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
September 15th: WHITE WAVE: SoloDuo Dance Festival, September 28th: New England Dance Fund, October 13th: Community Arts Grant - Zellerbach Family Foundation Deadline 3, October 13th: Asian American Ballet Project: Choreographer Residency Program, October 14th: Shubert Foundation Dance Grant, October 22nd: Perform Europe Open Call, November 1st: Howard Fellowship, December 1st: Culture Forward Grant - The Svane Family Foundation Deadline 3, 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
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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
On August 18th, 1920, the 19th Amendment was ratified— that’s 100 years ago, today.
The passage of the Amendment was one of the first tangible steps on the long road to equity, a road which continues to extend before us, even today in 2020, and which sees women of color and other minorities marginalized to an even greater degree. As we arrive at this milestone of 100 years since women suffragists secured the right to vote, let us celebrate how far women have come but take note of the countless areas in which inequity prevails (and worsens due to the pandemic).
By Christina Rexrode and Lauren Weber
15 August 2020
Working parents going on six months without school or camp are about to take another hit: rising child-care costs.
Parents with school-age children are hiring sitters or paying for online classes they wouldn’t need if their children were in school. Some are lining up tutors or switching to private schools that plan to open for in-person learning. Parents with younger children are bracing for potentially higher charges at their day cares, which are straining to pay for protective gear and additional cleaning.
Child care and its costs might seem incidental in a global pandemic, but they are integral to the economy. For individual families, higher child-care expenses can range from troublesome to financially debilitating. Rising costs divert money from other purchases or investments, and many working parents said child-care costs prevent them from saving for a home. Yet without child care, parents are less productive at work—not to mention more stressed and tired.
“Here’s the deal,” said Misty Heggeness, an economist who wrote about the pandemic’s effect on working mothers for the Federal Reserve Bank of Minneapolis. “If you care about U.S. economic growth…this should be one of the first areas of concern for you.”
Read the full article here.
By Avichai Scher
12 August 2020
Let’s be frank: No one knows what’s ahead for the performing arts in the U.S. With COVID-19 forcing the cancellation of nearly a year of performances so far, including many Nutcrackers, ballet companies face a daunting path ahead with no roadmap for how to survive. While schools can offer classes online or in small groups, what does the future hold for companies when it’s not safe to gather large audiences or corps de ballet?
“We are in for a very hard set of months,” says Michael M. Kaiser, chairman of the DeVos Institute of Arts Management at the University of Maryland. “Nothing will change until there’s a vaccine.”
Pointe set out to find out what the new normal looks like while the virus is with us.
When COVID-19 hit, it seemed everything moved online that could, from galas to company class. In a recent online panel, American Ballet Theatre artistic director Kevin McKenzie said the company’s May online gala, which did not include much dancing, was well-received but not a financial success. The Washington Ballet’s gala centered on livestreamed performances and was financially successful. But afterwards, artistic director Julie Kent, a company dancer and a gala chairwoman became ill with COVID-19, despite social distancing and other safety precautions.
Can online platforms be a safe, longer-term source of income and artistic outlet for ballet companies?
Marc Kirschner, a founder of the paid performing arts streaming service Marquee TV, says this moment is a line in the sand for companies’ survival.
Read the full article here.
By Nora Caplan-Bricker
10 August 2020
Women make up nearly nine in ten nurses, more than eight in ten home health aides, and more than two-thirds of grocery-store cashiers. In other words, they perform the lion’s share of the vital care that we now call “essential” work. At the same time, since the start of the coronavirus pandemic, women have been laid off at an outsized rate (a reflection of their concentration within the country’s lowest-compensated, least-secure jobs) and have been forced to reduce their paid hours to look after children at nearly twice the rate of their male partners. As the kinds of labor that sustain life have grown deadlier, women have taken on more of the risk. As paid work and the time to perform it become scarcer resources, men are retaining the better part of both.
What conclusions can we draw from the gendered dimensions of the current crisis? Kate Manne’s “Entitled: How Male Privilege Hurts Women” presents a paradigm that maps neatly onto life in lockdown. Manne, a professor of philosophy at Cornell, argues that women “are expected to give traditionally feminine goods”—including physical and emotional care—and “to refrain from taking traditionally masculine goods,” such as power and authority. These assumptions result in a society in which men “are tacitly deemed entitled” to much of what life has to offer, while women are perpetual debtors, their very humanity “owed to others.”
Once again, Manne’s work is speaking to a moment that she could not have foreseen. Her first book, “Down Girl: The Logic of Misogyny,” was released into the gathering storm of the #MeToo movement, in November, 2017. It was uncanny timing, and the intuitive explanatory power of Manne’s argument attracted a broad, enthusiastic following to a demanding academic work. Manne proposed that misogyny “should be understood as the ‘law enforcement’ branch of a patriarchal order,” a system of punishment that swings into action whenever women violate the rules. Sexism, by contrast, is the set of ideas that justifies the power which men hold. “Sexism wears a lab coat; misogyny goes on witch hunts,” Manne writes in “Down Girl.” “Sexism has a theory; misogyny wields a cudgel.”
In “Entitled,” Manne turns her attention to the gendered economy that these forces defend. If sexism is a scientist and misogyny is a cop, then the system of entitlements is a suite of financiers forever seeking ways to profit off someone else’s debt. Manne applies her theory to a litany of lopsided situations, sorting them into one of three scenarios: first, how women can be punished for failing to provide sex, love, admiration, or anything else that the dominant sex considers its due (Manne points to mass murders perpetrated by incels, who kill in protest of perceived rejection); second, how women struggle to lay claim to masculine-coded powers and privileges, the Presidency being one prominent example; and, third, how women may be denied the feminine-coded forms of care—such as attention to their pain—that they are expected to supply, not demand.
Manne first posited this slanted system of goods and services in “Down Girl,” and her arguments in “Entitled,” her first book for a general audience, may at times feel overly familiar to readers already acquainted with her work. In some cases, the new book remedies the other’s omissions, especially by considering transmisogyny and misogynoir, the interlocking systems of oppression that affect trans and Black women, respectively. Manne illustrates her ideas with recent headlines and cultural touchstones, travelling smoothly from the Brett Kavanaugh hearings to the sentencing of Brock Turner, from the movie “Gaslight” to the short story “Cat Person.” Manne examines these stories in order to reveal what male entitlement costs women and non-binary people, and how we might begin to resist its demands, even as the invisible matrix of male power shapes every imaginable interaction.
Read the full article online here.
By Geraldine Higginson
16 December 2019
Some dancers have a set list of goals from a young age, and move through life ticking them off one after the other; others change path and direction as they go, finding new goals along the way.
Readers who have watched the Australian Ballet (AB) for a decade or more might remember a former principal dancer by the name of Danielle Rowe — who danced with the company from 2001 to 2011. Tall and striking, she excelled in both classical and contemporary roles with the AB until a restless nature and a desire to seek new challenges took her overseas.
First stop was Houston Ballet, until her application for Netherlands Dance Theatre (NDT) — sent on a whim, never expecting to actually get in — was accepted, precipitating a second move to the Netherlands after one season in Houston.
Read the full article here.
By Lyndsey Winship
10 August 2020
As a gallant effort to keep the show on the road (or the screen) despite the cancellation of this summer’s edition, Edinburgh international festival has commissioned An Evening with Scottish Ballet. Although “evening” is pushing it, as this is more like a half-hour sizzle reel. Six short films packaged together, old and new, plus existing choreography filmed especially for Covid times by director Michael Sherrington.
There are two pieces from the company’s resident choreographer Sophie Laplane, full of stylish staccato riffs set to 4/4 machine beats. It’s a distinctive style, very watchable. In Oxymore, Rishan Benjamin and Anna Williams dance backstage in front of towers of flight cases and props. Their movement is straight-faced and straight-angled, a kind of un-groovy groove. Idle Eyes, filmed last year, is glitchier and quirkier, and benefits from the texture of a bigger cast, too.
Another pre-coronavirus film, Frontiers, by San Francisco Ballet’s Myles Thatcher, was filmed in 2019, under a concrete flyover. Thatcher aims to undo the gender stereotypes in ballet and he’s created gender-neutral partnering – the same choreography danced by two men, two women or mixed couples, spliced together with fast cuts until it all becomes a blur of identities. Flickering between dancers dressed in androgynous tailoring, the women do lifts, the men sort of swan dive, and it completely works as choreography. Crazy that this is still a boundary to push in 21st-century ballet, of course.
Read the full article here.
By Emily Davenport
11 August 2020
Dancer and activist Ingrid Silva is taking on women’s issues and empowering women in the process through her New York City-based organization.
Born in Rio de Janeiro, Brazil, Silva started her dance journey at the age of 8 and began training in ballet at Dançando Para Não Dançar, a social project in Mangueira.
“Dance was never actually my dream but I was really excited when my mom mentioned to me about dance auditions,” said Silva. “I’ve always been involved with sports, been swimming since age 3, and joined a professional team. I had to decide between swimming and classical ballet – I ended up choosing ballet because it was really challenging and super fun.”
Silva went on to dance for three more schools in Brazil — Escola de Dança Maria Olenewa, Centro de Movimento Debora Colker and Grupo Corpo — before she sent an audition tape to the Dance Theatre of Harlem. She officially joined the company in January 2008, and currently resides in Riverside.
“It was a really interesting and amazing experience because when I first came to the states, I literally came for dancing,” said Silva. “My teacher came with me for the first month and then after that, I stayed with the school. That’s when my journey started in the states.”
During her time in the United States, Silva not only gained principal roles in a number of performances, but she also gained national recognition for leading the charge for skin-toned ballet shoes for dancers of all races and cultures. Silva has also been seen as a spokesperson for Activia and appearing in a Nike video series called The Common Thread.
Three years ago, Silva founded EmpowHER NY, an organization that centers around educating and giving women a safe space to speak freely about their ideas and experiences. The organization has made global connections with brands and organizations that want to empower women. Silva says that the organization has had events in New York prior to the pandemic, and has also helped women launch their brands and help them find jobs.
Read the full article here.
Read Parts 1-3 of the Playbook here.
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.
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.
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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
