Working Internationally: More Than Just Touring With a Passport
Working abroad holds an enormous catalogue of
benefits for American artists and our nation: increased visibility;
expanded marketplaces; enrichment of the art form through global
exposure; decreased insularity; plus the more elusive contribution that
dance enhances public diplomacy between our country and the world. While many
dance organizations are eager to work abroad, lack of knowledge and resources can make it difficult to happen. Read on for more on bridging the passport divide.
Writer, Educator, and Speaker Liz Lerman Receives Dance/USA Honor
Liz Lerman is a performer, choreographer, writer, educator, and
speaker. She has been described as “the source of an epochal revolution
in the scope and purposes of dance art” by The Washington Post.
Her aesthetic approach spans the range from abstract to personal to
political. This month Lerman receives the 2014 Dance/USA Honor Award
during the organization’s annual conference in Minneapolis.
David Brown: Danseur Noble, Administrator Extraordinaire
D. David Brown has had an illustrious career, first on stage and as a second act he spent two decades at Boston Ballet as production manager, general manager, and executive, before moving over to Pacific Northwest Ballet. At Dance/USA’s 2014 annual conference, Brown will receive Dance/USA’s Ernie
Award (named for Ian “Ernie” Horvath). The award is given to an
individual working “behind the scenes” in the dance field to empower
artists.
Toward a New Definition of Arts Administrator
You might have heard the saying: “Those who can, do; those who can’t,
teach.” In fact, if you’ve worked in the arts, not only have you most
likely heard this, but you might also consider what I feel is the
implied third part of this phrase, “Those who can’t do either,
administrate.” This article is ultimately about arts administrators; read on for more.
Balancing Acts: Dancers and Their Experiences With Motherhood
George Balanchine didn’t hide his disapproval of dancers having
children. Doubtless, such
overt pressure from a director would not fly anymore, but many issues
that more indirectly discourage parenthood have not changed. Dancers
still deal with issues like taking parental leave, juggling child care,
physical recovery from childbirth, and health care.
Dance and Parenthood: A Case Study
Despite the daunting landscape for independent and freelance dance
professionals, we’re seeing encouraging trends in how some dance
companies regard the family lives of their employees.
Moving On: A Close Up Look at the Closing of the Trey McIntyre Project
The announcement in January by the Trey McIntyre Project that its
performances June 25-29, 2014, at Jacob’s Pillow Dance Festival would be
the company’s last sent both shockwaves and shrugs through the dance
community. The shockwaves were because despite the company only being
a full-time entity since 2008 (it had begun in 2005 as a summer pickup
company); it seemed to be a model of success in a dance world that is
constantly searching for new blood.
Affording Affordable Care
Many dance organizations have long been unable to afford health
insurance for dancers, even though they are the tools through which we
fulfill the missions of our companies. The Affordable Care Act and its subsidies to small businesses provide
an opportunity for dance companies to invest resources in their
employees’ health care, many for the very first time. Great! But, wait …
what options are available? What can we afford? Is my organization
required by law to provide insurance? What if my company can’t afford
insurance?? What are the deadlines???
Affordable Care Act: Important Dates (revised)
Important revised dates to put on your calendar regarding the Affordable Care Act.
Sugary Deals, Dissolving Dance Troupes and the Riddle of Accessibility
While the River to River Festival in Lower Manhattan and on Governor’s Island offers artists who participate welcome
exposure to the public, these performances, sponsored by the Lower
Manhattan Cultural Council and its dance-loving president, Sam Miller,
were also implicated in a real-estate scheme meant to lure
culturally sophisticated (i.e., wealthy) audiences into parts of the
city earmarked for development, but still blighted in the aftermath of
Hurricane Sandy.