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Ways to Change

Space + Presenters

“Continued, consistent and strengthened assistance in communicating with the city of Chicago as it relates to access to more varied spaces in which to hold dance performances and workshops: city parks, city landmarks, historic spaces (as permitted), city college campuses.” -Maya Odim: Artist, Extracurricular Educator and audience member.

“I would ask for performance venues to hold more workshops and classes with sliding scale costs. I would like studio spaces to offer discounts for professional makers to make it possible for many Chicago's independent artists to not have to choose between going to class and having regular rehearsal space. Perhaps funding opportunities that are more spread out amongst community members (smaller awards for more people). More of an investment in supporting BIPOC and disabled makers would show an intersectional solidarity within our community.” -Chrissy Martin, white, queer interdisciplinary artist, 32 years old

“1. Give queer, BIPOC, and non-hegemonic writers, reviewers, decision makers, etc. most of the seats at the table. Chicago art is far from all white or all cis and should be represented appropriately. 2. Fund accessibility. That means funding work outside established venues, grants for venue renovations in the interest of better physical accessibility, funding sliding scale ticket programs, and more. 3. Make spaces safe for queer movers. It's not optional. I shouldn't have to experience the polarity of being treated like a human or a logistical problem because I'm trans-masc based on who's rehearsal room I'm in.” -Luke Greeff, Occupation: Dancer, Choreographer, Arts Administrator, Amateur Circus Human, Gender: Trans-Masculine, Sexuality: Queer.

"Think about access as more than captioning, ASL and ramps. Of course, these things are essential, but access can and should be an emergent practice rather than a stagnant checklist. Access is an opportunity to model your commitment to making your space as inviting and comfortable as possible. Relatedly, consider access from the artist perspective as much as the audience perspective. Don’t know how to do this? Pay a disabled consultant to help." -Maggie Bridger, white, cisgender, sick and disabled dance artist and PhD student.

"I would demand that the more solidly funded repertory companies such as Joffrey ballet commission more POC choreographers habitually." -Margaret M. Morris of https://quantumnegress.love

“Refocus on local artists. Make sure that opportunities in your institutions are accessible to the people who live here at LEAST equally to the resources that are offered to touring artists.” -Julia Rae Antonick

“WE NEED MORE PERFORMANCE SPACES ON THE SOUTH SIDE OF CHICAGO!” -Dedrick D Gray

“1. Continue to provide work exchange programs and resources for artists who are independently producing without backers. 2. Distribute funding to a larger, more diverse pool of artists to promote growth of the Chicago performing arts community at large. 3. Continue to provide the opportunity for artists to discuss the changes they want to see on an institutional level.” -Anonymous

“TRANSPARENCY and accountability for the choices they are making. Honesty about "what it takes" to make dance. Which mainly means the money and time to be applying, working, and connecting. Checking in on their own gatekeeping.” -Kaitlin Webster

“Institutions, funders, platforms: Build initiatives that support the presentation of LOCAL artists in LOCAL venues. The Loop is the cultural center of the city, however the arts spaces in the Loop are curated to appease tourists, inherited wealth, and businesspeople, and have minimal representation of the city's wealth of culture and experiences.” -Ashwaty Chennat, Indian-American (South Asian), Albany Park, Bharatanatyam and western dance forms, 29, low salary, arts administration.

“Give opportunity and support to a wider range of dance artists, dance forms and creative approaches, it can only enrich our community. Also create a more sustainable environment for dance artists to be paid fairly and continue dancing/creating without so much struggle that goes directly into our bodies. Gracias!” -Silvita Diaz Brown

“1. Hire more dancemakers of color for everything. Period. Giving money, time, and space to people whose access to these resources are limited. 2. Make the avenues to getting resources easier to find, easier to apply for, and set aside resources for marginalized groups. 3(ish) Institutions, funders, platforms and writers that have a lot of money and prestige don’t necessarily have the best interests of the entire community at heart. Finding those that work to support the community as a whole and uplift ‘othered’ voices should be prioritized. People who are only interested in Chicago ballet/modern aren’t really interested in Chicago Dance.” -Charlie Vail, White Queer Jewish Woman.

“If I could change 3 things they would be: 1. To please indicate on Facebook events if you are dance based, if it is physically accessible so the dancer doesn’t have to call the institution to ask every single time if they are accessible. 2. Make sure that your space is not dirty or that you have materials so that your space can be cleaned properly. I have an asthma type condition and had to back out of a paid gig because the amount of dirt and dust that to me felt like it was floating in the air. Then attention was brought to be and made me feel awkward so it made me feel like I was interrupting class for the sake of my health. 3. Make your contact information easier to find on your websites. Not everyone is bad at this, but several institutions make it extremely hard to find a contact button. This makes it hard to reach people when I need to pay or ask for a link. If we give our money which is not easy to come by because of the nature of the field, the least the institution could do is call or email us and respond to our questions and concerns. I know we are all busy, but I don’t want to give my money to someone and not be able to get an answer if you have a question prior to joining the class.” -Jessica Jess Martin, non-binary performer, producer, dancer, choreographer, and creator of Exploration: An Evening of Dance, Discovery, Creativity, and Fun.

"Hire more BIPOC folks in higher level positions." -Kristina Fluty I am white, cis, het, "veteran" at 43, instructor, always-working, full-time employed. I am a modern dancer, specifically release and other somatic practices. I live in Rogers Park. I still do not own any property, but am solidly middle class.

"Please provide thoughtful and thorough feedback for the proposals you have said no to. Please de-emphasize social positions and re-emphasize the work." -Anonymous

"I would love to see more transparency in regards to boards and funding structures in all of Chicago's dance institutions/platforms." -My name is D'onminique Boyd and I am a dancer, dance writer, arts administrator, make-up artist and mom.

"Diverse employment within each institution." -Hannah

"Institutions/funders: Stop virtue signaling. Revise your mission statement, then put your money where your mission statement is." -Amanda Maraist // white, queer, 29 year old woman.

"All positions of power that are held by white cis folks to be vacated immediately, to spend the next 5 years invested in the expansion of what we consider dance, fund, highlight and support "underground" art forms." -Jenn Freeman | Po'Chop, Performance Artist .

"1-Support the artist AND the project when giving funds. Provide money that allows them to make at lest minimum wage while creating AND fund the projects needs. They may seem like 2 different things, but they are not. If an artist is able to have their basic needs meet they can make more art and feel stable. 2-Create opportunities for artists to sit on boards that doesn't require any financial payment. This allows for artists to be involved in the conversation and the decision making. 3-If your organization is predominantly white, then step down and have your organization invest in artists/admins of color. You HAVE to give up your power and position for changes to actually happen." -Alyssa G. 34, Black, Queer, Cis-woman, Avondale, dancer + dancemaker + podcaster.

"1. More multiplicity in the types and forms of opportunities. Not everyone wants to perform for 300 people at the same time. Not everyone only needs money to feel supported (though damn straight we need that too). I want more creative imaginations of what performance might mean in a city as vibrant and pluralized as Chicago, and I want to see those opportunities shift the venues, funders, forms of presentation/curation, types and distribution of resources, structures of relational intimacies, and more that Chicago dancers/performers/movement artists get to work in. 2. More engagement with city resources that don't always have to take the form of professionalized or formalized presentation (i want more variety and recognition for non-formalized or purified aesthetics, i.e. how can we value the scrappy, the communal, the DIY, and and and - I want to see this city find ways to further its appreciation (meaning emotional appreciation and resourced gestures) for multiple forms of dance that don't require the company structure, a marketing director, a history in certain forms of dance, etc. 3. Stronger collaboration and increased relational ties with non-Chicago, non-U.S., or non-western makers." -Anonymous

"1. Take this moment as an opportunity to truly reset and take stock of whether your work, whatever it is, is actually aligned with the humans to purport to serve. 2. Gather hetergeneous groups of artists and pay them to tell a mediator/facilitator what is and is not working about your organization. 3. Look at your skills and your needs, be more generous and nimble in your offering and more proactive about hiring and compensating others to support your deficiencies." -Gina Hoch-Stall, 34, white, cis-woman, dance artist and advocate.

Resource Distribution:

“It's hard for me to disentangle "institution" from "funder" in Chicago...so I guess that is info in and of itself, given that I have been here and active since 2002. Are we talking big companies like Hubbard and Joffrey? Presenters such as MCA and Links? Funders - humane applications without bullshit questions; personal communication before and after a grant app is due, i.e. support with the app and/or feedback from the panel about the app; support such as workshops on financial health that actually are geared towards small orgs.” -Kristina Fluty I am white, cis, het, "veteran" at 43, instructor, always-working, full-time employed. I am a modern dancer, specifically release and other somatic practices. I live in Rogers Park. I still do not own any property, but am solidly middle class.

"And when speaking to the lack of resources - maybe Chicago dancers and artists should be organizing to pressure city government, the state, and private foundations to give more money to individual artists and to arts organizations that are led by people of color, and/or under resourced organizations that are being overlooked by the current structure. I feel like this is a better use of our time to be honest." -Anonymous

"Fund disabled artists, especially disabled artists of color. Recognize that the eligibility requirements and structure of many residencies, fellowships, commissions and calls for artists exclude disabled artists before we even submit our work. Our reliance on systems like SSDI, health insurance/medicare, personal care services, etc. actively inhibit our ability to take advantage of many if not most of the funding opportunities available to dance artists. This is an access issue that can and should be fixed." -Maggie Bridger,white, cisgender, sick and disabled dance artist and PhD student.

“Instead of not allowing artists to pay themselves with grant money, make funds readily available so that the artist receiving the grant would make at least a minimum wage of $15 per hour for all time working on the project that is being funded and for the average amount of time it takes to write their grant. Provide funds to cover care-work for childcare or other dependents so that artists can continue to work in their field and be present in the community steadily through their careers so this hidden work isn't continually shouldered by the appropriated labor of women.” - Julia Rae Antonick

“Change application process where a ‘500 word narrative’ is not the most important thing. We say not to judge a fish by its ability to climb a tree but our institutes, funders decide dancers support by their ability to write. ‘Main stream’ vs ‘Ethnic art’, less categorization.” -Kinnari Vora

“Give more opportunity to Emerging Artist and not the same A List - Companies and Artist. Decolonize Grant Writing Applications.” -Dedrick D Gray

“1. More Communication & Engagement 2. More support on funds & how to be successful with them. 3. More inclusivity of the South Asian community.” -Anonymous

“1. Offer funding opportunities applicable specifically to dancers and dance makers that do not already benefit from institutional funding 2. A genuine investigation of the phrase “emerging choreographer” and similar language: with care taken to specify the boundaries and requirements of such a title and who can claim it. Honestly throw it out completely would be better 3. Make grant applications more accessible!!! Stop prioritizing academic language, “professional” written formats, excessive minimum work sample requirements, etc.!!! Make grant application processes less intimidating and soul-sucking plz.” -Anonymous

“Developmental and fundraising efforts across arts presenters, institutions, platforms, funders: engage donors in communities where your artists come from. Engage donors in communities who are not currently represented in your programming. Learn what they aspire to experience, what their needs are. They will support when they are being represented, and lots of small donations are MEANINGFUL.” -Ashwaty Chennat Indian-American (South Asian), Albany Park, Bharatanatyam and western dance forms, 29, low salary, arts administration.

“1. More unrestricted, “general operating” grants for independent artists. Support the people, not the projects! 2. More diversity everywhere, especially in leadership roles. 3. More artist-run initiatives; more opportunities to connect that are not organized/brokered by granting organizations/funders.” -31-year-old white, straight, cisgender woman working in the performing arts and higher ed.

“Specific funding, for anthropological and archival work done to record the history of movement aesthetics that are practiced and performed in the Chicago dance community.”-Maya Odim: Artist, Extracurricular Educator and audience member.

“1-A certificate of recognition or a tag or similar from a Chicago dance institution for a Chicago based immigrant artist based on their professional certifications that they had gotten from their home country or outside the US, would support their years of experience, contribution to the dance field ,passion etc. to get their mentorship, artistry, self -sufficiency promoted extensively. 2-An artist ID card for recognized new immigrant artists in the city as a supporting document if they are willing to be an entrepreneur. 3-Easily accessible resources to avail tech support, venue support, dancer/s to work with, translator if needed and so on for artists without administrative skills, less cultural adaptation, survivors, lonely lovers and so on to work for productions or long-term or short-term projects.” -Laksha DANcing TRANs

“Maybe I have an overly idealistic picture of what I want Chicago’s dance community to look like, but here are a few of my wishes: Institutions need to make a real, continued effort to not only get unrestricted money into the hands of artists, but to also put them in touch with funders and patrons directly - those who can offer long-term, sustained support. Stop assuming artists don’t know how to do things beyond creating when generally it’s an issue of bandwidth. Consistent financial, administrative, and marketing support are what artists need to help this sector thrive. This includes addressing the gatekeeping involved in extensive grant applications with tight deadlines, and assisting artists in gaining access to low-cost/free and equitable performance and rehearsal space. I won’t pretend to have answers, but organizations need to understand that all of these issues are labor issues - the arts don’t exist outside of that.” - My name is Emily Loar. I am a white, 29 year old, queer person. I am also a dancemaker, improviser, performing artist, writer, arts admin support person, and events coordinator living in Logan Square.

“One of the changes that I would make would be if any dance institutions are asking for a call of performers, for a particular show, that there be compensation. Dance artists put in a lot of time and energy into their craft and shouldn’t be compensated in the form of pure exposure. People don’t bat an eye to pay to go to dinner, to do a recreational activity, to go on a vacation, etc. Paying artists for our services should be a priority.” - Cristal Sabbagh, I am a Black woman, a high school art teacher, interdisciplinary artist, and mother.

“Spread the wealth between more organizations-- moving funding from "high art" gatekeeping organizations to dance that's of and for the people will increase engagement among audiences.” -Anonymous

"Make applications for grants simpler - maybe a universal application? Data Arts failed at this attempt, in my opinion." -Kristina Fluty I am white, cis, het, "veteran" at 43, instructor, always-working, full-time employed. I am a modern dancer, specifically release and other somatic practices. I live in Rogers Park. I still do not own any property, but am solidly middle class.

"Although I realize this may be impossible, more affordable adult class options. Taking class consistently can be very expensive." -Elysia C. Banks, South Side Dance maker.

"Start funding administrator and production salaries as essential and separate from the artists." -Rachel Damon, Director at Synapse Arts, she/her/hers, LGBTQIA+ white woman living in Rogers Park, contemporary/modern dance-theater, about to be 40 and makin' it up as I go.

"Institutions/funders: fair, equitable and objective application processes, with additional opportunities for ALL members of marginalized communities. Vocal support and direct monetary support equating to a livable wage to those they represent." -Amanda Maraist

"Give money or collaborate with people in a community or a community organization unfamiliar to you, and not as visible or well funded as you. Relocate and travel yourself to this community. Exchange, love, and learn without judgments." -Keisha Janae

-"Financially accessible space/opportunities to fund space.” -Hannah

Writing:

“Write to reflect, to process, to inspire future development and enthusiasm, not to judge, to label, or to overwrite what’s been conveyed and expressed.” -Chicago-based dance artist

“… dance writers experiment/risk as much as the artists about whom they write. If artists are questioning forms and traditions, writers should be willing to do the same. … dance writers are open to the possibility of writing “alongside” a work of performance rather than over-explaining and bulldozing over it.” -31-year-old white, straight, cisgender woman working in the performing arts and higher ed.

“Critics and everyone else: Raise up your city. Raise up and center those who are opening their art (to you). Seek to understand; guide your reader/audience/donor to resonate with art and weave new support for an artist.” -Ashwaty Chennat, Indian-American (South Asian), Albany Park, Bharatanatyam and western dance forms, 29, low salary, arts administration.

"Hire writers who are well-versed in the forms they're writing about." -Anonymous

“1. Constructive anti-racism training that is more than watching a video a day but requires feedback, responses, reflection, dialogue, etc. 2. Constructive conversations & reflections on the effects&impact&outcome of writing about/facilitating experiences for specific identities when the writers/facilitators don’t share those identities 3. Prioritization of voices within the community to be heard & elevated vs. critiques ON the community from the outside. Commitment from arts media to shift focus from funding/supporting outsider voices to those from the community and represent the community.” -Ann-Marie Gover, Queer White Cis Dance Artist based in Ravenswood

“We need more black writers and writers how know how to thoroughly critique black work without being racially bias.” -Dedrick D Gray

“Write reviews and articles on dance artists with the intention of creating critical dialogue that creates camaraderie in the field and facilitates the survival of the medium with communal health as a focal point. Ask yourself before publishing if this writing showcases the myth of the singular genius or creates a one sided authoritative judgement without opportunity for response” -Julia Rae Antonick

"I actually appreciate SCD's attempts at making the writing pool larger and more diverse. I hope that Lauren understands the harm she has caused and apologizes." -Kristina Fluty I am white, cis, het, "veteran" at 43, instructor, always-working, full-time employed. I am a modern dancer, specifically release and other somatic practices. I live in Rogers Park. I still do not own any property, but am solidly middle class.

"Publications/platforms: hire anti-racist writers who reflect the diversity and greatness of this community, who understand that dance workers are members of the working class and that our interests no longer lie in making dances for capitalists". -Anonymous

"Writers should give artists a chance to see reviews before they are published. Embrace more long form dance writing." -My name is D'onminique Boyd and I am a dancer, dance writer, arts administrator, make-up artist and mom.

"An effort for dance writers and critics to properly educate themselves on ethnic dance so that it may be properly reviewed." -Elysia C. Banks, South Side Dance maker

"Perforate the wall between critics and makers. Create conversations rather than sudden, undiscussed publications." -Rachel Damon, Director at Synapse Arts, she/her/hers, LGBTQIA+ white woman living in Rogers Park, contemporary/modern dance-theater, about to be 40 and makin' it up as I go.

"Written articles should be overseen regardless of executive level." -Dee, transfemme, Asian, trans artist.

"Uplifting/supportive values within each institution and in dance writing." -Hannah

"Platforms/writers: Giving writers doing their due diligence already the opportunities (AND MONEY!) to write. Getting names + dates + project descriptions correct. Doing actual interviews. Being in open conversation with makers and movers. Using these practices (not the practices of the past) to open up the realm of dance writing to new writers via mentorship + paid internships." -Amanda Maraist

Invisibilization / Misrepresentation:

“This one's personal-- more respect for trans dancers within the community. It starts with pronouns, and ends with seeing all of your cast as more than their bodies.” -Anonymous

“One of the most important things for me is a conscious awareness that much of traditional values in American art serve an extremely narrow group of artists and audiences, and actively working to dismantle those tropes in the interest of a movement/performance scene that truly represents the community that has been building and feeding it. That means funding and promoting works built by, for, and/or representing subjects and subject matter that is not necessarily made for consumption by white cis audiences. That means supporting and showing work at venues that are more accessible (in design and location), and supporting/funding efforts for accessible ticket prices. Because of how concert dance has been built and maintained for generations, at this point support for those under-represented in this sphere is still radical, and incredibly necessary. It has to be active and ongoing. One radically queer or BIPOC project funded is not enough. One financially/geographically accessible show every season is not enough. One BIPOC board member is not enough. And on, and on. I want to see that work put in by Chicago dance institutions, funders, writers, etc.” -Luke Greeff, Occupation: Dancer, Choreographer, Arts Administrator, Amateur Circus Human, Gender: Trans-Masculine, Sexuality: Queer.

“Increased cultural and artistic humility in professional development and grant support, including the use of language, cultural identifier, anecdote, metaphors, mentorship offer/mentor relationship building, project evaluation process, financial considerations, and time/space commitment.” -Chicago-based dance artist

“1. Well-funded white choreographers need to distribute their resources. This could look like: a. Hiring different dancers for each project with a focus on hiring Black dancers, dancers of color, and gender non-conforming dancers b. white choreographers who receive yearly grants from DCASE or other funders should give up their spot and look to other fundraising strategies instead (i.e. crowdfunding). 2. White stakeholders in the dance community need to educate themselves on the harm they can cause to people of color, even if unintended. An example of the need for this work is Same Planet's Lie Through My Skin which, as the program stated, was a piece about white guilt with all white collaborators. The fact that seemingly no one in the process saw that as a problem is alarming. 3. White dance stakeholders who are called out on their mistakes need to publicly apologize for them.” - Mags Bouffard, Board Member, LOUD BODIES

"Require contracts of everyone, always, and include percentages for ALANAA/BIPOC, womxn, and LGBTQIA+ representation by all parties." -Rachel Damon, Director at Synapse Arts, she/her/hers, LGBTQIA+ white woman living in Rogers Park, contemporary/modern dance-theater, about to be 40 and makin' it up as I go.

"Diversity in workforce, not just in starting level but board members and higher ranks as well. Creating/supporting more platforms for artists to network/showcase work, work in progress or process." -Dee, transfemme, Asian, trans artist.

Community:

"Risk your career to make the dance world more inclusive. Especially if you're white. If the folks with the power don't do it, then the people without power are always left to take on the risk to do this work. Here's how: 1. Speak up when someone says something racist, sexist, fatphobic, what have you. It can be aside after class or in an email, but say something. 2. Be ready to be held accountable. If you do the work ahead of time to assure yourself that you're not a terrible person, you're more open to learning and less likely to get defensive. We all make mistakes, we all have blind spots, and it's on all of us to be open to these discussions." -Kait Dessoffy (they/them), white, working class, modern dancer.

“1. BE NICE AND RESPECTFUL! IF YOU DO NOT HAVE ANYTHING NICE TO SAY KEEP IT TO YOURSELF AND MOVE THE F ON! 2. Support your small companies and especially the BIPOC talent 3. Being positive in the community, not shutting anyone down or out, spread love and acceptance.” -Sam Crouch, Black and Proud, He/Him, Gay, 27yo.

“1. A total re-evaluation of what our dance community actually needs (which is kind of what this is- wow!) 2. More artist's voices amplified- always, everywhere, asap. 3. Active anti-racism -Alix Schillaci, 26 year old, straight white woman, living in Logan Square on a very modest income, performing and making modern/post-modern/contemporary dance with friends.

"1. Professional assistance & guidance toward nationalizing & internationalizing of the artistic-work. 2. Open up & literalize the dance-community about the economy of sustainable-sponsorship - how can we think about a better economic model that is not only fund-base? Is this even possible? What has to change? 4. Create associations with art-lawyers, insurance companies or policy makers in order to legalize the sustainability of the dance-artists in the field. Example: Demand specific types of insurances catered to the performers/type of performance even if it's seasonal. Work with the Ministry of Culture to work on creating laws that protect the artists from exploitation, low pay rate, dismissiveness of benefits, etc. (All in the attempt to integrate dance-artists into the fabric of society-value. Furthermore, we have basic needs like food, water, etc but we also have cultural needs)" -Anonymous

"1. Well-funded white choreographers need to distribute their resources. This could look like: a. Hiring different dancers for each project with a focus on hiring Black dancers, dancers of color, and gender non-conforming dancers b. white choreographers who receive yearly grants from DCASE or other funders should give up their spot and look to other fundraising strategies instead (i.e. crowdfunding). 2. White stakeholders in the dance community need to educate themselves on the harm they can cause to people of color, even if unintended. An example of the need for this work is Same Planet's Lie Through My Skin which, as the program stated, was a piece about white guilt with all white collaborators. The fact that seemingly no one in the process saw that as a problem is alarming. 3. White dance stakeholders who are called out on their mistakes need to publicly apologize for them." -Mags Bouffard, Board Member LOUD Bodies

Other:

“Continued, consistent and strengthened efforts to ask audiences about the kinds of dance they would like to witness and participate in.” -Maya Odim: Artist, Extracurricular Educator and audience member.

“My 3 demands would mostly involve every aspect of the words inclusivity, possibility, and accountability. Better support system and stronger reliable contributions across ALL discipline.” - my name is Damon Green I am a BLK, LGBTQA+ owner of TEXTUREDance STUDIO an urban styles and form, dance and wellness studio, on the northside of Chicago

"Institutions, funders, platforms, writers! Give arts workers agency. Exist for them, holistically and with dedication, if you exist at all. Artists do not owe you job security, revenue-production, or consumption. Your professions exist to bridge the gaps between artists’ ideas and audience access, because we couldn’t exist in our country the same way without you. Recognize yourselves as gatekeepers. Acknowledge that nothing you fund, give space, or publish exists in a vacuum. If perspective on an all-inclusive community is beyond your reach, it’s a sign someone else should be where you are. I want funders to care about more than our production. I want writers to care about more than how White audiences engage with our work. I want us to be workers with full agency, and I want our community to be more powerful than our institutions. And I see that happening here. So... more of this." -Lydia Jekot, white, cisgender, femme, queer, early-career artist.