Marcie Sillman’s latest Crosscut article “Seattle was as soon as a hub for modern dance. What occurred?” has triggered fairly a stir locally. And it has triggered me to do some reflecting on how the dance scene has shifted since my Seattle arrival in 2010. That is much less of a refutation of Marcie Sillman’s article, and extra of a “sure and” response. Actually the combo pack of decreased funding, a pandemic, and rising prices of residing pose an enormous barrier to a flourishing dance scene. However it additionally felt like such an unlimited oversimplification of what’s really occurring that it doesn’t actually add a lot to figuring out what we have to do to nurture a wholesome modern dance scene.
I really feel like I’ve to say one thing right here that everybody contained in the dance neighborhood is aware of, however is sort of by no means mentioned publicly. There’s been an extended historical past of poisonous, misogynistic, racist and/or incompetent management at virtually each established dance establishment in Seattle. A few of these leaders are nonetheless in positions of energy, and a few will not be. And I hate to say it, however even a few of our most regionally revered choreographers are recognized for creating abusive rehearsal environments and mismanaged corporations.
This isn’t new. This isn’t distinctive to Seattle. This isn’t distinctive to bop. However I don’t assume you’ll be able to discuss in regards to the shifting panorama of dance in Seattle with out acknowledging the fallout from poor management that has sown mistrust with dancers, makers, viewers, and funders. Is it no surprise that many dancers have left the sphere, or left Seattle in recent times?
David Rue alludes to this reality within the article, however I believe it must be mentioned extra explicitly that the “hub” surroundings I moved to in 2010 was principally a hub for white folks doing white folks dancing. Sure there have been clearer institutional pathways to climbing the choreographic profession ladder. However they had been fairly exclusionary alternatives. There have been additionally artists of coloration making work within the metropolis, however much less within the institutionally supported means I believe Marcie Sillman is speaking about. What I see over the past decade is a large push from Black, Indigenous, and different artists of coloration to have their work be acknowledged and supported by traditionally white-led establishments. If we had been ever going to be an precise hub and be related on a nationwide and worldwide stage, this can be a transition that wanted to occur.
What do I see now? I see some new and current dance directors working to alter and adapt some fairly damaged programs. I see choreographers insisting on wholesome rehearsal environments. I see new dance areas opening. I see a whole lot of dance leaders working with and with out institutional assist to make alternatives. I see a whole lot of pop up corporations who’re creating paid alternatives for dancers that didn’t exist ten years in the past when everybody was on the competition circuit however nobody was getting paid a lot if in any respect. I see dance leaving the proscenium and current in a extra fluid means with the neighborhood, venues, and different artwork types. I see the dance neighborhood collectively attempting to make a means ahead.
I additionally need to say that of the most important artwork types, dance is the least nicely funded and most misunderstood among the many common populous. It suffers from infantilization, typically stereotyped as a female artwork type devoid of the mental standing afforded visible artwork, theater, or movie. Like all issues, dance exists contained in the world at giant, a good portion of which appears to hate ladies and homosexual folks, intellectualism and freedom of expression. Dance principally doesn’t serve capitalism and its summary nature challenges standard considering. Once more, this isn’t new, however contextualizes the truth that dance has at all times been a subject that has needed to combat for institutional assist and so there are fewer security nets when the world goes to shit. Rising prices of residing, damaged well being care programs, damaged little one care programs, and the opposite unwanted effects of capitalism are going to alter how dance exists on the earth.
Sure the inflow of tech employees in Seattle can be an element. And I do assume on a person degree many many tech employees take pleasure in bizarre artwork and are superior non-monolithic people. However on a tech tradition degree, I believe there’s a large bridge to cross there. I as soon as spoke to a gaggle of tech employees who mentioned they had been at all times on the lookout for issues to do, however had no concept the way to know what was occurring and had no idea of up to date efficiency. I take into consideration this pertains to journalism round dance, and the way diminishing arts protection throughout the board has contributed to this divide and maybe Seattle going from a “dance city” to Seattle being perceived as a spot the place modern dance is area of interest. Marcie Sillman has accomplished so much to combat for protection of dance in main publications, and although I’m pissed off that dance journalism in main publications should at all times play to the bottom degree of dance literacy, I’m additionally grateful when it exists in any respect.
I additionally need to reiterate what was mentioned within the article about shortage mentality. After I was a grant author that over and over folks would inform me “all the identical folks at all times get the grants.” I can guarantee you that isn’t true. The grant system is damaged, and it’s principally a crap shoot and a numbers sport. One factor I believe we will all do to maneuver previous the “shortage mentality” is to be supportive of one another. I don’t imply we cannot make considerate critique—I’m a critic in spite of everything—however a part of a flourishing dance scene is that there’s a range of labor occurring, which signifies that there needs to be work occurring that isn’t your cup of tea. Be glad for dance, even dance you don’t significantly like! It may be simple to really feel resentful when it looks like we’re preventing for a similar sources. However different dance makers will not be your enemy. Save your resentment for the powers of oppression. I, for one, am glad that some components of that previous Seattle dance hub have crumbled away.