, the Young Choreographers Competition, which opened the festival on October 14 at the Gogol Center in Moscow. In November, we are planning live performances of two one-act productions, Schaherezade and The Buffoon, by the Perm Ballet, which also will be available for streaming.

What are some of the new projects of the festival?

This year, we introduced a new digital platform to present online the main events of the festival, including educational programs: master classes, lectures and roundtable discussions. The livestream of our Young Choreographers Competition attracted nearly 100,000 viewers. I was surprised, even shocked, by this number. At first, I thought that there was an extra 0.

We have a brand-new initiative, Context Open, designed to give the opportunity for dancers, choreographers and companies, without restrictions on age, education or citizenship, to create and showcase their work.

We are also exploring unconventional performance spaces, such as museums and industrial buildings. One of the winners of our choreographic competition, Olga Labovkina, adapted her work Air as a piece of “immersion theater,” in which the audience actively participates in the show. It will be performed as part of this year’s festival at Moscow’s Hlebozavod No. 9 (a former bread factory turned into an art space) and St. Petersburg’s Sevkabel Port.

Read the full Dance Magazine article here.

RAND Corporation: The Pandemic Is a Disaster for Artists

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By James V. Marrone, Susan A. Resetar, Daniel Schwam

 4 August 2020

As COVID-19 cases grow nationwide and permanent layoffs continue to rise, it’s becoming increasingly difficult to imagine the United States returning to “normalcy” anytime soon. Students may return to school in the fall. Restaurants and gyms may resume normal hours and dining services. But the arts, as we know them, are likely to be shut down for the foreseeable future.

The structure of the arts and cultural industry leaves working artists and performers particularly vulnerable during catastrophes. As of May 4, an ongoing survey conducted by Americans for the Arts showed that two thirds of artists are having trouble sourcing materials. It also appears virtually certain that arts venues will reopen later than other businesses because social distancing is difficult both for audiences and for performers. As one benchmark, Broadway theaters do not plan to reopen until at least January 2021, and music venues that have tried to reopen have run into pushback.

The upshot is that the vast majority of artists have likely lost some or all of their income, not to mention losing the institutions on which they depend to earn their living. And there is no clear path back to pre-pandemic levels of employment. To understand how artists are likely to fare during the pandemic, we looked at the U.S. Department of Labor’s Current Population Survey (CPS) and the 2020 Coronavirus Aid, Relief, and Economic Security (CARES) Act. (For more details about how we analyzed the CPS, our Stata code can be found at GitHub.)

How Many Artists Are Out of Work?

We compared employment levels for artists and non-artists. We adopted the NEA’s definition of who counts as an artist (PDF). We also included librarians and archivists because libraries are included in the federal framework (PDF) for arts disaster relief. The various types of artists were grouped into three broader categories: performing artists (dancers, choreographers, actors, directors, musicians, singers, DJs, and other performers), non-performing artists (visual artists, photographers, designers, and writers), and others (architects, librarians, and archivists). We also analyzed food services and retail/wholesale, which are two of the most common alternative sources of income for artists.[1]

 

Read the full article here.

 

New York Times: Could Dance Be a Weapon All Over Again?

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By Gia Kourlas

22 October 2020

When the coronavirus pandemic started, the first thing I did was panic. I didn’t want to bum anyone out, but it didn’t take me long to leap to a certain conclusion: With theaters and studios shutting down, the dance world would be devastated. What would come out of the ashes?

For a while I thought that the answer had to do with digital dance and how it might develop into something exciting. (That could still happen! It has its moments! People are trying!) But soon I started to obsess about the radical dance movement of the 1930s. Back then, protests and social justice were part of the fabric of modern dance as it met the moment of the Great Depression and the rise of authoritarianism. “The Dance Is a Weapon.” That was the title of the first recital of the New Dance Group, a socially minded collective formed in 1932.

For me, that period of dance haunts the time we’re living in — the pandemic, the election, the uprisings against racial injustice — like a good, progressive ghost. It reminds us that dance is about what’s happening in the world as much as it’s about the poetry of bodies on a stage. This art form that I love is undernourished and undervalued, full of inequity among forms and an uneven balance of power among funders, presenters, choreographers and — always last, though hopefully not for long — dancers.

But instead of staying silent, the dance world is becoming more vocal by addressing issues — amplified by the pandemic — that have plagued it for years. It’s because the show can’t go on that there is finally time to deal with the bigger picture, especially issues of inequity.

In New York, it’s no big mystery why the dancers who have been able to perform and work together in bubbles outside of the city predominantly come from ballet. Compared with other forms, ballet — the rich uncle on the dance family tree — is where much of the money and institutional power reside.

Read the full article here.

USC Annenberg: Inclusion in the Director’s Chair: Analysis of Director Gender and Race/Ethnicity Across 1,300 Top Films from 2007 to 2019

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By Dr. Stacy L. Smith, Marc Choueiti, Kevin Yao, Hannah Clark & Dr. Katherine Pieper

January 2020

Annenberg Inclusion Initiative

Each year, we examine the gender and race/ethnicity of directors working across the 100 top fictional films theatrically released in the U.S. A total of 1,300 of the most popular movies were included in the analysis, from 2007 to 2019. Put differently, 1,448 directors were assessed across two inclusion metrics (e.g., gender, race/ethnicity). Given the recent conversation surrounding women directors in the press, we conducted 3 additional analyses: a slate analysis of director inclusion across all the movies distributed by 8 major companies from 2015-2019; a pipeline analysis of female directors in entertainment (e.g., Sundance Film Festival, episodic television, Netflix movies), and an examination of female directors’ award nominations across the last 13 years at 4 organizations (Golden Globes, Academy Awards, DGA, Critics’ Choice). Findings are presented below for each section of the report.

Key Findings: 1,300 Top Grossing Movies from 2007-2019

Female Directors

A total of 113 directors were attached across the 100 top movies of 2019. A full 89.4% (n=101) were male and 10.6% (n=12) were female. This calculates into a gender ratio of 8.4 males to every 1 female. Across 1,300 films and 1,448 helmers, only 4.8% of directors were women. Has the prevalence of female directors changed over time? Yes. 2019 had a significantly higher percentage (10.6%) and number of female directors than 2018 (4.5%, n=5) or 2007 (2.7%, n=3). Of the major studios, Universal Pictures had the most female directors attached to the films they distributed (15 women), followed by Warner Bros. (13 women) and Sony Pictures Entertainment (11 women). The company with the worst track record for distributing films helmed by female directors was Paramount Pictures, which had only 3 pictures out of 134 movies distributed from 2007-2019 directed by a woman. Critical reception of male- and female-directed films was assessed using Metacritic scores. The average Metacritc score for films with only male directors attached (Mean=54.2, Range=9-100) was virtually identical to those with a female director attached (Mean=55.8, Range=22-95). The medians across these two groups were also evaluated, and revealed no difference between male- and female-directed films. Despite receiving the same average critical review, female directors were given substantially less access and opportunity than male directors to helm these highly visible films.

Underrepresented Directors

Of the 113 directors of 2019, a full 83.2% were white (n=94) and 16.8% (n=19) were underrepresented. This is substantially below U.S. Census, which is 39.6%. The ratio of white directors to underrepresented directors is 4.9 to 1. Only 13.5% of all helmers across the 13-year sample were from an underrepresented racial/ethnic group. 2019 (16.8%) was not meaningfully different from 2018 (21.4%) for underrepresented directors nor was it Annenberg Inclusion Initiative — 2 significantly higher than 2007 (12.5%). 2019 was practically different only from 2008, 2010, 2011, and 2012. Of the major studios, Universal Pictures has the highest number of underrepresented directors attached to their distributed films (39 directors) followed by Sony Pictures Entertainment (34 directors) and 20th Century Fox (29 directors). Disney has the worst track record (10 directors) from 2007 to 2019. No differences in average Metacritic scores were observed between white (Mean=54.2, Range=9-100) and underrepresented directors (Mean=54.9, Range=11-99). Medians also did not differ, with both groups having the same Metacritic mid-point in the distribution of their movies (54).

Women of Color Directors

Only 13 women from underrepresented racial/ethnic groups have directed any of the 1,300 top movies from 2007 to 2019. This is less than 1% of all directing jobs (n=1,448) whereas white males held 82.5% of jobs, underrepresented males 12.6% of jobs, and white females 3.9% of jobs. The ratio of white male directors to underrepresented female directors was 92 to 1. Yet, this group of women represents 20% of the U.S. population. Only two underrepresented female directors – Ava DuVernay and Jennifer Yuh Nelson – have helmed more than one movie appearing across the 1,300 films and 13-year sample. Four of the women of color were added to the list in 2019 (i.e., Kasi Lemmons, Melina Matsoukas, Roxann Dawson, Tina Gordon). No company has distributed the stories of more than 4 underrepresented female directors across 13 years. The average Metacritic score was higher for stories directed by women of color (Mean=62.5, Range=44- 89) than those stories directed by white males (Mean=54.2, Range=9-100), white females (Mean=54.3, Range=22-95), or underrepresented males (Mean=54.3, Range=11-99). The medians in the distributions followed the same pattern. Clearly, there is a major disconnect between hiring practices in Hollywood and who has the cinematic heft to carry stories.

Read the full study here.

Louisville Business First: “I know that theater always comes back,” Louisville Ballet’s new executive director shares hope for performing arts rebound

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By Sarah Shadburne

19 October 2020

After arriving in Louisville on March 12 with her Derby hat, a few cocktail dresses and a couple pairs of jeans, Nichole Gantshar was officially named executive director of Louisville Ballet on August 12.

Gantshar joined Louisville Ballet initially on an interim basis, after most recently serving as executive director of Rochester City Ballet in New York. She works alongside Artistic Director Robert Curran, who had previously been both executive and artistic director for the dance company since 2015.

Gantshar said she had admired Curran’s work from afar and being that she arrived at the beginning of a global pandemic, she dreaded that their first conversation would be about whether to cancel shows due to the coronavirus.

“I was thinking, ‘Oh should we cancel the upcoming show? I need to talk to Robert about that when I get there, that’s going to be an awkward first conversation to have,’” Gantshar said in an interview. “But you know what, it was the first conversation he had with me. He brought it up before I did.”

Gantshar said if her profession was basketball and not ballet, Curran would be a point guard for his ability to read the evolving pandemic situation and employ the right play. She said her job is giving him the tools to execute his vision.

Read the full article here.

Dance Teacher: Ballet West Academy’s New Director on Dream Building During COVID-19

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By Haley Hilton

19 October 2020

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school’s new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School’s North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

Congratulations on your recent appointment! What does this hiring mean to you?

For me, it’s kind of the pinnacle of my after-dancing career. To join a wonderful, large organization with such a fantastic reputation in the industry is really rewarding. To have used all my experience with San Francisco Ballet, Boston Ballet and NDI—all of that comes together to give me the experience I need for this.

Read the full article here.

DANCE DATA PROJECT® “ZOOMS OUT” TO INTERVIEW TOP ARTS/DANCE JOURNALISTS, ACADEMICS, AND DEI EXPERTS ON CREATING A MORE SUSTAINABLE AND EQUITABLE ART FORM

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Dance Data Project® (DDP) today announced the release of Global Conversations: The View From 30,000 Feet, the third round in a series of virtual interviews. Round 3 examines the state of ballet not only as an art form but also as a multi-million-dollar industry in the United States and a field of endeavor that must quickly adapt to the challenges of a pandemic or cease to exist in the post-COVID world.

Read more

The Guardian: Tamara Rojo: ‘Despite everything, it’s a very creative moment’

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By Lyndsey Winship

12 October 2020

Tamara Rojo may be a great tragic dancer on stage, but in person she is far from the voice of doom. “The performing arts and dance have survived millennia,” she says, sitting in her office looking out onto a floor of empty desks. “They’ve survived pandemics and hundred-year wars and all kind of disasters. Getting together to share stories is intrinsic to humanity. People will gather, live performance will continue to exist.” Just maybe not quite in the way we’re used to, yet.

Ballet is finally putting its pointe shoes back on for a live audience. This month there are performances by the Royal Ballet, Northern Ballet and Birmingham Royal Ballet – and English National Ballet, where Rojo is artistic director, has just announced two live shows. In November, a live version of their upcoming digital season will feature five new short ballets at Sadler’s Wells, and in December there’s a slimmed-down version of The Nutcracker at the London Coliseum. Christmas isn’t quite cancelled after all.

There will be some drastic differences to pre-Covid shows, with less than half the usual audience (423 at Sadler’s instead of 1,400, and 1,100 at the Coliseum, where ENB usually sell out 2,300 seats). Will it be worth their while financially? “We are trying to find a way to not lose money, that’s all we want to do at this point,” says Rojo. “I passionately believe we need to restart the sector and rehire choreographers and technicians and lighting designers and composers and film-makers so that the engine starts moving, even if it doesn’t make financial sense.”

Making sure there’s still an industry on the other side of this pandemic is Rojo’s main concern. ENB had to furlough 85% of its workforce and many of the staff took pay cuts (20%-25% for most, more for Rojo herself). They haven’t replaced nine dancers who left this year, so the company is reduced in size. But on the upside, ENB’s swanky new Docklands building has seven studios, so there is plenty of room for distancing, and the biggest doubles as a stage, so they can broadcast from there. She thinks the UK’s larger and more established dance companies will be OK in the long term, but it’s the independent artists and freelancers and those working backstage who are in trouble.

“The situation cannot be sustained much longer. The loss of talent and skill breaks my heart,” she says. “The UK’s creative industries are the best in the world, consistently reinventing themselves and at the forefront of everything, it’s the reason for so many of us to be here.” She’s also worried about the ballet world internationally. Talking to directors and dancers in the US, she fears the lack of public subsidy there could mean even big institutions disappearing. “Nobody wants a smaller, less diverse, less interesting ballet world,” says Rojo.

Read the full article here.

The Lily: Quitting was her only option. She is one of 865,000 women to leave the workforce last month.

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By Soo Youn

7 October 2020

Jenai A. Rossow was working full time at a county clinic near Ithaca, N.Y., when shelter-in-place orders forced the first overhaul of her work life. The mother of two and social worker was able to use paid emergency leave as schools and day cares shut down.

Her workplace was great about it, she said. Her husband is an essential worker who never stopped going into the residential treatment facility where he works to teach independent living skills to children in the foster care system. The family gets health insurance through her husband’s job, but Rossow said she made “light-years” more money.

Throughout the summer, she waited to see what would happen with schools. In the meantime, she continued her leave of absence to care for her children, ages 3 and 7. Then the paid leave dried up and the family got word that come September, public schools would return with a hybrid learning model. That sealed the deal.

“We just couldn’t afford to put the 7-year-old in part-time care,” Rossow said.

She left her job completely.

And she’s not alone.

Read the full article here.

Hyperallergic: Artist Residencies Need to Start Thinking About Parents

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6 October 2020

By Daniel Gerwin

In hell’s innermost circle, exhausted parents search eternally for tiny Lego pieces needed to complete rocket ships, houses, and robots. This particular corner of Hades has been my home since the arrival of COVID-19. While artists without children post images of themselves making more work than ever, I and other artist parents I know are struggling to find time and energy for the studio at night, or working on the kitchen table while keeping an eye on the kids, or making no work at all.

Like all primary caregivers, since March I have simultaneously run a home school, a restaurant, and a hyperactive playground that occasionally becomes a boxing ring. The coronavirus challenges the canard that art (and all work) requires a devotion incompatible with family life. The virus also demolishes the corollary: that raising children requires the sacrifice of all else. With the quarantine’s interruption of virtually all forms of childcare and education, we acknowledge as never before that professional work must be somehow integrated with family life.

Artist-parents have always faced unique challenges. Art careers are forged in an informal economy where personal networks generate opportunities for exhibitions and introductions to curators, collectors, and other important players. It can be of major importance to be present at the right parties and openings, and to build relationships with other artists by visiting their studios. But for people with young children, it has always been a problem to attend openings that primarily occurred at night, and now, without schools or daycare, it requires new levels of innovation to make any art at all. The problems of working at home with children are now faced by parents in virtually every industry.

Read the full article on Hyperallergic.