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
Dance Lab New York and The Joyce Foundation have partnered to support female choreographers of color through the establishment of a developmental lab, allowing for these artists to create new work in classical, neoclassical, and/or contemporary ballet dance.
From October 14–November 10, choreographers Preeti Vasudevan, Micaela Taylor, Amy Hall Garner, and Margarita Armas will explore new works, culminating in a showcase at Guggenheim’s Works & Process.
Each choreographer will have access to rehearsal space at the Joyce Artist Residency Center, eight paid professional dancers, a rehearsal director, as well as a stipend and financial and logistical operations support over the course of 30 working hours.
“As the conversation is shifting within the field of ballet to the lack of female choreographers, and more specifically the lack of opportunities for female dance makers of color, The Joyce has entered into a unique collaboration with DLNY to help address gender and racial inequity through shared resources”, said Joyce Executive Director Linda Shelton in a statement. “This collaboration prioritizes research and development with no expectation of a final ‘product’ as an essential step forward. True to The Joyce’s and DLNY’s shared values, this pilot partnership embraces the concepts of risk, experimentation, and trial and error.”
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/05/13141955/DDP_logo_Primary.png26524000dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-29 07:34:442019-07-29 07:35:37Dance Lab New York Launches Incubator for Female Choreographers of Color
Korean National Ballet’s principal dancer Shin Seung-won is preparing for an upcoming performance this weekend. This time, though, she won’t be taking center stage; she is choreographer and director of her seven-minute creative ballet piece, titled “Go your own way.”
During a recent interview with The Korea Times, the principal ballerina said she feels a different sort of happiness from being a choreographer instead of a dancer.
“When I see my choreographed piece on stage, it feels very rewarding; when I’m dancing as a ballerina, I become delightful and joyous. They are two different feelings, yet both are somewhat linked, and both precious. In other words, choreography is like raising my own children, and dancing ballet on stage makes me feel alive and immensely happy,” the ballerina said.
Shin is one of the eight Korean National Ballet members who will be showcasing their own modern ballet works, choreographed by themselves, during “KNB Movement Series 5,” set for this Saturday and Sunday afternoon at Seoul Arts Center’s CJ Towol Theater.
In 2015, the national ballet jump-started the “KNB Movement Series,” an annual showcase presenting newly-choreographed modern ballet pieces by the ballet company members. Ballet dancers who participate in the annual performance not only need to choreograph every movement, but also direct all elements of the set, from lighting and costumes to music.
Principal Dancer Lee Young-cheol has been participating in this annual show every year, with his own creative ballet works. This year, he presents “Season: Spring,” a ballet inspired by the image of a long trail covered with fallen cherry blossom petals. Other works include soloist Song Jung-bin’s “Amadeus Concerto,” Demi-Soloist Kim Myung-kyu’s “3 Tables” and Corps de Ballet Kang Dong-hui’s “Bad Guy.”
The following is a report on the gender distribution of repertoire within the Top 50 domestic companies’ 2018-2019 seasons. The data is separated into three subsections: Gender Distribution in Seasonal Repertoire, World Premieres, and Comparison of 2018-2019 Seasons to 2019-2020 Seasons. DDP cites sources and expresses limitations at the end of the report.
HOLLYWOOD, Calif. — Driven by the #MeToo movement and the recent wave of attention on sexual harassment in the entertainment industry, the union representing actors and other artists announced Sunday that it is working with groups and professionals to develop a set of standards for the depiction of on- screen intimacy.
“Our goal is to normalize and promote the use of intimacy coordinators within our industry,” said Gabrielle Carteris, president of the Screen Actors Guild-American Federation of Television and Radio Artists. “Intimacy coordinators provide an important safety net for our members doing hyper-exposed work. At a time when the industry still needs to make great changes, our initiative will ensure the safety and security of SAG-AFTRA members while they work and respects the boundaries of actors.”
SAG-AFTRA will work with Alicia Rodis, the associate director and co- founder of Intimacy Directors International, and other “trained providers to standardize, codify and implement guidelines for on-set intimacy coordinators,” the union said in a statement released Sunday. The guidelines will “seek to establish new, relevant policies for nudity and simulated sex; define the duties and standards for intimacy coordinators on productions; and specify acceptable training, vetting and qualifications of intimacy coordinators.”
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/05/13141955/DDP_logo_Primary.png26524000dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-23 09:40:552019-07-23 09:40:57Fox 5 San Diego: Actors union working on new standards for onscreen intimacy amid #MeToo movement
“The Ongoing Gender Gap in Art Museum Directorships” shows that just one of the nation’s 13 largest museums is run by a woman. The report is a follow-up to a 2014 study, the first to analyze salary data collected from the association’s 200-plus membership from the vantage point of gender.
Women today are nearing equity over all, leading 48 percent of art museums, up from 43 percent three years ago. A gender gap persists, however, at the largest museums — those with budgets of $15 million and higher, where just 30 percent have female directors. And as the budgets grow, the ranks of women thin, with just three women heading the 20 largest-budget institutions in the association.
“The first step in addressing inequality is acknowledging it,” said Lisa Phillips, director of the New Museum in New York, who initiated the 2014 study and consulted on the new report. “Hard data makes it plain and clear.”
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/04/13142018/Asset-2.png296600dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-23 09:30:162019-07-23 09:30:22New York Times: Gender Gap Persists at Largest Museums
Feminist philanthropy is designed to change the world.
Sometimes it works slowly, dollar by dollar, woman by woman and girl by girl, as we each come to realize that there are issues in this world we strongly disagree with — issues that we can take a stand against. In other cases, feminist philanthropy finds huge momentum in large-dollar donations, and campaigns leap forward with the assistance of celebrity women and female pioneers who hold significant amounts of the world’s wealth.
In the modern economy of feminist philanthropy, the curriculum used to reach donors and move campaigns forward is rapidly changing, in response to heavy social and political factors that are inspiring more and more female leaders to take a stand. But one thing remains the same: the passion for change, and the belief that together, we can change the world.
Sarah Haacke Byrd is the Executive Director for Women Moving Millions, where she is responsible for building strategy and scale around WMM’s mission for greater impact on gender equality. (Photo credit: Women Moving Millions)
Feminist philanthropy is designed to change the world.
Sometimes it works slowly, dollar by dollar, woman by woman and girl by girl, as we each come to realize that there are issues in this world we strongly disagree with — issues that we can take a stand against. In other cases, feminist philanthropy finds huge momentum in large-dollar donations, and campaigns leap forward with the assistance of celebrity women and female pioneers who hold significant amounts of the world’s wealth.
In the modern economy of feminist philanthropy, the curriculum used to reach donors and move campaigns forward is rapidly changing, in response to heavy social and political factors that are inspiring more and more female leaders to take a stand. But one thing remains the same: the passion for change, and the belief that together, we can change the world.
Women Moving Millions (WMM) is one such organization that enacts social change through large-scale commitments. The global community is made up of more than 300 affluent women who have each pledged or donated at least $1 million to campaigns that empower women and girls around the world.
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/05/13141955/DDP_logo_Primary.png26524000dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-18 07:51:022019-07-18 07:51:04Philanthropy Women: Shaping the Shapers: How WMM Trains Women in Social Change
IT’S A SUBLIME SPRING day in New York, but Wendy Whelan wouldn’t know a thing about it. She’s spent the day in the windowless studios of the David H. Koch Theater at Lincoln Center, where rehearsals for George Balanchine’s Brahms-Schoenberg Quartet are under way. Today she’s dressed in dark skinny jeans and a navy cardigan, but even in this everyday outfit, you can see a body sculpted by the three decades she spent at New York City Ballet, 28 of those years as a principal dancer. In a profession where women often bow out by their mid-30s, Whelan’s tenure onstage was remarkable. Now 52, she has become the first woman in the company’s history to hold a permanent position within the artistic leadership. “I never imagined myself here,” she says. “I just thought, That’s usually a guy’s role.”
Her appointment as the associate artistic director of NYCB in February—alongside Jonathan Stafford as the new artistic director of NYCB and School of American Ballet—not only ended a tumultuous year, it also signaled that the company was in need of a dramatic shift. In January of 2018, Peter Martins, the NYCB’s star dancer turned ballet master in chief, retired, his resignation precipitated by accusations of sexual harassment. (Martins maintains his innocence, and the NYCB’s investigation did not corroborate the allegations.) Then, just days before the fall season, City Ballet fired two male dancers (the company had earlier accepted the resignation of a third) accused of sharing explicit photos of female dancers. The company would “not put art before common decency,” announced principal dancer Teresa Reichlen in a speech delivered on the evening of the fall gala, standing onstage with her fellow dancers.
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/05/13141955/DDP_logo_Primary.png26524000dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-17 12:01:182019-07-17 12:01:19Vogue: Inside Wendy Whelan’s Triumphant Return to New York City Ballet
InStyle‘s third Badass Women issue is here! And the cherry on top is always the bi-annual Badass 50 feature which spotlights dedicated women from the spheres of science, social justice, law, entertainment, politics, and other industries. Their poignant contributions to this issue are both enlightening and inspiring. We even have a handful of nominees in conversation with each other. You won’t want to miss what they have to say.
1. MINDY KALING: At 24 she became the first woman and person of color to join the writers’ room on NBC’s cult comedy The Office. Since then her career has taken off, with TV shows, big-budget films, and two best-selling memoirs. Her latest project, Late Night, which marked the first time she has written, produced, and starred in a feature film, is centered on a writer who challenges the role of women at work. Up next? An Indian wedding comedy with Priyanka Chopra Jonas. Think of it as the subcontinent’s answer to Crazy Rich Asians.
2. ABIGAIL DISNEY: Despite the long shadow of her family name, she has carved out her own space as a philanthropist, an activist, and an Emmy-winning documentary filmmaker. She considers herself a peace builder, hell-bent on seeking justice — even when that means taking the family company to task for the huge pay gap between CEO Robert Iger and other employees. “From time to time I’m going to enrage people on my own side, and that’s hard,” she says. “But there’s incredible strength in stepping into danger, trouble, or conflict on behalf of others. It’s the right thing to do.”
3. BRIGADIER GENERAL JEANNIE LEAVITT: In 1993, after graduating first in her class, she asked to fly a fighter jet, knowing that the U.S. Air Force wouldn’t yet allow it. Months later, when officials changed their minds, she became the Air Force’s first female fighter pilot. Now the brigadier general (and muse for Brie Larson’s Captain Marvel) heads up Air Force recruitment, a role in which she hopes to inspire more women to take the lead. “We all think of movie stars as superheroes, but the Marvel team saw our airmen as the superheroes,” Leavitt says. “That was really neat.”
Still of choreographer Nicole Haskins. Photo by Chris Hardy. Courtesy of Haskins.
If we want there to be more female ballet choreographers, we first have to develop bold, confident female ballet dancers.
From an early age, female ballet dancers are taught that they are replaceable, expendable, and that one-hundred others are waiting in the wings to take their place. It is instilled in us that one wrong move can destroy any chance we have of making it and there are rarely second chances in this profession. The ballet world calls us girls, no matter what age we are, tells us we are stupid, that we are fat, that we aren’t trying hard enough. How can we expect these girls to become women who think they can have anything to say? To think they can lead? To think they are worthy of choreographing? If we want to truly change the proportion of female choreographers working in ballet, then we have to open up the voices, minds, and creativity of our female dancers.
To do this we need to give the same confidence and freedom we give male dancers in ballet. It’s not surprising to me that most female choreographers that are working with major companies tend to have at some point danced in Europe or for contemporary or modern companies: Helen Pickett, Annabelle Lopez Ochoa, Penny Saunders, Amy Seiwert, and many others. In most cases, they were not the prima ballerinas of their generations; they were the strong, confident, badass women, who spent some or most of their careers as dancers outside the rigid hierarchy of ballet.
We can’t simply look around and declare there aren’t that many women interested in choreographing for ballet. We have to foster the creativity, vulnerability, and confidence needed to step to the front of the room, take charge, give direction, and create. We have to give male and female ballet dancers alike the courage and confidence to put themselves in front of everyone -other dancers, the audience, themselves- and take risks. If we don’t teach our female ballet students and professional dancers to believe in themselves, to think their voice is important, how do we expect them to feel comfortable showing us what they have to say?
Photo of Haskins by Tatiana Wills
About Nicole
Nicole Haskins, originally from Venice Beach, California, is a dancer, choreographer, mentor, and coach who tries everyday to live up to her mantra that “Art is Risk Made Visible”. Her choreography is sought after across the country and has been commissioned by Richmond Ballet, Oregon Ballet Theatre, Sacramento Ballet, Dayton Ballet, Amy Seiwert’s Imagery, The National Choreographic Initiative, and Smuin Contemporary Ballet. She has been awarded The New York Choreographic Institute’s Commission Grant, Fellowship Grant, and participated in the Institute’s Spring Session in New York. After spending 14 years dancing professionally with The Washington Ballet, Smuin Contemporary Ballet, and The Sacramento Ballet, Haskins will become the Resident Choreographer for Mid-Columbia Ballet this summer and cannot wait help the next generation of dancers gain the confidence, intelligence, and perseverance to take their own risks and reap the rewardsof this magnificent art form. Visit her website here.
DDP wants to hear your voice. That is why part of our blog, New Voices, is dedicated to guest commentators – artists and choreographers starting out on their missions to create in classical ballet or dance. We hope to feature a revolving selection of new and emerging female artists sharing their struggles and successes as they build careers in the industry. What is it like trying to get your work staged? How is working with company management frustrating or easy? How do you deal with childcare or work/life balance? Read New Voices to learn more about these topics and more!
Recently, a friend of mine was tasked with hiring a new employee at work. He interviewed an impressive candidate who was a natural fit, but he said there was just one problem: She had a 3-year-old, and he was concerned with her reliability. Would she request more time off? Come in late if she couldn’t find child care? Call in sick more often? This friend would never describe himself as biased, but when I asked if he would say the same of a male worker with a 3-year-old, he was silent. In the end, she got the job. But this real-world scenario reinforces the growing amount of research that reveals how unfavorable workplaces can be for women.
The following stories come from The Times’s Working Woman’s Handbook, which is your guide to learning to dodge office land mines, fight bias in the workplace and not burn out in the process.
There are a number of reasons the pay gap exists, and “women don’t negotiate” has been tossed around as an explanation. But research suggests it’s not entirely true.
A 2018 study concluded that women ask for raises and promotions as often as men, they’re just less likely to get what they want. This might be because when women are assertive in the workplace, they’re viewed as unlikable or demanding, according to a 2016 study. Negotiating is trickier for women, and many experts agree: It’s important for women to have groups where they can discuss salary and workplace issues openly.
https://ddp-wordpress.storage.googleapis.com/wp-content/uploads/2019/04/13142018/Asset-2.png296600dancedatahttps://dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.pngdancedata2019-07-12 13:56:052019-07-12 13:56:08New York Times: The Workplace Still Isn’t Equal for Women. Here’s Some Advice to Navigate It.
