How the Dance World Is Responding to Sexual Harassment Claims Against Peter Martins
Yesterday The New York Times reported that New York City Ballet and the School of American Ballet are jointly investigating sexual harassment claims involving Peter Martins. According to a statement from SAB, it "recently received an anonymous letter making general, nonspecific allegations of sexual harassment in the past by Peter Martins at both New York City Ballet and the school."
Martins, who serves as NYCB's ballet master in chief and SAB's chairman of faculty and artistic director will not be teaching his weekly class at the school as the investigation continues. He currently maintains his positions at both organizations.
While sexual harassment allegations have recently been made against a growing list of Hollywood heavy-hitters, politicians, news anchors and other men in positions of power, this is the first investigation this year of a major figure from the dance world.
Immediate reactions were varied, though emotionally charged. Here are a few of the many responses:
Some admitted they weren't surprised to hear that sexual harassment allegations had touched the dance world.
Others speculated about who might replace Martins if he was let go from NYCB.
Some commented on NYCB's troubling history of directors being sexually involved with company dancers.
#MeToo was a large part of the conversation.
One woman picked up on similar themes in how movies and TV shows have portrayed the ballet world.
Still, several people were hopeful that this reckoning could eventually have a positive effect on the field.
The dance world is already helping.
In light of this news, Dance/NYC issued a statement on sexual harassment this morning, along with a resource list for affected dancers in the New York City area. According to its statement, "Dance/NYC takes seriously harassment in all its forms. It commends the brave individuals who are coming forward in the performing arts and across all sectors to share their stories of sexual harassment and abuse. Dance/NYC also recognizes this as a defining moment to publicly acknowledge long-existing issues in the dance field and to address them and create positive change for the art form and its workforce."
The organization is committed to taking concrete action to foster safer dance environments. These steps include a town hall that's currently in the works, forming a committee to address the issue in the field, connecting survivors with appropriate resources and collaborating on larger efforts with the national service organization Dance/USA.
If you have new information or a perspective you want to share, consider filling out Dance Magazine's survey, or emailing us directly at email@example.com. We're continuing to look into how the issue is being handled in the dance community.
In the middle of one of New York City Center's cavernous studios, Misty Copeland takes a measured step backwards. The suggestion of a swan arm ripples before she turns downstage, chest and shoulders unfurling as her legs stretch into an open lunge. She piqués onto pointe, arms echoing the sinuous curve of her back attitude, then walks out of it, pausing to warily look over her shoulder. As the droning of Ryuichi Sakamoto and Alva Noto's mysterious "Attack/Transition" grows more insistent, her feet start to fly with a rapidity that seems to almost startle her.
And then she stops mid-phrase. Copeland's hands fall to her hips as she apologizes. Choreographer Kyle Abraham slides to the sound system to pause the music, giving Copeland a moment to remind herself of a recent change to the sequence.
"It's different when the sound's on!" he reassures her. "And it's a lot of changes."
The day before was the first time Abraham had seen Copeland dance the solo in its entirety, and the first moment they were in the studio together in a month. This is their last rehearsal, save for tech, before the premiere of Ash exactly one week later, as part of the opening night of City Center's Fall for Dance festival.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
Dancers are understandably obsessed with food. In both an aesthetic and athletic profession, you know you're judged on your body shape, but you need proper fuel to perform your best. Meanwhile, you're inundated with questionable diet advice.
"My 'favorite' was the ABC diet," says registered dietitian nutritionist Kristin Koskinen, who trained in dance seriously but was convinced her body type wouldn't allow her to pursue it professionally. "On the first day you eat only foods starting with the letter A, on the second day only B, and so on."
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.