Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
When I read last month that Jessica Lang Dance had announced its farewell, I'm sure I wasn't the only dancer surprised. In the same way that many of us, when reading an obituary, instinctively look for the cause of death, I searched for a reason for the company's unexpected folding. It was buried in the fifth paragraph of The New York Times article:
Her manager, Margaret Selby, said in an interview that Jessica Lang Dance's closing showed how difficult it is to keep a small dance company running these days. "You have to raise so much money, the smaller companies don't have enough staff, and Jessica was running the company for the last seven years without a day off," she said. "She wants to focus on creative work."
Whereas the announcement itself may have come as a shock, the root cause certainly doesn't. All of us in the field are familiar with the conditions to which Selby refers. But that these problems can topple the success of a company like Lang's, which boasts seven years of national and international touring that include commissions from Jacob's Pillow and The Joyce, among others, is sobering.
As conversations in the ballet world about race and representation have opened up in the past few years, its most beloved holiday tradition, The Nutcracker, has come under scrutiny as well. Last year New York City Ballet made changes to its second act Chinese Tea variation, removing elements of racial caricature from both the costume and makeup and the choreography.
NYCB soloist Georgina Pazcoguin, who is part Filipino, was one of the voices fighting for that change. This year, as companies and schools worldwide are gearing up for Nutcracker season, Pazcoguin, along with former dancer and arts administrator Phil Chan, is back with a new campaign. Final Bow For Yellowface is an online platform dedicated to educating companies and schools on how to veer away from offensive Asian stereotypes (yellowface) and providing resources on how to make those changes. The site also lets readers join dance world luminaries including Virginia Johnson, Julie Kent, Adam Sklute, Troy Schumacher and Christopher Wheeldon in signing a pledge to end the practice of yellowface onstage. We touched base with Pazcoguin to hear about how this initiative came to be, and what she and Chan have in the works for the future.
What makes big-time music artists and their collaborators think they can directly plagiarize the work of concert dance choreographers?
And, no, this time we're not talking about Beyoncé.
Last Wednesday, country artist Kelsea Ballerini performed her song "Miss Me More" at the Country Music Awards. The choreography by Nick Florez and R.J. Durell—which Taste of Country said "stole the show" and Billboard lauded as "elaborate"—features a group of dancers in white shirts and black pants performing with chairs onstage, often arranged in a semicircle. They move in quick canons, throw their heads back, and fling themselves in and out of their chairs.
Last week, Arthur Pita's much-anticipated The Tenant, featuring American Ballet Theatre principal James Whiteside, had its New York City premiere at The Joyce Theater.
Based on the novel by Roland Topor and the 1976 Roman Polanski film, The Tenant follows a man who moves into an apartment that's haunted by its previous occupant (Simone, played by ABT's Cassandra Trenary) who committed suicide. Throughout the show, the man—Trelkovsky, played by Whiteside—slowly transforms into Simone, eventually committing suicide himself.
But some found the show's depiction of a trans-femme character to be troubling. Whether the issues stem from the source material or the production's treatment of it, many thought the end result reinforced transphobic stereotypes about mental illness. We gathered some of the responses from the dance community:
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
A couple weekends ago, a friend messaged me about an opportunity to be a part of a new holiday campaign for a major department store. They wanted to showcase various dancers dancing in their fall clothing collection. I asked if it was paid, and when I found that it was not, I immediately wanted to (respectfully) decline.
I remembered reading and resonating with a post on this matter from Dance Magazine's editor, Jennifer Stahl, when she said that "any job that's worth taking for the resumé boost will most likely come from an organization that's big enough to have the money to pay everyone involved."
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As a dancer going through a mental health challenge, loneliness can feel like your only companion. Pacific Northwest Ballet soloist Steven Loch has managed obsessive-compulsive disorder since middle school, and for nearly a decade felt too scared to speak up. "We feel like if we say something people will be horrified by some of the thoughts that we are having," he says.
But according to the National Alliance on Mental Illness, one in five adults in the U.S. experiences a mental illness each year. Psychologists say that in competitive environments like the dance studio—where perfectionism can make you feel like you're never good enough, and an injury can suddenly strip you of your identity—this likelihood may increase.
Last summer I shared my own story of quitting dance due to untreated depression on the Dance Magazine website. It was met with an outpouring of support and camaraderie that I found both affirming and terrifying. A few weeks later, the magazine published an online survey to learn more about dancer attitudes around the need for mental health support. Readers submitted more than 1,000 comments, demonstrating that these struggles are very much a shared experience.
Recently, English National Ballet first artist Precious Adams announced that she will no longer be wearing pink tights. With the support of her artistic director Tamara Rojo, she will instead wear chocolate brown tights (and shoes) that match her flesh tone.
It may seem like a simple change, but this could be a watershed moment—one where the aesthetics of ballet begin to expand to include the presence of people of color.
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
Ever since I saw it last week, Kyle Abraham's The Runaway for New York City Ballet has been haunting me.
Of course, it was a big deal that the interim leadership team (specifically Justin Peck) asked Abraham to choreograph on the company, marking the first time in more than a decade that NYCB has hired a black choreographer. But what struck me most was not the symbolism of the commission. Or even the experience of hearing Kanye West blasted at Lincoln Center, for that matter. It's what Abraham did with Taylor Stanley that I haven't been able to stop thinking about.
Update: Additional perspectives have been added to this story as more responses have come in.
When news about the lawsuit against New York City Ballet and Chase Finlay emerged last week, plaintiff Alexandra Waterbury, a former School of American Ballet student, told The New York Times:
"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."
It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.
But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?
Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.
"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.
Why do people think this is an okay thing to ask for?
People have a tendency to think of dance as purely physical and not intellectual. But when we separate movement from intellect, we limit what dance can do for the world.
It's not hard to see that dance is thought of as less than other so-called "intellectual pursuits." How many dancers have been told they should pursue something "more serious"? How many college dance departments don't receive funding on par with theater or music departments, much less science departments?
Every year, as soon as the Emmy Award nominations are announced, the first thing I do is scroll down (way, way, way down) to find the nominees for Best Choreography. Last week's announcement was no different, and it was a delightful surprise to see tap queen Chloe Arnold become a first-time nominee for her work on "The Late Late Show With James Corden." Alongside Arnold, Mandy Moore, Travis Wall, Al Blackstone and Christopher Scott received nominations for their dances on awards heavy-hitter "So You Think You Can Dance." (Shout-out to Blackstone for his first Emmy nod!)
I do, however, have a bone to pick with the Emmys. Namely, that the routines for which these choreographers were nominated do not appear on the nominations section of the site. Worse, not even the episodes in which the Emmy-nominated dances appear are listed.
Every year since 1985, the President of the United States has recognized our country's greatest artists with the National Medal of Arts. Many dancers and choreographers—from Martha Graham to Tommy Tune to Edward Villella—have received the award.
But President Trump has yet to award any artists (the deadline for the 2016 medals was last February, and historically the ceremony has been held later the same year). Though the White House says it will "likely" issue awards later in 2018, this is the longest gap between ceremonies since the founding of the award—and it speaks to the current administration's general disinterest in the arts.
Since taking office a year and a half ago, President Trump has held no dance performances at the White House, and aside from the military band, no performances whatsoever. He has frequently disparaged artists, from Meryl Streep to the cast of Hamilton. The fate of the National Endowment for the Arts has also come into question. If the President does indeed continue with the award, we wonder how his attitude toward artists will affect who is chosen—and whether artists will even accept the honor. (Carmen de Lavallade and several other Kennedy Center honorees skipped the White House reception last year to boycott the President.)
None of this will stop us from continuing to celebrate worthy dance artists—or from remembering the many dancers and choreographers who've been honored by past Presidents:
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
At a time when the political climate is increasingly divisive, it's no wonder people want to compartmentalize. Some want their pirouettes separate from their politics, and can be quick to protest when dancers challenge that both on and off the stage.
Most recently, American Ballet Theatre principal Isabella Boylston was scrutinized when she shared this post on her Instagram.
When I moved to New York City in 2000, my life looked like that of most 22-year-old aspiring modern dancers: I lived with two roommates in a rundown two-bedroom apartment deep in Brooklyn. I was paid $100 a week to dance for Tamar Rogoff, but I also worked the front desk at a yoga studio and as a "counter girl" at a coffee shop. I made a few hundred dollars a week.
But I had a safety net. My parents insisted I have health insurance, so they paid it. If I couldn't make rent, they paid it. And when a rent-stabilized apartment became available—an alarmingly cheap one-bedroom that would allow me to survive as an artist in the city for the next decade—I used an inheritance from my grandfather to pay the sizable broker's fee, which I admitted to nobody. Without help, none of this would have been possible.
During a period when I was intentionally taking a step back from performing, I was especially sensitive to the question, "So, are you auditioning for things?" Besides the insecurity of being a freelancer not hustling in that way, I also rankled at the complexity of what it means for a non-binary performer to audition.
To put it bluntly, there aren't many safe opportunities for us. That's because so many audition listings include gender-exclusionary phrases, so trans and non-binary artists either aren't eligible to show up or aren't sure whether or not they'd be welcome.
As one of the most celebrated concert dance choreographers working today, a Broadway musical felt like a natural next step for Camille A. Brown. She'd already dabbled in choreography for musical theater and plays. Plus, she tells rich, vivid stories in her concert work about the struggles and triumphs of being a black woman in America today. So when we found out she would be choreographing the Broadway revival of Once on This Island, we were understandably excited. And she didn't disappoint.
But when the 2018 Tony Award nominations were announced last month, Brown wasn't on the list for Best Choreography. Four white men snagged the five nominations (Christopher Gattelli for My Fair Lady and SpongeBob SquarePants: The Musical, Steven Hoggett for Harry Potter and the Cursed Child, Parts One and Two, Casey Nicholaw for Mean Girls and Justin Peck for Rodgers & Hammerstein's Carousel.) Most of the choreographers overall this season were white men, as is usually the case.
