The power dynamics and working environments in dance can leave women vulnerable. Photo by Soragrit Wongsa/Unsplash
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.
We all know that companies too often take dancers for granted. When I wrote last week about a few common ways in which dancers are mistreated—routine screaming, humiliation, being pressured to perform injured and be stick-thin—I knew I was only scratching the surface.
So I put out a call to readers asking for your perspective on the most pressing issues that need to be addressed first, and what positive changes we might be able to make to achieve those goals.
The bottom line: Readers agree it's time to hold directors accountable, particularly to make sure that dancers are being paid fairly. But the good news is that change is already happening. Here are some of the most intriguing ideas you shared via comments, email and social media:
Freelancing is more common than ever. So why is it that, as the market shifts to favor freelance dancers, we do not pay them enough to subsist on their art?
In Dance Magazine's August interview with four successful freelance dancers, not one reported making enough from the industry to cover their expenses. Most freelancers get by through living with family or taking on a side hustle—sometimes both.
When dancers are unhappy or uncomfortable in the studio, healthy communication is essential. Perhaps you feel slighted by a casting decision, dissatisfied with a new rehearsal schedule or uneasy about something a choreographer has asked you to do.
What can you do? Here are three strategies to keep in mind.
Atlanta Ballet audition photo by Jim Lafferty for Pointe
In the days and hours before an audition, your to-do list might include researching the company, conditioning your muscles, updating your resumé or taking a long walk to clear your head. But what you don't do before pinning on your number can be just as critical to your success.
Your first year in a dance company can be a shocking transition. It's also a high-stakes one. "Everyone's looking at you to see what you can do, but also the kind of person you're going to be," says Philadanco founder Joan Myers Brown. How can you succeed when you're suddenly the least experienced person in the room?