The Feminine Critique
Women make up the vast majority of the dance world. Yet it’s no secret that they’re routinely passed over for leadership positions and choreography commissions, confronted with sexism in the studio and stymied by expectations of how female artists should look and behave. Here, 10 industry leaders open up, candidly sharing their stories, and offering ideas for how we can do better.
Q: What makes you a feminist?
“This spring, I decided that if an organization wanted me to do a piece, I would only say yes if they included a woman choreographer on the program. When I look at some of the playbills of programs I have going up, it’s just like, Really? Only men again? The disparity is kind of insane. If someone chooses not to use me because I’ve insulted them by saying that, I still think it’s worth saying and having that in their ear.” —Kyle Abraham, artistic director and choreographer, Abraham.In.Motion
Q: Do female choreographers make different work than men?
“Definitely. We experience life fundamentally differently, and that affects our physicality and our sensitivity. In The Virgin Suicides, there’s this line that says, ‘We felt the imprisonment of being a girl, the way it made your mind active and dreamy, and how you ended up knowing which colors went together.’ That’s a really poetic way of talking about the unique humanity of women. There’s a quiet power and also a bubbling revolt, a delicateness and a fierceness that’s a negotiation of pleasing people and not. Men have a freedom we don’t have. As a woman, and as a Latina, I feel like every piece I make is somehow supposed to represent my entire culture. I don’t think white men have that kind of baggage.” —Rosie Herrera, artistic director and choreographer, Rosie Herrera Dance Theatre
Christopher Duggan, Courtesy Gibney
Q: What have you noticed as a female entrepreneur?
“When I opened Gibney Dance Center, there was a huge difference in the way women and men reacted. A lot of women came up to me and said, ‘The space is beautiful and I can’t wait to make work in it.’ Men said, ‘I’d like to show my work in your performance space.’ There was a very different attitude about the plans and programs men wanted. They were making deals. I didn’t get a single business proposition from a woman in that way. It’s up to women to take the reins, and take risks.” —Gina Gibney, CEO and artistic director, Gibney Dance
Rose Eichenbaum for Dance Teacher
Q: How can we help young women in ballet build the confidence to become leaders?
“We have to train leaders. A lot of it is about helping students with their priorities. So many just want to get their leg up, want to be insta-famous. And many are myopically focused on ballet. At Colburn, we expose them to other kinds of dance, and to museums. We offer a unit of drama. It’s so hard for ballet students to talk, to get out there and advocate for themselves. The culture is to be silent and to receive. I have to keep reminding them to find their voice and keep expressing themselves.” —Jenifer Ringer, director, Colburn Dance Academy
Rachel Soh, Courtesy Goebel
Q: What has it been like to rise in the male-dominated world of hip hop?
“I never felt there were different standards for men and women, but a different value placed on what women’s work is worth. But there are a lot of amazing female choreographers making their mark today. My movement style, polyswagg, allows us to use all our woman qualities that the boys don’t have, and at the same time be able to hit as hard as the boys.” —Parris Goebel, choreographer for Justin Bieber, Rihanna and Nicki Minaj
Sylvain Guenot, Courtesy Dendy
Q: Why does the dance world trail behind pop culture as far as trans inclusion?
“It’s a private thing to watch on your television. There’s a safety, and that gets taken away when you’re sitting in a theater experiencing a live performance. There are some gender-fluid characters in dance today, but I don’t think you’re going to see a trans person walk out in Esplanade anytime soon.” —Mark Dendy, experimental choreographer who recently created Whistleblower, about transgender soldier Chelsea Manning
Whitney Browne, Courtesy Camille A. Brown
Q: Why is empowering young black women so important to you?
“One time on tour, we asked a high school audience, ‘What comes to mind when you hear the phrase “black girl”?’ Everything was negative and the way they were saying things really made me uncomfortable. I saw people mimicking the gestures that they associated with black girls—snapping their hands, rolling their neck, putting their hands on their hips—and they were pointing to the few black girls in the audience.
That’s why I do the initiative. Black girls need to know that they are valued and they are more than a stereotype. How often are we able to see a black girl’s story through her gaze? We need to talk about the issues, but we also need to show the full spectrum of who black girls are.” —Camille A. Brown, choreographer and founder of Black Girl Spectrum
James Jin, Courtesy Latarro
Q: What is it like to be part of the first all-female creative team on Broadway, for Waitress?
“I’m usually hyperaware of my tone—as a woman, there’s a fine line between speaking too softly and kindly and speaking too harshly. But when you’re in a team that you trust, you can be direct. You just say what you need to say.
Also, we’re women writing about a woman. It feels different when you’re watching because it’s a point of view that we’re not used to. In many other Broadway shows, even if there’s a female protagonist, she still behaves the way a male writer might see her.” —Lorin Latarro, choreographer for Waitress
Julie Mack, THEY Bklyn, Courtesy Pyle
Q: Do outmoded gender stereotypes hold ballet back?
“In my training, I was really discouraged from being strong. There was always the expectation that I would be 15 percent below the typical body weight for my height. Eating disorders come along with that, and then not being able to menstruate—that affects your hormones and emotions and development and your brain. When I stopped ballet, I could think more clearly because I stopped being anorexic. I got a message from my teachers, whether explicitly or implicitly, that I should appear smaller, more fragile, more vulnerable. The archetypes that were presented to me were of women who needed to be saved.
Ballet appears as a very elitist, white, male-run form that will just reproduce the same ideas and images over and over and over again until there is a bigger disruption in terms of types of bodies, genders, race, backgrounds—there’s so much! Having transgender people in ballet companies is what I’m interested in. Bringing in people who have more diverse relationships to their own gender is going to shift the work.”
—Katy Pyle, artistic director of Ballez, an organization and company that explores story ballets with lesbian, queer and transgender people
Jade Young, Courtesy Bond
Q: Do you feel you’re treated differently as a female choreographer?
“I struggle with not being taken as seriously. I look young and I’m in the corps de ballet: I was 16 when I started, and now I’m 33, and I’m still treated as a girl—even when I’m choreographing. I’m not seen as a woman. It’s like I’m pigeon-holed into a box. If I want to do anything I have to initiate it myself.” —Gemma Bond, choreographer and American Ballet Theatre dancer
Interviews by Suzannah Friscia, Marina Harss, Gia Kourlas, Madeline Schrock, Kristin Schwab, Jennifer Stahl and Lauren Wingenroth.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
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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It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
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:
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.
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.