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
Dance Data Project® (DDP) today announced the release of Global Conversations – Navigating Challenging Times, the second round in a series of virtual interviews. Round 2 features 10 artistic directors, executive directors, and CEOs of some of the most globally esteemed ballet companies. See the full roster in the announcement.
By Ellen Dunkel
21 July 2020
Nutcracker performances have been canceled, theaters sit empty, and dancers all over the world are wondering how to salvage their careers.
But BalletX artistic director Christine Cox has not let coronavirus prevent her company from leaping into the future.
“There was a panic moment,” Cox said. “At first you’re managing the crises by shutting down your performances, which is something we did early. And then slowly as the season was developing, in my mind, [there was] this idea of going big.”
The plan, which Cox announced Tuesday morning, is a new series launching Sept. 10 celebrating the company’s 15th anniversary with world premieres by 15 choreographers. She sees the season in terms of a subscription-based film festival with nine shorts and six features.
The shorts will be dance films presented on a new virtual platform hosted on the company’s website called BalletX Beyond. The features are intended to be performed live in the spring or summer, depending on public health concerns, but they, too, may be turned into films, if necessary.
Read the full story here.
20 July 2020
Troy Powell has been removed from his position as Artistic Director of Ailey II following an independent investigation into alleged acts of sexual misconduct. This investigation was launched in early June after two videos accusing Powell of inappropriate behavior were posted on TikTok, the popular video sharing app.
The first video involved dancers dropping scraps of paper as a message appeared: “When you wanna be in Ailey II. But guys gotta sleep with Troy Powell.” The second video involved an unidentified dancer accusing the Ailey organization of housing a known sexual predator. After these videos were removed from TikTok, the Ailey organization placed Powell on leave of absence. His name and most-recently choreographed ballet were also stricken from Ailey’s June 11th Virtual Spirit Gala. The gala was an online substitute for the company’s traditional spring gala event, which Powell choreographed last year using students from the Ailey School.
Online outrage to the allegations included denouncements from Ryan Houston, a former apprentice with Ailey II—who urged dancers via an Instagram post to speak up about their experiences with Powell—and from Addison Ector, a former student of the Ailey School and soloist with Complexions Ballet.
In an Instagram video that was posted on June 29, Ector alleged that during his time as a student at the Ailey School, Powell sent him a text message containing an inappropriate photo of his anatomy. In Ector’s recollection, he was interrogated about the incident by a male director of the Ailey School. After being asked if Powell’s face was in the picture—it was not—Ector stated that he was told, “Well we can’t really confirm that it was him or not.” A Title XI investigation was not launched on Ector’s behalf. Instead, he continued to interact with Powell during the remainder of his time as a student.
Read the full article here.
Florida State University has shared a recording from the Current Perspectives in Ballet and the Arts: Examining the Relevancy, Recovery and Resilience panel from Corps de Ballet International‘s conference. The panel included the following leaders from the industry:
Melanie Person, Panel Facilitator; Co-Director, The Ailey School
Robert Garland, Resident Choreographer, Dance Theatre of Harlem
Stefanie Batten Bland, Choreographer, Ballet Arts and Jerome Robbins fellow
Ashley Bouder, Principal Dancer, New York City Ballet
Elena Comendador, Costume Designer & Ballet Faculty, Marymount Manhattan College
James Gilmer, Dancer, Alvin Ailey American Dance Theater
Iyun Ashani Harrison, Creative Director, Ballet Ashani
Watch the panel at the link below:
Representative John Lewis passed away on Friday at the age of 80. Lewis was an American civil rights leader, recipient of the Presidential Medal of Freedom, and representative of his state of Georgia from 1987 up until his death in 2020.
Never, ever be afraid
to make some noise and get in good trouble, necessary trouble.
Rep. John Lewis (1940-2020)
By Joe Pinsker
9 July 2020
Child care is the immovable object around which so much else in family life orbits, and when the usual child-care options disappear, something else has to give. During the pandemic, with schools and day-care centers closed or operating at reduced capacity, many parents’ careers—particularly mothers’ careers—are getting deprioritized.
When Salpy Kabaklian-Slentz left her job in April because her family was moving to Southern California, she thought she’d be able to devote her days to job searching and then start working again soon enough. Three months later, she’s struggled to find any open positions similar to the one she gave up, as a local-government attorney.
Her main task these days is looking after her and her husband’s boys, two “bundles of energy” ages 6 and 4. Kabaklian-Slentz’s husband, also a lawyer, has mostly been going into the office, but when he works from home, he’s protective of his time. “He’s not only locked the office door but barricaded the sofa in front of it to get stuff done,” she told me. “Otherwise the kids pop in every two seconds.”
Instead they go to her, preventing her from getting the sort of uninterrupted time that a job search, as a well as a job itself, demands. She doesn’t yet know how or when schools in her area will reopen, and thus whether she’d even be free to start a new job in the fall, if an opportunity were to open up. “It sucks,” she said. “Being a stay-at-home parent was never on the radar for me.” It wasn’t on the radar for many other parents of young children either, and yet here they are, even those in households with lots of resources, leaving their jobs or reducing their hours.
Read the full article online here.
By BWW News Desk
8 July 2020
New York City Center President & CEO Arlene Shuler today announced New York City Center Live @ Home virtual programming including a newly commissioned weekly performance series conceived and curated by tap dancer Ayodele Casel, alongside frequent collaborator Torya Beard, called Ayodele Casel‘s Diary of a Tap Dancer V.6: Us, and the popular Studio 5 series curated and hosted by Alastair Macaulay and featuring Misty Copeland, Sara Mearns, and Tiler Peck in a special five-part event titled Great American Ballerinas. The much-loved social media series Encores! Archives Project, which revisits selections from City Center’s illustrious musical theater vault, also continues through September.
“During these uncertain and turbulent times, it is even more important that City Center provides a platform for artists to develop and share their work,” said Shuler. “I’m excited that City Center Live @ Home programming showcases some of the extraordinary dance artists who are part of our extended family. This has been a challenging time for so many and I am personally grateful for the support City Center has received from our loyal audiences. I hope you will all tune in as we launch these new online initiatives.”
In keeping with City Center’s founding mission to provide access to the best in the arts for all, City Center Live @ Home programs will premiere for free on City Center’s YouTube page and website at NYCityCenter.org.
For this new virtual series, Ayodele Casel has curated a group of artists who will present seven different video performances-solos and duos created and performed by a multigenerational and multicultural group-to be released weekly at 12pm beginning Tuesday, July 14 (through Tuesday, August 25). Co-directed by Casel and Torya Beard, the series is a continuation of her Diary of a Tap Dancer project and will feature performances from Casel and other tap artists including Amanda Castro, Starinah Dixon, Andre Imanishi, Ryan Johnson, Lisa La Touche, Ted Levy, Michela Marino Lerman, Anthony Morigerato, Makenna Watts, and more. Kurt Csolak serves as editor of the series, with Darren Biggart and Anthony Morigerato acting as creative producers.
To read more about these program, click here.
By Emma Goldberg
8 July 2020
They might depict scenes from decades past, but movie sets featured in films by the director Ava DuVernay are starting to look a lot like the United States today.
For “Selma,” her 2014 film about the 1965 marches for voting rights and the Rev. Dr. Martin Luther King Jr.’s part in them, Ms. DuVernay directed hundreds of Black and white actors in a restaging of civil rights protests. “When They See Us,” her mini-series on the wrongful conviction of teenage boys known as the Central Park Five, released last year, had her grappling with the injustices Black men experience at the hands of the police. And her Netflix documentary “13th,” from 2016, traces the legacy of American slavery to the present day criminalization of Black communities.
As hundreds of thousands across the United States march for Black Lives Matter, Ms. DuVernay’s films about Black histories and experiences have come to feel more essential than ever.
But there aren’t enough Black directors telling those stories.
For decades, few Black women have had access to the resources and platforms to make major motion pictures. In 2018, Hollywood saw a record high number of top films from Black directors — and it was only 14 percent. Only one of them was a woman, and she was Ms. DuVernay.
The calls to break up Hollywood’s entrenched disparities are building. Five years ago, the hashtag #OscarsSoWhite put a spotlight on the industry’s lack of diversity, and its following has since continued to hold Hollywood to account for its lack of representation. Two years later, the #MeToo movement erupted and dozens of women exposed the film titan Harvey Weinstein’s sexual abuses.
Today, industry leaders are listening to people of color protesting films that romanticize the slavery era. For a brief moment, “Gone With the Wind,” the highest-grossing film of all time when adjusted for inflation, was removed from HBO Max. (It was later restored with additional videos offering historical context.) Filmmakers, like Ms. DuVernay, are working to ensure the momentum does not subside.
Last month, Ms. DuVernay’s media company ARRAY introduced the Law Enforcement Accountability Project in the wake of George Floyd’s killing while in police custody in Minneapolis, with the goal of commissioning, funding and amplifying works from Black and female artists that focus on police violence. One of the goals, she said, is to consider who is writing the history of this moment.
Ms. DuVernay spoke with In Her Words about the role she sees for artists in a time of widespread unrest, and whether problematic films — like problematic statues — should be removed to make space for new voices.
Read the full article here.
By BWW News Desk
29 June 2020
Ballet Hispánico continues to celebrate 50 years of uniting people through dance with Noche Unidos on Tuesday, June 30, 2020 from 7:30-8:15pm EDT on Facebook, Instagram, or YouTube. All are welcome to view the show, with an advanced RSVP requested here, donations are optional.
The evening includes ten virtual world premiere performances featuring Ballet Hispánico Company dancers and students, new works created remotely in the past weeks by world renowned choreographers Carlos Pons Guerra, Michelle Manzanales, Andrea Miller, Annabelle Lopez Ochoa, Pedro Ruiz, Gustavo Ramirez Sansano, Nancy Turano, and Eduardo Vilaro; and celebrity appearances including Lin-Manuel Miranda, Rita Moreno, Gloria Estefan, Norman Lear, Paquito D’Rivera, Arturo O’Farrill, and other Latinx artists. A highlight of the evening will be performances by Ballet Hispánico School of Dance students Julienne Buenaventura and Ruby Castillo, Nuestro Futuro scholarship recipients in BH’s La Academia program, works choreographed by Kiri Avelar and Rodney Hamilton.
The pre-recorded show will include new works set remotely on our dancers by prominent choreographers. The choreographers are social distancing in locations around the world, and our dancers are across the country, yet the beauty of dance transcends the distance between them.
Read the full article here.
By Emma Goldberg
26 June 2020
“I admitted to myself that I couldn’t do it all.” |
— Ellen Kuwana on quitting her job in scientific communications |
Women have shouldered more child care and housework responsibilities than men since long before the coronavirus era. But with schools, day care centers and camps closed, the Covid-19 pandemic has highlighted and exacerbated that disparity. Even with men pitching in more, women are scrambling to balance their work with household obligations.Patricia Cohen and Tiffany Hsu, business and economics reporters at The Times, have written that the effects of the pandemic on working mothers will last far beyond this period of crisis. Their reporting showed that a generation of working women will experience setbacks that may have lifelong consequences for their earning potential and career opportunities.
Some of the women they interviewed are balancing child care and jobs by working late-night or early morning shifts. Others have reduced their working hours or have quit their paid work altogether. One woman interviewed left the highest-paying role she had ever had: “I admitted to myself that I couldn’t do it all.” Not surprisingly, the pressure is heaviest for single mothers who are the sole income providers for their families. Those who have lost their jobs have had the cumbersome task of seeking unemployment benefits and applying for new work while simultaneously helping their children with remote learning. I asked Cohen and Hsu to share what they had learned in the course of their reporting. While some of the economists they cited had grim predictions, the reporters also shared some of the possibilities they see for reforms promoting work-life balance and workplace parity in the long term. Read the full article here.
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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