Dear DDP Supporters,
As the 2022-23 performance season rapidly approaches, we are excited to share all of the outstanding research, advocacy & programming created by the DDP Team.
I am excited to continue to feature extraordinary women in the world of dance through this newsletter, with spotlights on Brooklyn Ballet and Caili Quan.
With the recent release of our Largest 150 U.S. Ballet & Classically Based Companies & Financial Scope of the Industry Report, we took a look at the budgetary impact of the pandemic on a total of 188 companies. Part II of the report will be released next week. Stay tuned for an in-depth and revealing examination of the wage and leadership gap within artistic and executive leadership at classically based companies.
Another exciting upcoming DDP project is our Gender Equity Index, which will provide a ranking for companies based on their performance related to gender equity, including internal company policies, leadership demographics, and DDP’s own longitudinal research.
We are also anticipating the publication of several new resources, including our Raising the Barre interview series, which will kick off in August with our first installment from Lauren Cramer. We'll also be publishing a series of short impactful interviews with moms/parents navigating the dance economy created by new team member Becky Ferrell, she is calling Moving Forces: Motherhood in Dance.
Press and more press: We were honored to be mentioned in several prominent media publications, including Alastair Macaulay’s ground-breaking essay, which was posted to his globally referenced blog this past May. I was also honored to be named as a Lifetime Honorary Member of Corps de Ballet after presenting at their annual conference in Richmond, where I had the delight of interviewing Richmond Ballet's Stoner Winslett, who also treated me to an incredible dinner with her all-female Board and leadership team. Southern hospitality at its best!
This edition of the newsletter highlights our latest research, upcoming and recent commissions by female choreographers, interviews with leading creative voices in dance, and several updates on DDP team members.
This issue of the DDP Newsletter includes the following features:
- Latest Research Findings
- Company Profile
- Brooklyn Ballet
- Choreographer Profile
- Caili Quan
- News from the Field
- New Resources
- Global Volunteer Cohort
- Global Update: Bailey’s Blog
- Team Member Features
For now, I look forward to seeing what this next year holds and invite you all to keep a lookout for the big things that we have coming. Here at DDP, we plan to continue holding companies accountable and encouraging transparency throughout the upcoming performance season.
Yours,
Liza
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DDP at the 2022 CORPS de Ballet International, Inc. Annual Conference |
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Dance Data Project® President & Founder Elizabeth Yntema was one of several guest presenters featured at the recent 24th Annual CORPS de Ballet International Conference.
This year's conference took place June 21-24 in Richmond, Virginia, and followed the theme "Fairies, Queens, and Cavaliers: Ballet’s Production and Disruption of Gender." In addition to presenting on DDP's mission and work, Liza had an engaging conversation and interview with Richmond Ballet's founding Artistic Director, Stoner Winslett.
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The Latest in DDP Research |
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Dance Data Project®'s most recent report offers an expanded look at our annual rankings research and provides a national ranking based on company expenditures. This is our fourth annual and most comprehensive study on the largest U.S. ballet companies to date.
In this year's Report, we've investigated, for the first time, the budgetary impact of the onset of the pandemic on the largest – and smallest – U.S. ballet companies.
- This year, DDP examined a total of 188 companies, a 49% increase from last year’s Report.
- The DDP research team produced rankings by size not only for the Largest 50 and Next 50, but also an Additional 50, thus ranking a total of 150 U.S. ballet companies.
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The aggregate expenses for the Largest 50 companies totaled $586,724,176 in Fiscal Year 2020, approximately a 12% drop from the previous year.
- The Next 50 operated with just 8% of the expenses of the Largest 50.
- The Additional 50 operated with only 2.5% of that figure.
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“By expanding our research to cover an Additional 50 companies, with only 2.5% of the expenditures of the Largest 50 organizations, DDP is painting a more comprehensive picture of the classical dance economy in the United States - underlining how dominant the few, largest companies are.”
-Hayley Weber, Dance Data Project® Research Coordinator
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Aggregate Expenditures for the Largest 50, Next 50, and Additional 50 U.S. Ballet Companies |
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Stay tuned later this July for Part 2 of this Report, which will examine Artistic & Executive Leadership during Fiscal Year 2020! |
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Other countries have social safety nets. The U.S. has women. -Culture Study
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The Real Pay Gap
- The pay gap is not about gender. It’s not even about care work. It’s about mothers and it’s about the “motherhood penalty.”
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In 22 states, childless women are actually making more than men. But when you become a mom, oftentimes you may take time off from work because the vast majority of women don’t have paid leave. They have to take time off after they have a child, and within a year you can lose almost 40 percent of your income, which you then never recover. (Mckinsey & Company)
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The Pendulum of Childcare: Curse or Competitive Advantage?
- Women have always been qualified: they’re 72 percent of valedictorians and 57 percent of college degrees and the majority of PhDs and master’s degrees.
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We’re losing women in the middle. The pipeline is leaky when we become mothers, not because we’re choosing to stay at home, but because it becomes untenable to be a mother and have a job. (McKinsey & Company)
- Lack of adequate and accessible childcare is one of the primary causes for women leaving the workforce. On the other hand, most women are more likely to choose an employer that offers better childcare support.
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Curse:
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Forty-five percent of mothers with kids under the age of five who left the workforce during the pandemic cited childcare as one of the reasons they left, compared with only 14 percent of men. (McKinsey & Company)
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Employment in child day care services, including after school care which is a critical support for parents with young school-aged children, remains 11% below pre-pandemic levels. (Women’s Bureau, U.S. Department of Labor)
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Fifty-nine percent of folks who live in rural communities live in a childcare desert by common definitions. (McKinsey & Company)
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Competitive Advantage:
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On returning to the workforce, 54 percent of women who left the workforce to handle childcare during the pandemic said they would take advantage of a paid childcare option if it were available to them. (McKinsey & Company)
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Childcare is an economic issue, it’s not a personal issue, and offering childcare as a benefit is a way for companies to manage their attrition. (McKinsey & Company)
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Mental Health Matters
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The majority of women (64%) have experienced a career break at some point in their career with top reasons including parental leave (22%), medical leave (17%) and mental health reasons (14%). (LinkedIn)
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For the first time, the CDC reported that moms are the second subgroup that is facing the largest amount of anxiety and depression after the pandemic. (McKinsey & Company)
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Artistic & Executive Leadership Report
Artistic and Executive Director Salary Increases Data Byte
Venue Leadership & Programming Report
Endowment Data Byte
Season Overview Report: 2021-2022
“First Look” New Season Report: 2022-2023
Board of Directors & Trustees Analysis
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Gender Equity Index
A gender equity index is a method of tracking and ranking companies based on their performance as it relates to gender equity. Dance Data Project® will be creating a proprietary algorithm that, based on participating company answers - including the company’s transparency around policies, pay and practices - combined with DDP’s research findings, will determine the company’s equity score. Our results will break down how and why the company receives its rank as well as what future changes can be made for the company, not only to become more equitable, but to increase chances of getting grants, more applicants, a wider audience, and happier employees.
For more information or to take part in our Gender Equity Index survey, please contact Communications Lead Isabelle Ramey at iramey@dancedataproject.com.
Raising the Barre: Curriculum for the Next Generation of Leadership in Dance
This upcoming free series will offer creative solutions to properly equip female dance leaders of the future with vital skills to strengthen their careers. Each episode will be accessible on the DDP website and will be accompanied by a tangible resource. This coming August, look out for the first installment of this series: "Dance Company in a Box- Documents and Practical Advice for Starting a Company, a Festival, or a Touring Production" with Lauren Cramer.
Moving Forces: Motherhood in Dance
Mothers have had robust careers in dance for decades. However, support systems have rarely been woven into the foundation of dance organizations. In this upcoming interview series, DDP will be in conversation with working mothers in varying roles in the dance field to discuss their personal experiences, work-life balance, and recommendations to create an increasingly inclusive dance ecosystem.
For more information about DDP's upcoming Raising the Barre and Moving Forces series, please contact our Research Lead and Programming Consultant, Rebecca Ferrell at rferrell@dancedataproject.com.
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This past May, in an essay published on his blog, Alastair Macaulay presented and celebrated the ever-growing list of global female artistic director appointments, while also discussing the significance of this trend and the existing inequities in ballet leadership.
In this essay, Macaulay recommended Dance Data Project®’s 2021 Global Ballet Leadership Report as a resource and noted several key findings. He mentioned that, since this report was originally published, several additional female directorships have been announced, including Tamara Rojo to San Francisco Ballet, Jodie Gates to Cincinnati Ballet, Hope Muir to the National Ballet of Canada, and Jaffe to ABT. He writes that women are being appointed to these director positions at a higher rate than during any of the years between 2018 and 2021. Read the rest of this groundbreaking, global essay here.
Take a look below at some of the other publications that have recently featured DDP:
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This article by Psychology Today describes the lack of leadership opportunities for women in dance and demonstrates these inequities by citing DDP research, including statistics from our 2020-2021 Season Overview Report and our 2021 Global Ballet Leadership Report. The article also commends DDP's commitment to studying the previously under-researched gender disparity in dance leadership. It then goes on to recommend DDP’s research as a powerful tool to help support women in earning funding and other opportunities:
“Women are using the data collected by the Dance Data Project in applying for grants to make the case they should be funded. By putting out more and more research, this effort has the potential to generate interest and sometimes it shocks the dance world. Hopefully, this is only the beginning.”
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This feature highlights choreographer Claudia Schreier and cites DDP's 2020-2021 Season Overview Report. The profile centers around Schreier's latest work, The Source, which was commissioned by Lourdes Lopez and Miami City Ballet. It describes Schreier’s prominent career as a choreographer and the challenges she’s faced as a Black woman in ballet, referencing DDP research to explain the significance of Schreier’s accomplishments, which include commissions by Atlanta Ballet and Dance Theatre of Harlem. Specifically, the piece cites our finding that “men choreographed 69 percent of the works in the 2020-2021 season.”
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This article discusses Ballet Arkansas' end-of-season "Four Seasons" performances, which were comprised of four female-choreographed world-premiere ballets. The article references DDP in discussing the company's commitment to gender equality. Michael Fothergill, executive and artistic director of Ballet Arkansas, notes in the article, that they are the only company in the region with an all-female bill included in this past year's performance season. In mentioning DDP's research, the article then goes on to discuss the importance of providing platforms for women to showcase their work as creators.
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This piece on Greensboro Ballet, Jessica Fry McAlister, and the forthcoming Gate City Dance Theatre cites several DDP reports, including our 2021 Artistic and Executive Leadership Report and our 2021 US Artistic Director History Data Byte. The author uses our findings to celebrate McAlister's position as director and to discuss the discrepancies in pay for male and female dancers and artistic and executive directors. The article then tells the story of McAlister, her husband David McAlister, and several former Greensboro Ballet dancers deciding to begin their own ballet company, Gate City Dance Theatre, which, alongside an associated school, will start operations this September.
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From Michigan Law School, this feature on DDP Founder & President Elizabeth Yntema celebrates the strides that DDP has made toward disrupting the ballet world. The article discusses how Yntema’s experiences at Michigan Law School gave her a framework to prepare for the founding of Dance Data Project®. The feature also discusses Yntema’s various successes as a law student and her reasons for creating a nonprofit as a “reluctant entrepreneur.” The piece then goes on to describe the significant strides that she has made toward challenging and disrupting the ballet world, while also defying expectations for women in their 60s.
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This article on gender bias in ballet uses DDP statistics to illustrate inequity in leadership roles. It explains how male students are consistently given preferential treatment for training and performance opportunities over female students. It then describes how this trend continues past early training and into dancers’ professional careers. The article cites DDP’s research to indicate that, due to this inequity, men are also granted more support and assistance in pursuing leadership roles in dance.
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Founded in 2002 by Artistic Director Lynn Parkerson, Brooklyn Ballet brings a contemporary vision to ballet. With repertoire that revitalizes the classical form and a commitment to serving the community, the company has seen major success through its three-fold mission of artistic accomplishment, education, and community engagement.
We had the pleasure of speaking with Parkerson about Brooklyn Ballet's founding, its 20th anniversary season, and the company's commitment to bridging cultural and class divides.
Click here to read our full interview with Lynn!
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One of two Artists-In-Residence at the 2022 Vail Dance Festival, Caili Quan is a New York City-based dancer and choreographer. She danced with Philadelphia's BalletX from 2013-2020 where she performed new works by Matthew Neenan, Nicolo Fonte, Gabrielle Lamb, Penny Saunders, and Trey McIntyre.
As a choreographer, she has created works for BalletX, The Juilliard School, American Repertory Ballet, Flight Path Dance Project, Oakland Ballet Company, Owen/Cox Dance Group, Columbia Ballet Collaborative, and Ballet Academy East. We had the opportunity to speak with Caili about her various roles and responsibilities in Vail this summer, her career as a dancer and choreographer, and her plans for the future.
Click here to read our full interview with Caili.
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News from the Field
As we seek to highlight recent and upcoming commissions and performance updates featuring female choreographers at major companies around the world, we are highlighting the following. If you wish to be featured in the next edition of the newsletter, email lwirth@dancedataproject.com.
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From DanceAspen
This coming August 7, DanceAspen will perform several innovative new works at the Vilar Performing Arts Center as part of the Vail Dance Festival. Pieces in this program will include, among others, Next To by Penny Saunders, St. Barth’s by Danielle Rowe, and Press Play by Caili Quan.
During the Festival, the company will also present a contemporary ballet Master Class on August 6. That same day, Artistic Director Laurel Winton will join Michael Sean Breedenon on the 'Conversations on Dance' podcast to discuss DanceAspen's goals and identity.
Click here for tickets and more information about DanceAspen's upcoming performance in Vail.
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From Norwegian National Ballet
Norwegian National Ballet has recently presented several works by associated female choreographers as part of the company's choreographic development program. These pieces included a June 17th premiere for New English Ballet Theatre by choreographer Georgie Rose. This work, entitled Solace, was performed as part of NEBT's Next Generation Festival, a mixed program of six classical and contemporary female-choreographed works. Another NNB Associate Choreographer, Isabel Vila, recently created a new piece for Pantarei Danseteater’s talent program Tilt 22. This site-specific program took place at Oscarborg Fortress on June, 25 and included seven solo pieces.
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Later in Norwegian National's upcoming season, twin sisters Anna & Berit Einemo Frøyslands will present a new piece titled Gigant as part of the CODA Oslo International Dance Festival. Inspired by both sci-fi and mythology, their piece gives life to colossal figures and incomprehensible creatures. It will be one of three works making up a co-production between NNB and CODA, titled CODA: SNAP. Performances will take place this October. That same month, NNB soloist and choreographer Samantha Lynch will be premiering a new piece for Zürich Junior Ballett's next biennial production Horizonte. Lynch's A Bolero will also be appearing as part of the company's Mainstage productions for the year. That piece will appear alongside works by Whitney Jensen, Anaïs Touret, and Juliano Nunes.
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Also coming up this fall, Marit Moum Aune will be curating a collage of ‘Family Portraits’ to appear in the Musée d’Orsay in Paris. This collage will feature excerpts from her previous internationally acclaimed pieces including works like Ghosts and Hedda Gabler. Norwegian National Ballet's 2022-2023 season will include such productions as a revival of Afternoon of a Faun by Anais Touret and Whitney Jensen. Emma Portner will also be creating a new work set to appear alongside an evening of works by Kylian and Balanchine. Later in the season, the company will also be presenting an evening of work by Crystal Pite, co-produced with The Royal Ballet and featuring Pite's acclaimed work Flight Patterns.
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From Morgann Runacre-Temple
A reimagining of Coppélia, choreographed by Morgann Runacre-Temple and Jessica Wright, will debut at the Edinburgh International Festival this August. This world premiere will be performed by Scottish Ballet and will take place at the Festival Theatre. This new work by the UK-based duo Jess and Morgs blends location and real-time filming with projection and live performance. A new take on a distinctive classical ballet, Coppélia asks the question: what does it mean to be human in a world of artificial intelligence?
This new production builds on previous performances choreographed by the duo, including works such as Tremble and The Secret Theatre. It is set to a new composition written by Mikael Karlsson and Michael P. Atkinson that references the original Delibes score and will be performed live by the Scottish Ballet Orchestra.
Learn more and get tickets here.
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From Metropolitan Ballet Company
This past June, Metropolitan Ballet Company celebrated it's 25th Anniversary with a gala featuring 13 Alumni dancers and choreography by Kanji Segawa, Sarah Mettin, and Ashley Walton. Some of the guest artists featured at this gala included Melissa Gelfin De-Poli of Cincinnati Ballet, Sierra Levin of Indianapolis Ballet, Sara Vandervoort Thomas of Colorado Ballet, and Kamryn Baldwin of San Francisco Ballet. Jessica Lang and Kanji Segawa were celebrated as Special Honorees at the Gala, in recognition of their long history of creating works for the company. Some of the repertoire performed at the gala included Sarah Mettin's Vesna, Kanji Segawa's Highland Bliss, and the Don Quixote Suite, staged by Natalya Zeiger.
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Integral to these past 25 years of success was Artistic & Executive Director of the company and academy, Lisa Collins Vidnovic. A former dancer and Ballet Mistress with Pennsylvania Ballet, Vidnovic has helped launch the careers of prospering dancers across the country.
Throughout her training and career, Vidnovic worked alongside women like Margo Crowdus, her first ballet teacher in Tulsa; Maria Tallchief at the Chicago Lyric Opera Ballet; Barbara Weisberger, the Founder of Pennsylvania Ballet; and Lupe Serrano, former Ballet Mistress at Pennsylvania Ballet. Vidnovic founded Metropolitan Ballet Company & Academy in 1996 in Jenkintown PA with the goal of inspiring and training young dancers of diverse backgrounds. Over these past 25 years, Vidnovic has added 75 works to the company's catalog of repertoire, including 33 premieres by choreographers like Kate Skarpetowska and Jennifer Sommers.
Learn more about Lisa and the 25th Anniversary of Metropolitan Ballet Company & Academy here.
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From Rena Butler
This past June, dancer and choregrapher Rena Butler premiered a new work for Gibney Company as part of New York Live Arts' Up Close series. The piece, titled Re | Build | Construct, loosely referenced the "Allegory of the Cave" from Book 7 of Plato's Republic. The piece received a glowing New York Times review and also marked Butler's last performance as a dance artist with the company. This summer, Butler has been working on a new work for Cleveland's Groundworks Dance Theater, a piece for Jacob's Pillow' contemporary program, and a new commission for Parsons Dance in New York City.
Later this summer, Butler will present a trio as part of Kyle Abraham's curation of works by former and current Abraham.In.Motion artists. The piece, titled, Lusus Naturae, will also be performed as part of the Lincoln Center's annual Out of Doors summer performance festival this August. This upcoming year, Butler also has planned commissions with Norrdans in Sweden, the National Ballet of Canada, San Francisco Opera, the new GibneyPro program, and the New World School of the Arts in Miami.
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From Miami City Ballet
Miami City Ballet and Joffrey Ballet recently co-produced Rita Finds Home, a ballet by Amy Hall Garner. Written by Karla Estela Rivera and illustrated by Elisa Chavarri, Garner's ballet is a family-friendly performance that appeared earlier this July as a part of Miami City's community engagement programming.
Later in MCB's 2022-2023 season, Garner will also be premiering a new work which is set to debut alongside a world premiere by Pontus Lidberg as well as Graham's Diversion of Angels and Limón's The Moor’s Pavane. Lidberg's premiere in that program will feature costume design by former Miami City Ballet soloist turned fashion designer Andrea Spiridonakos.
For tickets and more information about Miami City Ballet's 2022-2023 season, visit their website here.
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From San Francisco Ballet
San Francisco Ballet's upcoming 90th season will include five ballet debuts alongside "next@90," a new works festival. This event will feature nine new works, four of which will be female-choreographed premieres. The women highlighted in this program will include Bridget Breiner, Yuka Oishi, Danielle Rowe, and Claudia Schreier. Learn more about this festival and the choreographers who will be creating these nine new works here.
San Francisco Ballet is also excited to share the news of Tamara Rojo's appointment as the first female Artistic Director in the Company’s history. She will be working alongside Executive Director Danielle St. Germain, who was appointed to the position in March. The company is also searching for seasoned photographers to shoot their upcoming season and invites photographers of diverse backgrounds to reach out here.
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From Kimberly Bartosik
This July 16 and 17, American Dance Festival's Footsteps program presented three commissioned works at the Reynolds Industries Theater at Duke University. Kimberly Bartosik, one of the choreographers commissioned to create a work for these performances, is the founder of Kimberly Bartosik/daela, a diverse performance ensemble that she began in 2005. In addition to being a creator and choreographer, Bartosik is also a performer, educator, essayist, and a 2019 Guggenheim Fellow, Learn more about American Dance Festival's Footsteps program and Bartosik's commissioned piece here.
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From Pittsburgh Ballet Theatre
PBT's 2021-2022 season featured a world premiere by Aszure Barton entitled Bright progressions. This work appeared as a part of the company's Here + Now program, which also featured pieces by Staycee R. Pearl, Helen Pickett, and Gemma Bond.
Barton's premiere, set to music by the British band Sons of Kemet, embraced joyful and energized jazz, hip hop, Caribbean and pan-African- inspired music. In creating the piece, Barton also drew from the collaborative energy of the dancers, allowing them to make choices, have agency, and incorporate their own artistry into the choreography. During the rehearsal process, Barton emphasized the human connection between herself and the dancers, which she says contributes to the dancers having confidence and freedom on stage, in turn allowing them to better connect with the audience.
Learn more about Bright progressions and the other works featured as part of Here + Now here.
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From Dayton Ballet
Dayton Ballet's upcoming 2022-2023 season will feature the "85th Diamond
Anniversary," program, an all-female choreographed series featuring works by Artistic Director Karen Russo Burke, Jennifer Sydor, and Annabelle Lopez Ochoa. Jennifer Sydor, a dancer with The Metropolitan Opera, will present a work in this series that is focused on the Tibetan term "bardo," or "intermediate state." The work will represent a genderless state of being in which souls connect and fall in love. She hopes to break social norms with the piece, which will include a female duet, feature music by Michael Wall, and incorporate the advice of certified Intimacy Coordinator Allison Jones.
Dayton Ballet has also recently announced the retirement of Anne Davis, former student, teacher, and administrator with the company. Other works set to appear as part of Dayton Ballet's upcoming 85th season are The Legend of Sleepy Hollow and Peter Pan.
For tickets and more information about Dayton Ballet's 2022-2023 season, click here.
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From Ali Duffy
Described as a one-of-a-kind, immersive performance, Pandemic Mama, performed by Flatlands Dance Theatre this past spring, unpacked the experience of motherhood during the COVID-19 pandemic. The interdisciplinary artwork featured original dance, theatre, music, and film. It utilized data from women across the South Plains of Texas, featured an original devised film, and included segments of live dance, theatre, music, and immersive arts and storytelling experiences.
Ali Duffy, the Artistic Director of Flatlands Dance Theatre and a Professor of Dance at Texas Tech University, was part of the creative team that put together this artwork. Duffy is also currently writing her second book, Dancing Motherhood, to be released in 2023 as part of Routledge’s book series on Diversity, Equity, and Inclusion. It deals with the subjects of dance, motherhood, pregnancy, and issues of equity and access.
Learn more about Duffy and her work here.
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We are so excited to share that our catalog of women leading in the dance industry recently hit 800 names! We know that there are so many more female leaders out there and we now want your help to grow DDP's Women in Dance Leader Board.
DDP recently announced its first-ever “call to action” for the global dance community to participate in our research. Dance Data Project®️ is seeking enthusiastic and data driven volunteers to expand our global coverage of female leadership in dance. Our aim is to fully capture the major companies throughout Europe, the British Isles, Australia & New Zealand, and Asia, as well as North, Central and South America. We are gathering data on female leadership on the global stage and have created a secure portal for volunteers to submit their findings. Help us expand our global coverage of female leadership in dance here.
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Bailey’s Blog centralizes the comings and goings of the dance world. Focusing on new choreographic commissions, world premieres, and programming featuring and/or honoring women. Weekly roundups also track leadership changes within companies, specifically in roles such as Artistic Director and Resident Choreographer, as well as highlight opportunities for artists. The global update also provides visibility to outstanding artists within the field. Click here to take a look at our current collection of these updates, which are compiled and written by Bailey Walker, our Archivist & Subscriptions Editor.
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DDP Team Updates and Features |
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Welcome to the team, new DDP Board member Terran Hill! |
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"DDP is so honored to have Terran Hill join our Board - the unique perspective he brings - extraordinary intellectual capacity combined with a wonderful sense of humor and relentless work ethic, strengthen an already exceptional Board."
-DDP Founder & President, Liza Yntema.
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Terran Hill is a law student at Cornell Law School. He received a B.S. in economics from University of Missouri—St.Louis. Before transferring to University of Missouri—St. Louis, Terran attended Robert Morris University in Chicago, where he played football. Following graduation from law school, Terran will clerk for the Honorable Judge Julie A. Robinson of the U.S. District Court for the District of Kansas, and the Honorable Chief Judge Lavenski R. Smith of the U.S. Court of Appeals for the Eighth Circuit.
Terran is new to the dance community, but appreciates the passion and attention to detail that goes into live performance. He is looking forward to working with Dance Data Project® to help them promote gender equality in dance.
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Rebecca A. Ferrell
Research Lead and Programming Consultant for Dance Data Project®, Rebecca A. Ferrell, has recently resigned from her position as the Director of Programs at Dance/USA and has accepted a tenure-track Assistant Professor of Arts Management position at the College of Charleston.
Ferrell utilizes her practitioner background, including her B.F.A .and M.F.A. in Dance, to drive her research interests which focus on equitable practices in the dance sector, specifically traditional transactional procedures, labor rights, pay equity, and performing arts unions. Entering her final year of P.h.D. coursework in Arts Administration at the University of Kentucky, Ferrell is excited to continue her work with DDP while transitioning full-time into academia.
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Sehaj Gill
Sehaj, an intern with DDP, is a high school student from Michigan who is interested in developing and applying her math, computer science, and engineering skills to real-world problems to help create meaningful solutions.
She has earned a MicroBachelors credential in Fundamentals of Computer Science from NYU. Sehaj loves developing insights through analyzing data. In her free time, she enjoys playing piano or flute, playing tennis, and programming in Python.
Click here to learn more about Sehaj's background, interests, and the exciting work she does as a part of DDP!
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Learn more about the rest of our incredible team here!
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Created by Lydia Wirth
Header Artwork by Elliana Given
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