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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

Ellevest What The Elle Newsletter Mentions DDP

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Links to Love (or Hate-Read)

How often should couples talk about money? Plus: What’s the stupidest financial advice you’ve heard lately? Sallie answers the real questions in the latest Money in 60 Seconds.

Missing the pointe: The Dance Data Project looked at the 2018–2019 seasons of the 50 largest ballet companies in the US. Turns out that 81% of ballets produced last season were choreographed by men. OK then.

Megan Thee Stallion is trademarking #HotGirlSummer. She should, and here’s why.

“The endgame is clear: Bank of America wants the women out of power at Alex and Ani.” That’s from a $1.2 billion lawsuit by the women-led company, which is also claiming that Bank of America’s actions “have sent a once-thriving American success story into a death spiral.”

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KQED Arts: Why Do Employers Lowball Creatives? A New Study Has Answers

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By Nastia Voynovskaya

23 May 2019

Larissa Archer has been asked to perform for free so many times she’s lost count.

Despite her years of training, impressive resume and credibility as the founder of San Francisco Bellydance Theater, she often finds herself turning down invitations to dance for a few wrinkled dollar bills. 

As Archer explains it, event producers “can’t cut corners on how much beer costs. They can’t cut corners on the rental of the venue.” But many can, and often do, skimp on the take-home pay of the talent that attracts showgoers in the first place.

And it’s not just small clubs. As KQED first reported in March, despite reaching a valuation of $1 trillion last year, tech giant Apple doesn’t pay the artists performing in its stores, compensating them with low-end merchandise such as AirPods and AppleTVs instead.

Following our report, we heard from graphic designers, musicians, muralists and comedians who say they’re frequently asked to work for “exposure” by companies large and small, sharing tales of missing payments, false promises of paid work and full-time jobs disguised as unpaid internships.

Read the full article on KQED Arts.

The ‘mighty girl’ effect: does parenting daughters alter attitudes towards gender norms?

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By Mireia Borrell-Porta, Joan Costa-Font, Julia Philipp

14 December 2018

Abstract

We study the effect of parenting daughters on attitudes towards gender norms in the UK; specifically, attitudes towards the traditional male breadwinner norm in which it is the husband’s role to work and the wife’s to stay at home. We find robust evidence that rearing daughters decreases fathers’ likelihood to hold traditional attitudes. This result is driven by fathers of school-aged daughters, for whom the effects are robust to the inclusion of individual fixed effects. Our estimates suggest that fathers’ probability to support traditional gender norms declines by approximately 3%age points (8%) when parenting primary school-aged daughters and by 4%age points (11%) when parenting secondary school-aged daughters. The effect on mothers’ attitudes is generally not statistically significant. These findings are consistent with exposure and identity theories. We conclude that gender norm attitudes are not stable throughout the life-course and can significantly be shaped by adulthood experiences.

1. Introduction

In recent decades, concerns about gender equality have been increasingly prominent in both the political and the social spheres, prompting governments to embark on the task of alleviating gender differences inside and outside the labour market. Nevertheless, progress towards achieving gender equality appears to have gradually slowed down (Eagly and Wood, 2012; Gender Equality Index, 2017). Against this background, a growing body of research has established the importance of traditional gender norms in explaining the persistence of gender inequalities in wages (Burda et al., 2007), in labour force participation (Fernández et al., 2004; Fortin, 2005; Fernández and Fogli, 2009; Farre and Vella, 2013; Johnston et al. 2014), and in the division of domestic work (DeMaris and Longmore, 1996; Greenstein, 1996, and see Davis and Greenstein 2009 for a review). However, there is limited evidence on how susceptible to change such norms are. This paper addresses this question.

Read the rest of the introduction and article in the Oxford Economic Papers.

Dance Lab New York Launches Incubator for Female Choreographers of Color

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By Ruthie Fierberg

25 July 2019

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.”

Read the full article on Playbill.


The Korea Times: [INTERVIEW] Principal ballerina Shin Seung-won gives sneak peek of upcoming choreography project

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By Anna J. Park

24 July 2019

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.”

Read the full article in The Korea Times.

Just Released: 2018-2019 Season Overview

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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.

Read more

Fox 5 San Diego: Actors union working on new standards for onscreen intimacy amid #MeToo movement

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21 July 2019

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.”

Read the full story on Fox 5 San Diego.

New York Times: Gender Gap Persists at Largest Museums

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By Hilarie M. Sheets

22 March 2017

When Thomas P. Campbell steps down as director of the Metropolitan Museum of Art on June 30, the top job at the biggest art museum in the United States will be up for grabs. A woman faces long odds of landing that job, to judge from a study just released from the Association of Art Museum Directors.

“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.”

Read the full article in The New York Times.

Philanthropy Women: Shaping the Shapers: How WMM Trains Women in Social Change

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By Maggie May

5 June 2019

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.

Read more on Philanthropy Women.

Vogue: Inside Wendy Whelan’s Triumphant Return to New York City Ballet

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By Lilah Ramzi

16 July 2019

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.

Read the full article on Vogue.com.