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
March 26th: New & Experimental Works (NEW) Program, March 31st: SIA Foundation Grants, April 1st: Palm Desert Choreography Festival, April 1st: New England States Touring (NEST 1 and 2), April 17th: World Arts West (WAW) Cultural Dance Catalyst Fund, September 14th: New England Dance Fund, October 13th: Community Arts Grant - Zellerbach Family Foundation, December 1st: Culture Forward Grant - The Svane Family Foundation, December 31st: National Dance Project Presentation Grants - New England Foundation for the Arts, December 31st: National Dance Project Travel Fund, December 31st: New England Presenter Travel Fund
×
"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 Veronica Chambers, Jennifer Schuessler, Amisha Padnani, Jennifer Harlan, Sandra E. Garcia and Vivian Wang
28 July 2020
It took the better part of a century to pass a law saying American women had the right to vote. Three generations of women, and their male allies, worked tirelessly to make the 19th Amendment — which decreed that states could not discriminate at the polls on the basis of sex — a reality. We call the right to vote “suffrage,” but for a long time, that word was a kind of shorthand for women’s rights. Without the vote, suffragists argued, women had little say over their lives and their futures and certainly much less when it came to the larger political questions that shaped the nation.
The 19th Amendment is a cornerstone of gender equality in our country, yet many of us know very little about the way the right to vote was won. For a long time, the history of the suffrage movement has been told mainly as the story of a few famous white women, like Elizabeth Cady Stanton and Susan B. Anthony. It’s true they were among the most important leaders of the movement in the 19th century.
The 19th Amendment is a cornerstone of gender equality in our country, yet many of us know very little about the way the right to vote was won. For a long time, the history of the suffrage movement has been told mainly as the story of a few famous white women, like Elizabeth Cady Stanton and Susan B. Anthony. It’s true they were among the most important leaders of the movement in the 19th century.
Sometimes freedom is a matter of timing. Mary Church Terrell knew that lesson well. She was born in Memphis in September 1863 — the middle of the Civil War. Her parents had been enslaved, but Mary was born free, and she charted a course of leadership that helped change the lives of women and men across the nation. She became a suffragist. She fought for the rights of all people of color. Holding America to the promises of the Declaration of Independence — life, liberty and the pursuit of happiness for all — became her life’s work.
These dreams were supported by her parents. Her father, Robert Church, was the son of an enslaved woman and a wealthy steamship owner who had allowed Robert to keep his wages. After Robert gained his freedom, he invested in real estate and became wealthy.
Read the full article online here.
Dance Data Project® (DDP) today releases its 2019-2020 Season Overview, a statistical examination of choreographer gender within the seasons of the Top 50 U.S. companies. This year’s report indicates a significant increase in programming equity from last year, but men remain favored in almost every category.
Stephanie Murray
27 July 2020
In late May, a working mom named Dris Wallace filed a complaint to the human resources office at her company. Her manager had been insisting that she keep her toddlers quiet during work calls while working from home during the coronavirus, which she felt was an impossible and discriminatory standard.
A week later, she was fired.
That’s when employment attorney Daphne Delvaux stepped in and filed a lawsuit against Wallace’s company on her behalf.
For Delvaux, who specializes in defending mothers facing discrimination at work — or retaliation for reporting it — this is just another day on the job. According to her, “mom bias” has always been a problem in the corporate world, but the coronavirus has exacerbated it. Businesses are under pressure to cut costs, and workers are terrified of losing work, creating fertile ground for abuse. Since many businesses are reopening while so many day cares and schools remain closed, it will probably get worse before it gets better.
In addition to her work as a litigator, Delvaux runs The Mama Attorney, an organization devoted to educating mothers about their rights at work so that they can protect both their time with their kids and their careers as they transition to motherhood.
Here are a few things she wants working moms to know:
Bias against parents — and specifically mothers — arises out of a workplace culture that favors unencumbered workers, Delvaux said. “Employers like people at work who are a hundred percent committed, so they don’t have any other obligations, no health concerns, they don’t have to take a leave of absence, they don’t have to take breaks, they don’t have to ask for accommodation — the employers favor those employees.” As a result, managers operating under pressure to hit quotas are often really hard on employees with obvious limitations or outside obligations.
With mothers in particular, Delvaux has observed a pervasive perception that they are “less available,” and “too distracted” to do their jobs properly. As a result, a lot of mothers face discrimination either before or after maternity leave, based on the assumption that they will be less committed to their jobs. Some of the mothers Delvaux has represented came back from maternity leave only to be immediately replaced, or let go while their employer continued to post new job openings. Others were muscled out, demoted or forced to cut their maternity leaves short.
Read the full article online here.
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)
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
