- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
The GOP Tax Bill Could Cost Nonprofits Billions
Regardless of where you get your news, you've probably heard about the GOP's controversial Tax Cuts and Jobs Act. Many of the conversations surrounding the bill have been centered around what it could mean for individual taxpayers.
But you may not have heard much about what the bill means for nonprofits, the institutions that make up the vast majority of the dance world—from cultural giants like New York City Ballet to dance service organizations like The Actors Fund.
The bill is extremely complicated, but thankfully Dance/USA helped us tease out some of the ways that the current Senate legislation could impact funding for nonprofit arts institutions:
An American Ballet Theatre gala. PC Kelly Taub/BFA.com
Doubling the standard deduction: Though this would decrease the amount of taxes owed for some individuals, it could cost nonprofits billions. With a higher standard deduction, it is estimated that only five percent of people would itemize their deductions (which is done in place of taking the standard deduction, and allows you to deduct things like charitable contributions and business expenses). This is expected to reduce charitable giving by a whopping $13 billion a year.
Increasing the limit on charitable gifts: This is one of the potentially positive aspects of the bill for nonprofits. It would increase the limit on charitable gifts from 50 percent of adjusted gross income to 60 percent. This would likely only affect donations from very high-income donors.
Eliminating the Pease Limitation: Similarly, this provision could potentially increase giving among very high-income donors. The Pease Limitation currently limits how much charitable giving (and other itemized expenses) can be deducted.
Doubling the estate tax exemption: This would likely reduce the amount of charitable gifts included in estates, because wealthy individuals would be able to leave more (up to $10 million) to their heirs without paying estate taxes.
There's still time to urge your representatives to pass a more arts-friendly bill. Here's what you can do:
Advocate for a universal charitable deduction: Senators Debbie Stabenow (D-MI) and Ron Wyden (D-OR) have proposed an amendment that would allow taxpayers to deduct their charitable contributions whether they itemize or not. Contact your representatives (in the Senate and the House!) and ask them to support this provision.
Ask your representatives to vote "no": The GOP wants to have legislation on the President's desk by Christmas. Tell your representatives that you want them to vote "no" on any bill that could cost nonprofits billions in funding.
The revival of everything '90s has been in full-swing for a while now—we saw Destiny's Child reunite at Coachella, Britney Spears is headed back on tour, and the Spice Girls miiight be performing at the Royal wedding next month. But Hollywood saved the best '90s moment for last, bringing *NSYNC back together to receive their official star on the Hollywood Walk of Fame on April 30.
Because we love a good dance #TBT, we're reliving five of the boys' best dance moments.
"I Want You Back"
The band's first single from their self-titled debut album in 1998, "I Want You Back," was the start of their takeover (and their choreographed dance moves).
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?