GC: At ODC, for example, as an immigrant I find the title “Global Dance Passport” series to describe their “non-Western” classes trou- bling. Especially in the Mission with many displaced residents and Latinx folks, it seems insensitive to assume that through dance we can freely “travel.” Also, I counted all the contemporary and modern dance classes in SF and out of 46, 44 were taught by white women. That was a year ago. But those num- bers don’t lie. CounterPulse appears to be doing indigenous performances and honor- ing the neighborhood, and yet all of their leadership is white. It’s so clear, after watch- ing the Kavanaugh hearings, that the top has to change, we have to shake up leadership in this country from the bottom up, all the way up. SB: What do you think are the Bay Area dance community’s blind spots to racial equity? GC: We have to first acknowledge that there is inequity. For example, I was on the CA$H grant panel and noticed that some people have had more access to education than oth- ers. Some choreographers are better writ- ers than others, it’s a fact that we can see, but we’re evaluating them on their writ- ing. We have to acknowledge that, and the CA$H grantors already do. There are a lot of workshops, webinars, that people don’t take advantage of, in part because we don’t disseminate the information well. Maybe we can do better. » Continued from pg 3 IN PRACTICE: GERALD CASEL
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Also, white choreographers need to move back and make space. If you don’t see your privilege or your access, because you’re tak- ing up that space or position, then someone else is unable to occupy it. I’m also asking everyone to write a statement of equity. Like residency programs: what are you doing to make the field more equitable, what are you not doing? A local residency program called me to ask how they can better serve their constituents. I said, “Have you looked at your Board of Directors? 26 of them are white.” And she was like, “No I didn’t know that.” So look at the leadership, at the board. What do you mean when you say “diversity program”? When I point it out to people they instantly recoil. You should look, imma- nent critique, take a look. Finally, choreographers and dancers need to be in conversation with thinkers and writ- ers more, in the same space more, not just virtual reading space but in rooms together. Dance writers can build bridges for audi- ences who come to dance performances and feel like they don’t get it—that anxiety is real. Dance writers can say, calm down, you don’t have to get it, whatever your experienc- ing, that’s all you get. SIMA BELMAR, Ph.D., is a Lecturer in the Depart- ment of Theater, Dance, & Performance Studies at the University of California, Berkeley, and writing fellow at the National Center for Choreography in Akron, Ohio. Her scholarly articles and book reviews have appeared in TDR , the Journal of Dance & Somatic Practices , Performance Matters , Contempo- rary Theatre Review , and The Oxford Handbook of Screendance Studies .
Dance/USA Announces The Equity Project: Increasing the Presence of Blacks in Ballet The Project brings together a cohort of artistic and execu- tive leaders from 21 large budget, professional ballet organizations for in-person meetings and coaching, with the purpose of increasing the presence of blacks in ballet in all areas of the industry. The ballet organizations confirmed to participate in the three-year program are: American Ballet Theatre, Atlanta Ballet, Ballet Austin, Ballet Memphis, Boston Ballet, Charlotte Ballet, Cincinnati Ballet, Dance Theatre of Harlem, Miami City Ballet, Nashville Ballet, National Bal- let of Canada, New York City Ballet, Oregon Ballet Theatre, Pacific Northwest Ballet, Pennsylvania Ballet, Pitts- burgh Ballet Theatre, Rich- mond Ballet, San Francisco Ballet, School of American Ballet, Texas Ballet Theater, and The Joffrey Ballet. danceusa.org
San Francisco Grants for the Arts’ General Operating Support Application Available: Fri, Nov 16, 2018 Deadline to Apply: Fri, Feb 8, 2019 Grants for the Arts is launch- ing a new online platform applications and grant management. Starting this year, the Cultural Data Funder Report will no longer be required. sfgfta.org On the Ballot in San Francisco: Proposition E Election Day: Tue, Nov 6 Without raising taxes, Propo- sition E aims to increase arts funding for the entire arts ecosystem by investing in youth arts programs, cultural centers, cultural districts, individual artists and arts organizations throughout San Francisco. It does this by restoring funding for the arts from the Hotel Tax. artsforeveryonesf.com
Oakland Immigrant Artist Mentoring Program Pairs Im- migrant Artists with Mentors Deadline: Dec 2, 2018 The Program, offered in Oak- land by New York Foundation for the Arts, fosters a commu- nity, providing opportunities to connect with other immi- grant artists through group meetings, peer learning, and informal gatherings with pro- gram alumni. Through access to other artists, arts profes- sionals, and organizations, the program offers immigrant art- ists the opportunity to focus on their creative practice, gain support and exposure for their work, while upholding their distinct identities. The Oakland program is in collaboration with local partners World Arts West, Oakland Asian Cultural Cen- ter, Oakland Public Library, Aggregate Space Gallery, and Bisemi Foundation, Inc. nyfa.org
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