High school dancers — and parents — wondering what to look for in a college or university dance program? Ashley Thorndike-Youssef has some ideas and talking points to use on you college tours as you begin your process of narrowing down the right school for you. Not a matriculating at a college? This material is a anecdote of sorts to the ongoing discussions on academic dance programs as a pyramid scheme. Read on for more, exclusively in From the Green Room, Dance/USA's eJournal.
Responding to the commentary “Is American Modern Dance a Pyramid Scheme?” Nancy Wozny writes: Not everyone has the mettle to navigate the difficulty of being an artist, but I have yet to meet one person who wants to live in a world without art. So the question remains as educators, practitioners, and citizens of this dance world, how can we go forward without the burden of old paradigms of success? Read on here for more.
More on Sarah Austin’s recent controversial Dance/USA article, “Is American Modern Dance a Pyramid Scheme?” as the conversation continues in From the Green Room. Jennifer Edwards contends this issue in the dance field is a symptom of a larger cultural, socio-economic shift that continues to affect both the arts and education. This is a shift in the perceived and broadcasted value of learning, experience, and critical thinking.
Recently, an article by the erudite and whip-smart Sarah Anne Austin (B.A. Dance, University of Maryland, 2008) touched off heated discussion in the academic dance world. The piece, “Is American Modern Dance a Pyramid Scheme?” riled every raw nerve in every dance alum from every dance program across these United States. Read what Austin’s professor, Karen Bradley, has to say about studying dance in today’s colleges.
March 02, 2015 · 3 Comments
Two million arts graduates in the United States have bachelor’s degrees in
the visual and performing arts, though fewer than 10 percent make
enough money to live as working artists. Most arts graduates work in
non-arts fields — the ubiquitous “day job” that they are encouraged,
rightly, not to quit, especially given the cost of an arts degree. Are we perpetuating a myth, or a pyramid scheme, by continuing to promote and accept students into dance and performing arts departments? Read Sarah Anne Austin’s article for more.
March 02, 2015 · 1 Comment
With this interview, From the Green Room inaugurates a new series, the Leadership Corner, featuring one-on-one conversations with top leaders in the dance field. Katherine Brown is executive director of New York City Ballet, and in that capacity oversees the management and administrative functions of the ballet and the David H. Koch Theater and manages a budget of approximately $77 million.
The first in a series on Dance/USA’s From the Green Room focusing on member dance companies and their model programs. This month we look at Chicago’s Winifred Haun & Dancers, a small company that has evolved to make long-term, larger projects reflecting the choreographer’s artistic curiosity.
Guidelines for managers on how to deal with tragedy in a dance company setting.
What to tell company members and staff about the death of a colleague? Read these tips shared on how to break untimely and tragic news.
How does an organization plan for a tragedy? You really can’t. You plan for your
organization’s response to one by putting into place the
information, guidelines, training, and materials needed to help company
leadership and staff deal with a most difficult and often chaotic time.
Writer Steve Sucato contacted Sarasota Ballet, Alvin Ailey American Dance Theater, Culture Shock Dance Chicago, and Chicago Dance Crash about those company members they lost recently. Their insight and advice may prove useful in preparing your organization for the unthinkable.