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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

Yahoo Finance: Misty Copeland: Ballet ‘extremely behind’ on racial justice

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By Max Zahn with Andy Serwer

6 August 2020

Ballet star Misty Copeland told Yahoo Finance in a recent interview that the ballet industry remains “extremely behind” on issues of racial justice, criticizing the continued use of blackface in dance productions and the lack of diversity she has witnessed in her career.

But the nation’s racial reckoning in the aftermath of the police killing of George Floyd has prompted the ballet community to address such issues “for the first time,” says Copeland, who in 2015 became the first Black principal dancer at the American Ballet Theater, one of the most prominent ballet companies in the U.S.

“It’s something that the ballet world has been very easily able to just kind of get away with,” she says. Now “our eyes are wide open and people are listening.”

“It’s something that I’ve talked about very openly and freely in trying to be the most respectful as I can,” she adds. “Because I know the deep rooted traditions and history in classical dance.”

“Being a European art form and the fact that we still perform those ballets that were created in that time in Europe to this day,” she says. “Just says a lot about where we are in the ballet world when it comes to racism.”

In June, as racial justice protests arose in the U.S. and around the world, ballet dancers called on their companies to acknowledge the lack of diversity and Black representation within the industry. The American Ballet Theater — among other ballet companies and cultural institutions — released a statementmourning the death of Floyd and vowing to do more to address racial injustice.

Read the full article here.

Yahoo Finance: Misty Copeland: Coronavirus will impact ballet for ‘years to come’

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By Max Zahn with Andy Serwer

5 August 2020

While the spread of the coronavirus continues to devastate the performing arts, fans and experts are targeting a return next year as a potential vaccine becomes widely available.

But star ballet dancer Misty Copeland told Yahoo Finance that her industry will feel the effects of the outbreak beyond 2021. She pointed to the enduring financial losses suffered by ballet performers as well as mental and physical strain, adding that ballet companies should consider outdoor performances amid the pandemic.

“It’s going to impact us for a couple of years to come,” says Copeland, who has danced for the American Ballet Theater for two decades and appeared in a 2018 movie adaptation of “The Nutcracker.”

“I feel like a lot of the impact we haven’t even seen yet,” she says.

“It’s been difficult for people who spend their days — spend their lives — invested in this art form,” she says. “We’re very physical people. We spend hours at a time partnering one another and [in a] very intimate environment”

“Getting out of that and not having that personal human connection,” she says, “is a bit shocking.”

Read the full article.

 

 

Dayton Daily News: Dayton Dance Initiative’s free virtual performance takes dance into the light

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By Libby Ballengee

7 August 2020

When the Dayton Dance Initiative’s second annual live performance was canceled in May, there was an obvious sense of disappointment. The professional dancers who planned and were set to perform their own original production had put in countless hours to create it all, from the choreography and music, to costumes and ticketing.

There was no way this dedicated group of dancers was going to throw in the towel that easily. Instead of turning the cancellation into defeat, the dancer-operated project decided to take the performance online and push their creativity even further.

Rather than film or live stream a static performance at the PNC Arts Annex, where the in-person show was to take place, the dance group has created an hour-long “dance movie” showcasing the individual dance pieces in unique and unexpected places.

Read the full article here.

New York Times: In Her Words: For Three Suffragists, a Monument Well Past Due

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By Alisha Haridasani Gupta

6 August 2020

Across the country, monuments honoring racist figures are being defaced and toppled. In New York’s Central Park, one statue is taking shape that aims to amend not only racial but also gender disparities in public art: A 14-foot-tall bronze monument of Susan B. Anthony, Sojourner Truth and Elizabeth Cady Stanton, three of the more prominent leaders in the nationwide fight for women’s right to vote

Called the Women’s Rights Pioneers Monument, it is to be unveiled Aug. 26 to commemorate the 100th anniversary this month of the constitutional amendment that finally guaranteed women that right, depicts the three figures gathered around a table for what seems to be a discussion or a strategy meeting. Anthony stands in the middle, holding a pamphlet that reads “Votes for Women”; Stanton, seated to her left, holds a pen, presumably taking notes; and Truth appears to be in midsentence.

“I wanted to show women working together,” said Meredith Bergmann, the sculptor chosen from dozens of artists to create the statue. “I kept thinking of women now, working together in some kitchen on a laptop, trying to change the world.”

Read the full article here.

Dance Magazine: Op-Ed: Where is Your Outrage? Where is Your Support?

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By Theresa Ruth Howard

01 June 2020

For the last five years the dance world, and specifically the ballet world, has been enrolled in the mission to understand and implement diversity, equity and inclusion into the field at all levels. A great deal of funding has been allocated towards efforts of education and training, consultants have been hired, conferences and seminars attended.

I myself am a part of a three-year initiative, The Equity Project, which is a learning cohort of 21 ballet companies to increase the presence of Blacks in ballet. And in many ways there has been progress made. With raised awareness, core values and mission statements have been amended to reflect these aspirations; recruitment has made pipelines browner; there are more brown dancers on stages. We are not there yet, but certainly there has been progress.

And then something like the global pandemic of COVID-19 comes along and in an instant distills all of it down to a few simple choices and actions or lack thereof. What COVID has wrought upon the dance world in many ways is irreparable. The rolling effect of lockdowns resulted in unrecoverable loss of revenue for dance organizations that will undoubtedly change the landscape forever. But few could predict that this global health crisis would create the unprecedented opportunity for dance organizations who profess to be authentically committed to the work of DEI to have the veracity of their progress tested. Unfortunately right now to the Black dance community, they are failing.

Read the full article here.

New York Times: She’s Been a Force for Change in Ballet. The World Is Catching Up.

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By Siobhan Burke

6 August 2020

On May 29, four days after George Floyd was killed by the Minneapolis police, Theresa Ruth Howard posted a call to action on Instagram:

“Demonstrate your outrage

Demonstrate your allyship

Demonstrate your authenticity

We don’t need shadow heroes, step into the light …”

Ms. Howard, a former ballet dancer who founded the digital platform Memoirs of Blacks in Ballet (or MoBBallet), was addressing the institutions she has worked with for the past few years, in a role she sums up as “diversity strategist and consultant.” Those institutions, which include some of the world’s most prestigious ballet companies and schools, are predominantly white, onstage and behind the scenes. They know they need to evolve, and she is helping them.

So when protests against systemic racism and police brutality began sweeping the country, she found their silence disconcerting. “You can’t say you want us, and when we are in peril, not be there for us,” Ms. Howard, 49, said in an interview.

Over the next few days, companies answered her call, or tried, posting statements of support with a hashtag she had started: #balletrelevesforblacklives. (Relevé, a ballet term, is a way of saying “rise up.”) Their messages drew both appreciation and criticism, with many commenters demanding action, not merely words. In an opinion piece for Dance Magazine, Ms. Howard expanded on her thoughts about what leadership should look like in this moment, under the headline “Where Is Your Outrage? Where Is Your Support?”

On Aug. 14, leaders from more than a dozen ballet companies and schools will convene for an online discussion titled “#balletrelevesforblacklives … Or Does It?,” a chance to reflect, beyond social media, on the Black Lives Matter movement and its impact on their institutions. The public event is part of Ms. Howard’s second annual MoBBallet symposium, a series of conversations and lectures that, in her words, “centers Blackness but welcomes all.”

Read the full article in the New York Times.

Charlotte Ballet: #WOMENINCHOREO Wednesday with Stephanie Martinez

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17 June 2020

Since Artistic Director Hope Muir took the helm of Charlotte Ballet in 2018 the company has commissioned work into the repertoire from female choreographers each season. Women have long been underrepresented in creative roles with professional dance companies, but thanks to Muir Charlotte Ballet has a renewed commitment to providing opportunities to these intelligent and inspiring choreographers. We are excited about this new social mini-series #WomeninChoreo Wednesday where you will get to hear advice directly from those women, as well as gather insight as to how they are fueling their creative outlets during their time at home.⁠

OUR CHAT WITH STEPHANIE MARTINEZ

1. With theaters closed and schedules disrupted through the crisis of Covid 19, how are you engaging with your art and staying both active and creative?

I’ve been taking class at home, it’s been fun to join classes that I wouldn’t normally be able to attend. I’ve also been reading “True and False” by David Mamet which covers different acting techniques. I’m trying to dig into different art forms and expand my thinking beyond the realm of dance so that I can bring a richer perspective to my work once we’re back in the studio.

2. Every creative process is unique in its own way, can you describe your experience working with Charlotte Ballet and how it may have differed from other companies?

When I create a ballet, especially for the work at Charlotte Ballet, it’s crucial for me to conceptualize and build an environment first. The reality is that an empty space can be a bit paralyzing, so I like to give very clear, specific tasks to the room so that we’re all working collectively towards creating something that feels honest, alive, and satisfying. The dancers at Charlotte Ballet are extremely passionate and have a fascination for exploration that continuously improves their skill level. I’ll be honest, Charlotte Ballet is one of my favorite companies that I’ve had the honor of working with to date. The dancers are open and curious, demanding a lot of themselves and producing an environment that any choreographer would love to work in. I could see the dancers growing day-to-day, trusting their instincts, making new choices, and building characters that were truthful and compelling. It is not a cookie-cutter company, but each individual in the room worked toward a united standard of excellence set by Hope’s leadership.

Read the full Q&A here.

Pointe: Annabelle Lopez Ochoa Has Been Choreographing Up a Storm on Zoom and Learning How to Create Dance on Film

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By Laura Cappelle

31 July 2020

“Can you caress the wall?,” Annabelle Lopez Ochoa said, frowning to get a better sense of the dancers’ living room on her screen. It was April, and the contemporary ballet choreographer was trying something new. Together with two dancers from the Norwegian National Ballet, Julie Gardette and François Rousseau, she was creating a piece entirely over Zoom—the first of what she now calls “a video diary of what dancers do inside.”

What was originally a one-off celebration for Rousseau, whose stage farewell was cancelled due to the pandemic, has turned into a larger creative project for Ochoa. Since then, from her house in Amsterdam, she has taken to creating dance films, all three to five minutes in length, with performers around the world. Dancers from Tulsa Ballet, Joffrey Ballet, Dutch National Ballet and more have already taken part, with others scheduled in the coming months.

Ochoa had to rush to fly out of Tulsa in March, where she had been re-staging her ballet Vendetta, just before international travel was banned. Being stuck at home instead of going from commission to commission prompted some soul-searching. “We’re all forced to go back to point zero. It made me reflect not just on the pieces that I’ve made, but on the artist that I am,” she says. Working with dancers again proved energizing. “What do I like in choreography? I noticed, being on Zoom, that it’s the interaction.”

The early sessions were bumpy. Gardette and Rousseau had to alternate between leaning in close to their screen to see corrections and dancing from enough distance for Ochoa to see the bigger picture. The music proved the biggest hurdle, however. “It was delayed, so I would hear 1, 2, 3, and they would hear pause… 1, 2, 3,” the choreographer says.

She figured out a way to share music that causes less delay (although Ochoa says synchronization is still an issue). One hour on Zoom is now enough for her to craft one minute of choreography, and the dancers she asked to participate generally jumped at the chance to do more than staying in shape while sheltering in place. “It’s not the same just doing ballet class at home: you don’t have that collaboration energy of learning choreography,” Maine Kawashima, a soloist with Tulsa Ballet, says.

Read the full article here.

New York Times: What Is It Like to Watch Live Dance Again? Amazing

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By Gia Kourlas

3 August 2020

TIVOLI, N.Y. — It didn’t bode well that the first live dance I was going to see since mid-March was one I had seen many times before. “Sunshine,” a Larry Keigwin war horse set to the Bill Withers’s classic “Ain’t No Sunshine,” can give a dancer the opportunity to really feel the music in all the worst ways. It’s treacly stuff.

So I’m happy to say that as soon as Melvin Lawovi began to move, my chest tightened; I even sensed — the horror — some tears. Lately, for self-preservation, I’ve been talking myself into believing that I can live without watching dance in person, and while that is true, I clearly miss it. A lot. “Sunshine,” which opened the outdoor Kaatsbaan Summer Festival under beautiful blue skies on Saturday, worked out just fine.

That was also to the credit of Mr. Lawovi, a recent addition to American Ballet Theater, who never delivered a treacly moment as he traversed the stage with the lightest touch. Instead of dwelling on the lyrics or giving into angst, he danced with an unparalleled polish, as if his body were clearing the air.

But repertory alone doesn’t seem the be all end all of this summer festival, the first of its kind in Kaatsbaan’s 30 years as a cultural park. From the performances to Brandon Stirling Baker’s light-and-sound installation in a rustic barn to the peace of being surrounded by so much open space and air, the festival is not only about live dance. It’s a package. The best choreographic moments came in the dancers’ simple yet courtly walks across the grass to the stage.

Kaatsbaan’s artistic director, Stella Abrera, and its executive director, Sonja Kostich, aren’t messing around when it comes to safety, and that was comforting, too, at this socially distanced performance. The experience included frantically filling out the health check survey in the car while thinking hard about the questions: Was that a touch of a sore throat this morning?

I loved the elegant firmness of the handwritten signs telling us to wear masks; the raised stage that seemed like it was dropped from the sky onto a field; and the optional post-performance walk, on the grounds of what was originally a farm, with live music (instead of a meandering or self-congratulatory post-performance talk).

Read the full article here.

The Guardian: The ‘shecession’: why economic crisis is affecting women more than men

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By Amanda Holpuch

4 August 2020

Denise Frederick hasn’t stopped working since the pandemic began. But the nanny and home carer in New York City has also seen her pay cut in both jobs and she is uncertain about how long she will have either with the coronavirus outbreak far from under control.

Like many women, the economic fallout from the coronavirus pandemic has hit Frederick hard. For the first time in history, the US is in a “shecession” – an economic downturn where job and income losses are affecting women more than men.

The family Frederick worked for left the city in the early days of the outbreak, but continued to pay her normally until last month when they cut her pay to hire a nanny where they are staying. They don’t know if they will return to the city before her contract expires at the end of the year.

Meanwhile, Frederick’s pay was cut at her home carer job, which she has commuted to on the bus and subway since the pandemic began and where she has to pay for her own personal protective equipment (PPE).

Frederick, a single mother, moved from St Lucia four years ago to fulfill a life goal: to put her 19-year-old daughter through college. “I keep saying to her, focus on school, let me figure out where the next meal is going to come from, let me figure out how the bills are going to get paid, because I don’t want her to get stressed out about me and then it’s affecting her grades,” Frederick said.

In the Great Recession, men lost twice as many jobs as women. But from February to May, 11.5 million women lost their jobs compared with 9 million men because of business closures intended to stop the spread of Covid-19. By the end of April, women’s job losses had erased a decade of employment gains.

The staggering figures have underlined the changing nature of the workforce and brought into focus the overlooked issues attached to that shift. Women, especially women of color, are more vulnerable to sudden losses of income because of the gender pay gap and are more dependent on childcare and school to be able to work.

Read the full article here.