Tag: DanceTheatreOfHarlem

I recently explored the Lords of the Dance. Dance performance and participation is overwhelmingly female… Artistic Direction (AD) in dance, not so much. There’s a fascinating case to explore of modern dance rising as a reaction to this gender dynamic in ballet, but that’s not today.

Today is about current female artistic leadership in large-budget American dance companies.

First, it’s important to state that this is just one job title, and only looking at a very few, very large companies. This doesn’t explore executive leadership, board participation, choreographers, or the people running the studios and rehearsals… and this is all binary-gender, because I can’t find any evidence of any gender-expansive humans in the AD position at these organizations (Dance Data Project did, but not in the United States [and no longer in 2023…]. Get your budget up, trocks 🙂 ). I’m going to use pink and blue gender associations in chart. Also, this is based on pre-pandemic FY2019 budgets, and only companies with budgets of $5 million or more. It’s an arbitrary cutoff. There are 41.

Female Artistic Direction

Today, just under 32% of the largest United States dance companies have female-identifying artistic directors, which is up a bit in recent history.

Since 2020, 9 of these companies changed artistic directors, making a remarkable 22% (and it’s going to be at least 24%) turnover in just three years (there’s more to explore about the pandemic and other recent shocks as an impetus…) and five of those were women.

More interestingly, four of those women replaced men, and in three of those cases, these women were the first female artistic directors in their company’s history.

In the same period, two men replaced women, and both of those women stepped up, not out. Susan Jaffe left Pittsburgh Ballet Theatre for a much larger ballet station at American Ballet Theatre (ABT) and is replaced by Adam W. McKinney, and Alejandro Cerrudo replaced Hope Muir at Charlotte Ballet in 2022. Hope Muir also landed at a larger ballet station, the National Ballet of Canada – more than triple her previous charge (in US dollars), but outside the United States, so… she escapes the rest of this discussion.

This year (2023) Dani Rowe becomes the first woman to hold the position at Oregon Ballet Theatre in its 34 years and Jodie Gates assumed the AD position, succeeding Victoria Morgan at the Cincinnati Ballet after 25 years. Robert Garland will replace Virginia Johnson at Dance Theatre of Harlem in July – he’ll be the 10th post-2020 AD transition.

Last year (2022), Tamara Rojo replaced Helgi Tómasson at San Francisco Ballet (a position held for 37 years), becoming the first female AD in that company’s 90 year history, and Susan Jaffe replaced Kevin McKenzie, who held the position for nearly three decades at American Ballet Theatre.

And in 2021, Linda-Denise Fisher-Harrell assumed the artistic director position at Hubbard Street Dance, becoming the first woman to do so in that company’s 45-year history.

This post-pandemic female AD cohort joins the ranks of Lourdes Lopez at Miami City Ballet, Julie Kent at Washington Ballet, Jodie Gates at Cincinnati Ballet, Stoner Winslett at Richmond Ballet, Brenda Way at ODC Dance, Janet Eilber at Martha Graham Dance Company, Virginia Johnson at Dance Theatre of Harlem (for a few months), Karen Russo Burke at Dayton Ballet, and Gina Gibney at Gibney Dance. The fact that this list is short enough to fully enumerate reveals several challenges for dance in America.

Women of the Baby Balanchines

I also recently explored the “Baby Balanchine” companies. As a tiny case-study in female artistic leadership, these are interesting. Women (well, more precisely, Balanchine women…) were deeply involved in most of these, and held the role of artistic director for half of the babies in 1963. I’m not counting New York City Ballet as a baby (it’s the “parent”), and Mr. B did not let go of his ballet station… and it’s been men the whole time.

Boston had E. Virginia Williams, who started teaching at age 16 and founded the New England Civic Ballet in 1958. Under her direction, the Boston Ballet explored rock ballet with Louis Falco‘s The Gamete Garden (1971). In 1974, she took a bold chance on the then-10-year old Winterbranch by Merce Cunningham – and managed to chase some of the audience out of the room. Williams is succeeded by Violette Verdy (also deeply connected with Balanchine) in 1983, and then by Bruce Marks (from Ballet West) in 1985. Anna-Marie Holmes brings the feminine back to Boston as a co-artistic director for several years before a brief 3-year run as AD starting in 1998. Since 2001, it’s been Mikko Nissinen.

Houston had Tatiana Semenova who started a ballet school in 1955. In 1959, Robert Irving, New York City Ballet’s principal conductor (those Balanchine connections run deep…) led the Houston Symphony for the world premiere of Semenova’s Enigma. There was some drama, and part of the Ford Foundation funding was lost with her departure in 1966. After a somewhat complicated transition, Nina Popova held the AD position until 1975.

The National Ballet never had a female artistic director, but had Jean Riddell as president of the National Ballet Society. It’s Washington, D.C., so things get complicated, and the company folded in 1974.

Perhaps the deepest Baby Balanchine connection was Barbara Weisberger, founder and artistic director of the Pennsylvania Ballet until 1982, and who also founded the Carlisle Project and served as an artistic advisor for Peabody Dance in Baltimore. Pennsylvania Ballet (now Philadelphia Ballet) hasn’t seen a female artistic director since she left in 1982.

But that auspicious recognition of women in artistic leadership roles among the Baby Balanchines would erode… Houston’s AD was male by 1976, and by 1985, men ran them all, with a brief respite from 1993-2001 in Boston. AD gender at the Balanchine-legacy companies (including NYCB) looks like this:

Just a hint of pink at the far-right in that image, Tamara Rojo brings a Spanish (by nationality) and British (Royal Ballet and English National Ballet) sensibility to the San Francisco Ballet – a change away from both male gender and Balanchine, with a powerhouse $57 million annual budget (much more than double the English National Ballet’s $23 million).

Perhaps worth noting here, Balanchine shared his perspective on gender in ballet… the “ballet is woman” quote is often attributed to him – but there’s more.

But if you watch the stage you will see something more beautiful. The ballet is a purely female thing; it is a woman, a garden of beautiful flowers, and man is the gardener.

“Mr B Talks Ballet,” George Balanchine, Life Magazine, 11 June 1965, page 97.

… a sentiment that maybe does not age all that well.

Budget Equity

The new ADs represent significant cultural changes in each company, but the post-2020 net change is only +2 for the ladies – so far (that will drop to +1 in July). There’s a very different story if you look at the economic change these women represent.

The four women that replaced men now direct more than $120 million a year to their artistic vision, almost doubling the financial resources available to female ADs at these top-tier dance companies. Jaffe’s transition from Pittsburgh to ABT gives her access to more than four times the budget (although it’s in a city that’s much more expensive…).

I don’t have data to support any sort of “first time in history” claim, but this huge shift in resources appears to have achieved AD gender “budget equity.” For at least a few months of 2023, the 32% of companies with female artistic directors represent 32% of the aggregate annual budget at the largest 41 dance companies in the United States.

Congratulations

Congratulations to the new female artistic directors of American dance (and you too, Hope Muir!). May your tenures be amazing. Please don’t forget to reach back and offer a hand-up. We need more of you.

Breadcrumbs…

Dance Data Project US Artistic Director History Data Byte [pdf] is only ballet companies, and based on the largest 50 by budget, so different base data set, but it has an interesting point of comparison. Their data says 46% of the largest 50 ballet companies were founded by female ADs – but only 30% are lead by female ADs as of July 2021. The erosion of female artistic leadership seen in the Baby Balanchines looks more widespread.

Where are the Women in Ballet (WBUR, 2015)

Sexism in dance: where are all the female choreographers? (The Guardian, 2013)

Agnes de Mille’s Artistic Justice (The New Yorker, 2015)

Last year, 69% of works performed by the 50 largest ballet companies — including Joffrey and Hubbard Street — were choreographed by men. Women in dance are trying to change that. (Chicago Tribune, 2021)

Leading Ladies (Dance, 2016)

Update (26 May 2023) – added note about Dance Data Project Global Leadership Report 2023.