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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

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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

A Note From Our Founder: #AskB4UGive

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DDP has spent the last year or so thinking about the most strategic way to move the needle in terms of women’s leadership in classical ballet. While our focus has been the world of dance, the same thoughts apply to women and minority representation in film, opera, symphonic music, museums, and frankly, any not-for-profit organization.

As I sit in boardrooms with trustees of foundations or listen in the back as board members blithely accept that all male panels of experts are the norm, I have become increasingly frustrated with the status quo and even more committed to changing it.

It is not enough to simply donate money to a female-led production. These are often one-and-done, or, as I have begun to realize, their funds don’t actually go to support the female artist. Instead, she is frequently given the leftovers of casting, rehearsal time, costumes, pay, venue and touring.

A recent conversation with a supremely talented West Coast investment advisor, who has been transformational in leading the charge for more women in finance, reinforced my growing suspicion that, in the dance world, seeing the inequity in numbers just isn’t sufficient.

Clearly, numbers do matter – but they aren’t enough. Dance Data Project™’s original research should eliminate the arguments offered by male dance leaders (critics, senior staff, resident choreographers and board members) who refuse to recognize there is a problem.

DDP can demonstrate the inequity all day long, cite statistics that women-led productions are extremely popular with audiences and, more broadly, refer to study after study demonstrating that management teams with female representation make better decisions.

All this evidence from our research is critical. At the end of the day, however, all the rational argument in the world cannot stand against entrenched beliefs.

Men hire men. Once women are hired into an organization, they receive less support and fewer resources than men. See McKinsey & Company’s Women in the Workplace 2018. The study found that people (even women) trust men’s decision making more than women’s, even in the face of clear evidence to the contrary.

Another critical article is by Aneeta Rattan, Siri Chilazi, Oriane Georgeac, and Iris Bohnet. “Tackling the Underrepresentation of Women in Media” highlights the important lessons leadership can learn from BBC’s 50:50 Project. Journalist Ros Atkins addressed the distinction between the roles of confronter and bystander in the workplace. When making a change in diversity and representation of women, one must ask oneself, “What can I do differently?” Atkins and other interviewees teach us that change can be made through a combination of self-awareness, clear goals and teamwork, data collection, and their verifiable outcomes that alter the field beyond our immediate workplace.

Like the vast majority of ballet companies and dance organizations, DDP is made up of a largely-female team, and I, as its leader, am proud to act as a confronter in a field that is thronged with bystanders.

So, this begs the question: What other actions will be effective to change ballet as an industry? 

There is one clear avenue to incite change: advocate for political and economic pressure through an informed donor base, whether that base be supported by individuals, corporations or foundations.

This is why Dance Data Project™ is establishing our first advocacy platform to publicly encourage board, foundation and donor education and responsibility.

Below are questions every donor should ask:

Board of Trustees/Directors: 

  • Has the organization had a female or other diverse minority chairman?
  • Outside of the traditional minority and female committees (such as Community Relations or Marketing), are there women (and trustees or board members of color) on the Strategic Planning, Audit, Finance, and Governance committees?

Leadership Positions: 

  • What is the gender and racial diversity of the c-suite positions beyond the traditionally female roles like Director of Development or Community Relations/Engagement?
  • Are women entrusted with roles involving financial decision making, like CFO/CEO?
  • In arts organizations, are women truly leading, or have they been hired to solely lead and shape the organization’s artistic vision?

Pay Equity/Transparency:

  • Will the organization commit to pay equity and transparency in order to ensure equal pay for women with the same job as men?
  • Will the organization share this data publicly?

Internal Policies – Sexual Harassment, Mandatory Arbitration, & Parental Leave:

  • What is the organization’s policy on dealing with sexual harassment complaints?
  • Is there an independent reporting mechanism?
  • Has the organization committed to eliminating mandatory arbitration clauses that remove litigation as an option for employees who have been harassed?
  • What is the organization’s written policy on parental leave and health care around women’s issues?

Performances/Exhibitions/Shows: 

  • What percentage of the artists for main stage productions are women (and/or minorities)? This should include set, lighting and costume designers, as well as original composers.
  • Will the organization pledge to eliminate manels (all-male panels of experts who opine on and interpret work for audiences)?
  • What is the company’s track record of commissioning women and minorities? Do these women and minorities receive repeat commissions?
  • If there is a program dedicated to developing more women and minority artists in-house, how is success measured?
  • What is leadership’s plan to bring women and minorities to main stage productions?
  • Will women’s work be supported by touring, receiving original costumes, adequate rehearsal/studio time and casting choices? 
  • If a donor contributes to support a female led production, how much of his or her money will actually go to support the woman’s work?

To learn more about philanthropy in general, specifically issues in philanthropy and how women are changing the field through giving circles and financial techniques like social impact investing, search for resources like Kiersten Marek’s wonderful website or check out Inside Philanthropy:

For an excellent discussion of ending sexual harassment at not-for-profits, see the April 2018 issue of The Chronicle of Philanthropy.

For a deeper dive on research into the impact of women and philanthropy, see the research catalogue of The Lilly Family School of Philanthropy at Indiana University.

To become part of the women’s empowerment movement in philanthropy (male allies included), see the following:

  • Julie Castro Abrams’s How Women Lead, which advocates for fair gender representation on boards, whether for-profit or philanthropic.

To learn about initiatives that focus specifically on women and their money, have a much deeper understanding of how women give and how they prioritize philanthropic investments, visit:

 

SAN FRANCISCO BALLET NAMES KELLY TWEEDDALE AS EXECUTIVE DIRECTOR

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San Francisco Ballet announced on June 5 that Kelly Tweeddale will take over as the company’s new Executive Director. Tweeddale, who comes by way of Seattle and Vancouver, will assume the position from Glenn McCoy, who held that position for over 30 years.

This news means that America’s three largest ballet companies are all led by women in the Executive Director position.

Read an excerpt from the company’s press release below:

SAN FRANCISCO, Wednesday, June 5, 2019—San Francisco Ballet Board of Trustees has named Kelly Tweeddale as the organization’s next Executive Director. The search committee, led by Chair of the SF Ballet Board of Trustees Carl F. Pascarella, made the unanimous recommendation to the Board after a five-month international search. Tweeddale has held previous executive positions at Seattle Opera and currently serves as President of Vancouver Symphony and VSO School of Music. Kelly Tweeddale assumes her new role at San Francisco Ballet on September 3, 2019.

“We are extremely fortunate to have Kelly joining the Ballet in this critical role. Her vision and track record in leading major strategic projects that propels arts organizations into a future with growing audiences, community involvement, and sustained revenue will lead SF Ballet into an expanded era of financial and operational growth,” says Pascarella. “On behalf of the Board of Trustees I sincerely welcome Kelly to join us in furthering our mission, to share the joy of dance with the widest possible audience, to provide the highest caliber of dance training in our School, and to further our commitment to diversity, equity, and inclusivity in the field of dance.”

Speaking from the Company’s current engagement at Sadler’s Wells in London, Artistic Director and Principal Choreographer Helgi Tomasson shared: “I am very pleased to welcome Kelly to San Francisco Ballet. She brings an impressive caliber of arts leadership experience to oversee the administrative and operational aspects of the organization.” Tomasson added, “I look forward to working closely with her as we continue to grow the mission and artistic reputation of the Company.”

Read the full announcement here.

Birmingham Royal Ballet’s CREATIVE CONSORTIUM – An Exciting Aspect of Ballet Now

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In October 2017, Birmingham Royal Ballet announced Ballet Now, an initiative dedicated to commissioning not just new dance, but new art in every area surrounding classical ballet. David Bintley, the comapny’s former director said of the plan, “There’s not been a commissioning programme like this since Diaghilev.”

According to the company, Ballet Now’s purpose is “to provide a unique and enriching pathway to aid the development of choreographers, composers and designers who show originality and world-class potential. Each participant will create new works that will be shared with audiences throughout the UK and beyond, premiering at either Birmingham Hippodrome or Sadler’s Wells, London. Over five years the initiative will support 30 new artists, ten choreographers, ten composers and ten designers providing them with mentoring, resources and access to Birmingham Royal Ballet’s outstanding facilities. “

The average American company premieres around two to three new works a season – many of these are commissions of the same choreographers year after year. In the same amount of time, Birmingham Royal Ballet will support more than just a choreographer creating a new work. The company will bring in multiple artists in a plethora of areas critical to developing the art form.

This news comes at a critical time, when audiences are craving new work but companies are favoring the same few artists.

Ballet Now will be overseen by a roster of professionals called the Creative Consortium, the recently-announced experts are evenly split in terms of gender and come from a wide range of backgrounds, representing the company’s commitment to equity and diversity.

David Bintley, CBE

Alistair Spalding

Ted Brandsen

Sally Beamish

Sally Cavender

Koen Kessels

Cassa Pancho

Emma Southworth 

Read more about Ballet Now here.

Read the Creative Consortium members’ backgrounds here.

New York Times: A Woman’s Guide to Salary Negotiation

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By Kristin Wong

The first time I negotiated a raise, I had no idea what I was doing. A co-worker whispered that she’d gotten a slight pay increase, so I took a deep breath and approached my boss, making the case for a raise of my own. 

The results were not great. My boss suspected that I had compared notes with a colleague about our pay and reprimanded me for doing so. My stomach dropped and I wanted to cry, but by the end of the conversation I got the raise I’d requested. 

Women face unique challenges when it comes to negotiating, beginning with the fact that we are often viewed as “unlikable” when we do it. Women also have a tendency to underestimate their professional value, and we have been socialized to avoid assertiveness, an essential quality for a successful negotiation. These obstacles make negotiating more difficult, but no less important — which is why you’ve got to be extra prepared. Here’s how.

Read Wong’s full guide here.

New York Times: Want to Close the Pay Gap? Pay Transparency Will Help

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By Kristin Wong

20 January 2019

Here’s what we know about salary transparency: Workers are more motivated when salaries are transparent. They work harder, they’re more productive, and they’re better at collaborating with colleagues. Across the board, pay transparency seems to be a good thing.

Transparency isn’t just about business bottom line, however. Researchers say transparency is important because keeping salaries secret reinforces discrimination.

“From a worker’s perspective, without accurate information about peer compensation, they may not know when they’re being underpaid,” said Emiliano Huet-Vaughn, an economist at U.C.L.A. who ran a study in 2013 that found workers are more productive when salary is transparent. Without knowing what other workers’ salaries look like, “it naturally becomes harder to make the case that one is suffering a form of pay discrimination,” Dr. Huet-Vaughn said.

Read the full article in The New York Times.

New York Times: How a Common Interview Question Hurts Women

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By Claire Cain Miller

1 May 2018

Aileen Rizo was training math teachers in the public schools in Fresno, Calif., when she discovered that her male colleagues with comparable jobs were being paid significantly more.

She was told there was a justifiable reason: Employees’ pay was based on their salaries at previous jobs, and she had been paid less than they had earlier in their careers.

Ms. Rizo, who is now running for the California State Assembly, sued. In April, the United States Court of Appeals for the Ninth Circuit ruled in her favor, saying that prior salary could not be used to justify a wage gap between male and female employees.

It’s the latest sign that this has become the policy of choice for shrinking the gender pay gap. Several states, cities and companies have recently banned asking about salary history. They include Massachusetts, California, New York City and Chicago, as well as Amazon, Google and Starbucks.

Read the full article in The New York Times.

Ballet Now – Birmingham Royal Ballet Commission Announced

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Birmingham Royal Ballet is proud to announce a first-of-its-kind collaboration with the multi-awarding Ballet Black, a company dedicated to increasing diversity in ballet, founded and directed by Ballet Now Creative Consortium member, Cassa Pancho. Dancers of both Birmingham Royal Ballet and Ballet Black will appear in this exciting triple bill.

The bill opens with the fourth Ballet Now commission, from young choreographer and Queensland Ballet dancer Jack Lister and composer Tom Harrold. Second is Cathy Marston’s moving tale of a broken marriage, the critically acclaimed and National-Dance-Award-winning ballet The Suit, in its first UK performances outside London. The bill will close with Twyla Tharp’s sizzling tribute to Old Blue Eyes, Nine Sinatra Songs.

Learn more about the exciting initiative here.

New York Times: The Best Women’s Soccer Team in the World Fights for Equal Pay

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By Lizzy Goodman

10 June 2019

In spring 2018, Abby Wambach, the most decorated soccer player in American history, gave a commencement address at Barnard College that went viral. The player who had scored more goals than any other, male or female, in international competition described standing onstage at the ESPYs the year after she retired in 2015, receiving the Icon Award alongside two peers, Peyton Manning and Kobe Bryant. “I felt so grateful,” she recalled. “I had a momentary feeling of having arrived; like, we women had finally made it.” As the athletes exited the stage, each having, as Wambach put it, “left it all on the field for decades with the same ferocity, talent and commitment,” it occurred to her that while the sacrifices the men made for their careers were nearly identical to her own, their new lives would not resemble hers in one fundamental way. “Kobe and Peyton walked away from their careers with something I didn’t have: enormous bank accounts,” Wambach said. “Because of that, they had something else I didn’t have: freedom. Their hustling days were over; mine were just beginning.”

The United States women’s national team is the best in the world and has been for decades. Since the FIFA Women’s World Cup was inaugurated in 1991, the United States has won three of the seven titles, including the most recent one in 2015. Since women’s soccer became an Olympic sport in 1996, it has won four of six gold medals. The team has been ranked No.1 by FIFA for 10 of the last 11 years and has produced some of the biggest female sports stars of the last several decades, from Mia Hamm to Wambach to the current starting center forward, Alex Morgan.

Read the full article in The New York Times.

New York Times: ‘Hadestown’ Director Rachel Chavkin: Diversity ‘Is Not a Pipeline Issue’

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By Nancy Coleman

9 June 2019

In a Broadway season nearly devoid of female directors, the sole woman at the helm of a musical this year — Rachel Chavkin, director of “Hadestown” — took home the Tony Award for best direction of a musical.

Ms. Chavkin, who was previously nominated in the category for “Natasha, Pierre & The Great Comet of 1812” in 2017, emphasized diversity in the industry in her acceptance speech Sunday night.

“There are so many women who are ready to go. There are so many artists of color who are ready to go. And we need to see that racial diversity and gender diversity reflected in our critical establishment, too,” Ms. Chavkin said in her speech. “This is not a pipeline issue. It is a failure of imagination by a field whose job is to imagine the way the world could be.”

Read the full article in The New York Times.

Ballet Black: FREED POINTE SHOE COLLABORATION

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This year Freed of London have teamed up with Ballet Black founder and artistic director Cassa Pancho MBE and Senior Artist Cira Robinson to create the first skin tone pointe shoes, handmade in the U.K. for black, Asian and mixed race dancers.

After over a year in development, Freed of London has introduced new colours ‘Ballet Bronze’ and ‘Ballet Brown’ to their core collection. The Freed of London ethos has always been to develop shoes to meet the needs of each generation of dancer and these new colours continue to reflect this.

“This wouldn’t of been achievable without the help of everyone involved, especially “Ballet Black” whom we collaborated with to create these beautiful new colours.”
– Freed of London

“I am beyond delighted that Freed have launched these two new colours. Although it may seem like a very small change to the outside world, I believe this is an historic moment in British ballet history and another step forward for culturally diverse dancers across the globe who wear the iconic Freed brand of shoe.

I would like to thank Freed for using their platform to help instigate change, and Cira Robinson, Senior Artist at Ballet Black, for her unending dedication to making this possible.”- Cassa Pancho MBE, Founder & Artistic Director

Read about the collaboration here.