Much support from H.H. goes out to ABT's dancers and stage managers who have authorized a strike in the event that AGMA contract negotiations do not come to a satisfactory resolution soon.
We reported earlier that ABT gave its mediocre artistic director, Kevin McKenzie, a raise of more than $85,000 from 2014 to 2016 when the company barely held even over that period. For the year ending 2015, the company saw a drop of almost 30% in contributions — the year in which patron disgust over the Misty hoopla and management's reliance on guest artists hit their highs (so far). So by the end of 2016 ABT managed to bounce back to 2014 levels which some how justified an $85,000+ raise for McKenzie. Take note, Dancers, take note.
It simply could not be more ridiculous that ABT refuses to contribute just as generously to the Dancers' retirement fund.
In its article today, the NYT didn't mention a word about ABT's financial health or the manner in which management is compensated compared to the artists and stage managers. But there seems to have been an editorial decision made at the Times to work into every ballet story until further notice the resignation of Peter Martins at NYCB and the circumstances — most of which were contrived by the New York Times itself.
To claim that either these contract negotiations or Martins' resignation are signs of a "difficult moment in the dance world" or that these situations represent "turmoil in an unusually tumultuous New York ballet season" is typical NYT crap. Does anyone hear the NYT claiming that because the LA Times' publisher has been accused of sexual harassment over his career and has even settled claims, that it suggests a "difficult moment in the newspaper world"? The real story in this LA Times situation is how the publisher got hired in the first place. Did the LA Times not vet him thoroughly or did they vet him thoroughly and decide that his proclivity for sexual harassment didn't disqualify him for the job as publisher? That's the real story.
Similarly, did the New York Times not thoroughly vet Alastair Macaulay for his position as dance critic or did they thoroughly vet him and decide that his arrest and jail time for paedophilia-related stalking of little children on a beach didn't disqualify him for employment? Maybe the NYT bought Macaulay's story that the police (of all people) destroyed all the evidence. Thus, it would not be possible for anyone at the NYT to examine the evidence before making a hiring decision.
When the NYCB winter season opens next week, Alastair will be in his seat squirting all over himself with orgasmic glee at the self-congratulatory thought that he and Gia Kourlas helped push out Peter Martins. Gia has never been able to get over her snit that Martins wouldn't support her on her "Where are all the black ballerinas" crap of a few years ago when she tried to develop and germinate a claim of racism at NYCB. On the other hand, America's National Bend-Over Ballet Company decided that skin color was more important than the ability to dance and promoted the fakerina Copeland. Is it a wonder that ballet is able to keep its pretty head above water?
We just wish Gia would investigate "Where are all the black ballet critics at the New York Times, the Washington Post and Dance Magazine?" Is there any possible explanation for their absence other than racism? We wish Gia would have her NYT music critic colleagues (they're all white) investigate why there is a dearth of Asian double bass players in the three-piece jazz bands in Harlem. It must be a concerted effort of racists; that's the only possible explanation – that would sell a New York Times story, that is.
And off we go into the winter season…
12 responses to “observations 1-19”
This is one of your best posts to date. I LOLed in several places. You are an extremely clever writer, Haglund! And thank you for continuing to be a voice for Real ballet fans.
This is one of your best posts to date. I LOLed in several places. You are an extremely clever writer, Haglund! And thank you for continuing to be a voice for Real ballet fans.
Thank you, pennsylvania.
Thank you, pennsylvania.
I’m really starting to get fed up with ABT. It was recently pointed out to me that ABT’s Instagram account is run by its dancers, which basically saves the company from having to hire a social media manager. (A lot of the content is cross-posted on Facebook, too.) The Instagram account is run so well, with a consistent, on-brand voice, that I thought it had to be run by someone who does this for a living. Whichever dancer or dancers are contributing content deserve a raise.
As a side note, I do wish there were more diversity among performing arts critics. There can’t be a serious, authentic discussion of diversity in the arts if there are no journalists of color at the table.
I’m really starting to get fed up with ABT. It was recently pointed out to me that ABT’s Instagram account is run by its dancers, which basically saves the company from having to hire a social media manager. (A lot of the content is cross-posted on Facebook, too.) The Instagram account is run so well, with a consistent, on-brand voice, that I thought it had to be run by someone who does this for a living. Whichever dancer or dancers are contributing content deserve a raise.
As a side note, I do wish there were more diversity among performing arts critics. There can’t be a serious, authentic discussion of diversity in the arts if there are no journalists of color at the table.
FoF, I totally agree with you. The only thing I would add are that the journalists, regardless of color, should have practical experience in their classical fields. The chief classical music critic at NYT is a degreed, practicing musician, and a teacher of music and writing at the collegiate level. I don’t necessarily agree with him all the time but I generally respect his opinions. Anna Kisselgoff stood at the ballet barre for over a decade. Alastair Macaulay has no practical knowledge whatsoever and his “historical” knowledge is always suspect because he bends the truth to what he wants it to be.
FoF, I totally agree with you. The only thing I would add are that the journalists, regardless of color, should have practical experience in their classical fields. The chief classical music critic at NYT is a degreed, practicing musician, and a teacher of music and writing at the collegiate level. I don’t necessarily agree with him all the time but I generally respect his opinions. Anna Kisselgoff stood at the ballet barre for over a decade. Alastair Macaulay has no practical knowledge whatsoever and his “historical” knowledge is always suspect because he bends the truth to what he wants it to be.
Haglund — a screenshot of your post briefly appeared in Scout Forsythe’s Instagram stories, but it seems to have been taken down within minutes of me first seeing it. I appreciate that she doesn’t hold back about speaking her mind. I remember she was one of the few who made a point of posting praise for Veronika around the time of her dismissal. It said a lot to me that someone in the corps was willing to speak up while so many others remained silent.
Haglund — a screenshot of your post briefly appeared in Scout Forsythe’s Instagram stories, but it seems to have been taken down within minutes of me first seeing it. I appreciate that she doesn’t hold back about speaking her mind. I remember she was one of the few who made a point of posting praise for Veronika around the time of her dismissal. It said a lot to me that someone in the corps was willing to speak up while so many others remained silent.
Oh my goodness… That was dangerous. I should probably have a rating system for the posts so that people know which ones are safe to re-broadcast. This one would have gotten an “M” or an “R” rating due to the high degree of – how should we say – articulation.
Oh my goodness… That was dangerous. I should probably have a rating system for the posts so that people know which ones are safe to re-broadcast. This one would have gotten an “M” or an “R” rating due to the high degree of – how should we say – articulation.