Page 27 - APAP Inside Arts - Spring 2020

T he inherent risks and engagement or co-commissioning and build collaborative networks of dance
pressures of presenting
dance were at the forefront of APAP|NYC 2020 – both the challenges and an undeniably hopeful sense of possibility. In the opening of the pre- conference dance forum, Kristopher McDowell, founder of KMP Artists, pointed out that “we’re all working harder” to bring vital dance works to audiences across North America.
THAT IS TO SAY
• Presenters are acutely aware
of the precarious financial risk of presenting dance, especially new works or lesser-known choreographers and companies.
• Choreographers express the
need to have their individual
and communal identities substantively recognized and shared, yet often feel constrained by having an inherently “risky identity” as well as the risk of presenting new works or bringing certain dance genres and cultural forms to new audiences.
• Funders and artist representatives are taking
on the risk of facilitating and commissioning brave new dance works, as well as changing what it means to effectively support dance artists and presenters.
“It’s an uncertain time,” says Nigel Campbell, co-director of Gibney Dance Company, “but there’s a lot of potential in uncertainty.”
Despite varying concerns, stakeholders across the dance field are navigating this uncertain, risk-filled moment in similar ways: by working more collaboratively and by seeking to have their priorities more fully understood by their collaborators. From logistical efforts, like educating emerging dance presenters and building presenting networks
both regionally and nationally, to artistic partnerships for community
touring ambitious new dance works, a collaborative spirit permeates the work of presenting dance – to the point where the traditional roles filled by artist, agent, presenter and funder have shifted, and in some cases, transformed entirely.
Stanford Makishi, vice president for programming at New York City Center, says that both presenters’
and artist representatives’ “jobs are getting bigger,” that agents’ working relationships ideally position
them as advocates for presenters
as well as artists, facilitating the connection between them with an actionable awareness of both of
their priorities. Makishi believes
that roles are blurring for presenters and more collaboration is in place, particularly when commissioning and presenting new work. He points to
his organization’s past collaborations with Margaret Selby of Selby Artists Management to commission new works by choreographers Jessica Lang and Michelle Dorrance as successful case studies for this fluid, collaborative approach. “It’s amazing how much
is needed to create new work,” says Selby, while also remarking on the career-transforming potential that this kind of larger-scale commissioned work has for dance artists.
The National Dance Presenter’s Forum – an APAP, New England Foundation for the Arts and Jacob’s Pillow partnership – educates early career dance presenters about
the broad scope and curatorial possibilities within their role, and
in the process seems to frequently highlight and validate presenting skills that dance artists have already developed through their own “scrappy” efforts prior to taking on
a formal presenter role. [See related story on page 30.] Similar to Makishi’s vision of close collaboration between presenters and agents, NDPF seeks to
presenters and to educate presenters on how to bridge gaps in access within their local communities.
Meanwhile, Pentacle recently sought to blur its own role as artist representatives through FootPath,
a two-year research project investigating the effectiveness of various forms of mentorship and administrative support in building artists’ capacity, income and public exposure. Based on the successful outcomes of that project, Pentacle plans to offer more administrative resources to assist dancemakers
with marketing and publicity efforts, development of websites and other digital properties, and ongoing strategic planning, among other non- production-oriented work activities.
Pamela Tatge, executive and artistic director of Jacob’s Pillow, encourages presenters to view themselves as advocates, both for meaningful community engagement activities
and for increasing the visibility of outsider artists. “How do we center more artists at the margins?” she asks, “And how do we do that without putting the burden on artists?” Several high-profile dancemakers with disabilities have a response to Tatge’s questions. They point out
the value of simply slowing down to have clear, open communication with presenters about their logistical needs and artistic concerns. Antoine Hunter, deaf dancer and founder of Urban Jazz Dance Company, encourages presenters to view themselves as
hosts taking the time to get to know their guest artists. Additionally,
he encourages presenters to treat disability as a culture instead of a deficit, likening the experience of working with disabled artists to that of a diplomat training to respectfully enter a foreign culture: “Every individual from every culture wants you to meet them where they’re at,”
SPRING 2020 INSIDE ARTS 25