Paris Opéra Ballet Sues One of Its Own Dancers
You'd think the Paris Opéra Ballet would be in damage-control mode after a leaked dancers' survey, in April, brought up worrying reports of harassment and mismanagement. But instead of addressing these issues internally, the French company is suing one of its own dancers in order to strip him of his union representative status and subsequently be free to fire him.
Dalloz Actualité, a French online magazine specializing in legal matters, elaborated on the lawsuit in an article published last week. The corps de ballet dancer taken to court, whom we'll call "S." to protect his identity, wasn't actually a member of the Commission for Artistic Expression, the elected group of dancers who put together the survey. He is described as a "geek" who provided technical support to ensure the validity of the results.
If you missed news of the lengthy survey, the results were grim: 108 dancers took part, out of a total of 154, and 77% of respondents declared that they have been the victim of verbal harassment or have witnessed it. 26% have suffered or witnessed sexual harassment. 90% said that they didn't consider their current management up to par, and nearly 60% believed no consideration was shown for their work.
Aurélie Dupont was a Paris Opera Ballet star before being named director in 2016. Her in Le Lac, photo by Maurizio Petrone.
Press reports sent the Paris Opéra scrambling for a response this spring. General director Stéphane Lissner appeared keen to sweep the matter under the carpet, while Aurélie Dupont, who was appointed artistic director in 2016 after Benjamin Millepied's abrupt exit and whose management skills were called into question, has remained mostly silent. In her only interview, with Le JDD earlier this month, she stated that she was "hurt" by the survey and that her track record is "very positive," adding that "any harassment is intolerable." According to Dupont, an internal audit is scheduled for next season.
It seems, however, that the POB is currently more preoccupied with retaliation than cultural change. As Dalloz reports, S. was ordered by management to hand over access to the raw data of the survey. Instead, S. transferred it to a bailiff in order to protect it (with the anonymity of respondents at stake). Around the same time, S. was appointed as a representative of one of the Paris Opéra's unions, Sud spectacle.
The company claims in its lawsuit that the appointment only came in order to prevent S. from being fired, as union reps have their employment protected in France. According to Dalloz, in response, S.'s lawyer introduced evidence showing that the threat of a dismissal procedure against his client only came after his union appointment.
The court's decision is expected on September 6. Until then, the Paris Opéra would do well to use the summer to reflect on its tone-deaf response to calls for reform within its own ranks. As a Guardian piece showed this week, ballet directors elsewhere are waking up to the need for healthier institutional practices and stronger safeguards in the #MeToo era. Suing dissenters is hardly the way to get there.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.