I was sent this by the ROH via Twitter to clarify that the previous post on this matter that I'd scooped was issued accidentally. My reply was that now, the issue has multiplied as there is cause for concern that union representation of freelance dancers is as inadequate as their alleged wages.
Only one brave soul has commented on this post, and they bring up a fantastic point: what about sustainability and longevity of the artists' craft?
I live in Los Angeles, a veritable puppy mill of dancers and singers. As the "entertainment capital of the world" we are rarely perceived as the artist capital of the world. Were you to head to Skid Row, or visit the RV villages on the west side, you would find a significant number of former performers living as "homeless." A majority of artists, however, are best classified as "transient, temporary workers." They are internally displaced people in our city...and they receive wages LESS than those of the ROH members.
Migratory patterns of dance artists are considered part of the gig. Flopping from one shared apartment to the next, or hoping for a richer-than-thou live-in lover is de rigueur for survival, as well as having an incredible amount of resiliency when your checks can't find you. Ultimately, being paid at such a low rate translates into the need for a "job job" outside of the arts.
The net effect is that art production suffers as craft wanes, taking back seat to survival.
The translation: quite a number of dance productions and theatre works in LA are produced in alternative spaces and non-union houses, meaning, there is no box office staff. what.so.ever.
If the ROH wants to be certain that they are able to employ the best freelancers for their productions, then they should provide the best conditions under which to work for them, inclusive of pay. I am not unaware of the grotesque reliquary that is the business model of an opera. It is an astoundingly unsustainable model, as far from fleet footed as you can possibly get. I feel your fiduciary pain, ROH. However, if you insist in staying in the business of opera and want dancers who have the chops to be in an epic length production maybe joining other city agencies in London in a design thinking session about housing would be in your best interest.
It certainly would be in the best interest of Equity to drive this conversation.
In Los Angeles, we have a murky idea of where the artists are, but like most big cities with inspired developers, we prefer them to be in one place, all the time, where the real citizens can go view them once a week, free of the burden of dealing with their oddball habits, practices and noise. The Artist District usually shuts out the dance artist because we need space> empty clean space> empty clean, 'unleveraged' sole usage space for our craft. In fact, ballet dancers can't use the same space as tap dancers. Break dancers and "urban dance" practitioners can't successfully share the floor with Modern dance and African dance. It's a dilemma that just makes us look like a bunch of complaint-prone narcissists. We make for easy underpaid targets here because we have different needs.
But the freelance dancers and actors of the ROH are clearly on the same team. Why then has their union been so ineffectual at getting them a contract that ensures their ability to maintain their instruments? Rehearsal is just a small portion of the work a human body must undertake in order to be ready to "art." The sublime is embedded in persistent, insistent study, nutrition, and exercise. That's impossible to maintain as a performer if you need to work at the corner shop for the holiday rush in order to meet your rent.
Fold some free housing into their contract and see what happens.
Freelance dancers in Los Angeles relish the opportunity to be in works that pay rehearsal, performance and per diem. For those who don't make the cut, creating their own work and thus extending the cycle of underpaid, underinsured, 'underhoused' creative works earns them the ire of their neighbors and the disdain of producers.
ROH and Equity, you are racing to the bottom with the lives of the freelance art community in your teeth. Apply some deign thinking to this issue, if common sense proves too nefarious a concept.
The co-creator of Twitter and Blogger has decided that "the internet is simply a giant machine designed to give people what they want." Here's what this grand unified theory means and where it came from.
Anna B. Scott's insight:
Very clear points. Disruption has its limits and is itself a potential addiction. -ABS
Islamist militants in northern Mali have banned music in the region under their control, threatening the country's rich cultural heritage
Anna B. Scott's insight:
In Mali, singing is history, literally. There are entire families whose job it is to remember their village's records by SINGING them. This is the beginning of genocide. Something has to be done to get these crazies out of Northern Mail. Let the song be sung. -ABS
ART STRIKE is a culture day of action. On December 17th, grassroots artists will come together to release awesome new art and music -- join them!
Well, this call is overly simplistic, and kinda clueless about art funding and its complicity with most of the real estate boom-bust. But I am keen to start anywhere. Cutting arts funding is horribly ridiculous. The corporate welfare is the ticket; it's not only underfunding society, but stiffling fair competition. Let's do this. -ABS
Outgoing Securites and Exchange Commission chair Mary Schapiro opted to slow down the process of implementing Title II of the JOBS Act at the last minute over concerns about her legacy at the SEC and after receiving pressure from a lobbyist.
Yikes. Legacy...safety for investors...policy as police line...not sure this is what we had in mind when we set up rules about helping each other, which is what investing used to be all about. --ABS
Two leading neuroscientists introduce the concepts of "cerebral plasticity" and the "regenerating brain," describing what we know now about the processes through which the brain constantly reconstructs itself and the potential benefits this knowledge could have in addressing concerns for neurological, cognitive, and emotional health.
The authors begin with a survey of the fundamental scientific developments that led to our current understanding of the regenerative mind, elucidating the breakthrough neurobiological studies that paved the way for our present understanding of the brain's plasticity and regenerative capabilities. They then discuss the application of these findings to such issues as depression, dyslexia, schizophrenia, and cognitive therapy, incorporating the latest technologies in neuroimaging, optogenetics, and nanotechnology. Their work shows the brain is anything but a static organ, ceasing to grow as human beings become adults. Rather, the brain is dynamic, evolving organically in relation to physical, cultural, historical, and affective stimuli, a plasticity that provides early hope to survivors of trauma and degenerative disorders.
PH is the first case of a person who hears speech before seeing a speaker's lips move. His badly dubbed world reveals timing mechanisms in the brain
Anna B. Scott's insight:
This one really got the choregraphic juices flowing! Multiple clocks in the body, synchronizing to give the effect that all your parts and processes work instantly: you mean what you say when you say it, but actually you have already said it before your jaw complies and that person's ear heard it before their eyes saw it and somewhere in there, a you-in-there comprehended that communicaiton was occuring and stitched it all together. Profound.
Memoto’s Kickstarter project was launched on October 23, with the goal of reaching $50,000 before November 30. The end result would turn out to be way more – more than $500,000 – but we didn’t know...
Wow. Talk about sunk costs! The stress of reading this is intense (boy did they suffer), but take note, those of you looking for a simple how-to-guide: these gys had major off-line game. Great read and congrats to Memoto, a creepy, yet cool idea!
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.