We are thrilled to announce that we have formally opened applications for the Dance/NYC Junior Committee for next year! Please see our Apply page to learn more about what we’re looking for, what membership on the Committee looks like, and to apply!
Applications will be accepted through May 16th, 2014 for the coming year.
If you have questions, please direct them to members Brighid Greene at email@example.com & Mercedes Searer at firstname.lastname@example.org.
We look forward to your application!
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Our year started out in true JComm style, with a hello/goodbye party! We welcomed our new members and said goodbye to those leaving. And then we jumped feet first into planning our year with two summer work sessions. We gave … Continue reading
Last Tuesday, the Junior Committee had the chance to learn about negotiation from Crystal Reeck, a professor at Columbia Business School.
The choice of topic was quite pertinent as dancers don’t tend to negotiate and rarely dare to even discuss pay. Money is taboo in our community so this opportunity was of a heightened importance.
Crystal began her presentation with a role-play exercise for us around a contract negotiation at a consulting firm. Half of our group was to be the employer, and the other half embodied the future employee. Paired with a member in the opposite role, we were to try to negotiate our contracts following a series of parameters that explained our best interests, which were unknown to the person we were negotiating with and vice-versa.
I was paired with Kayley Pruitt and played the employee (while Kayley was my future employer). Though the negotiation started very easily as we both agreed on “work location” things got more complicated when discussing pay or paid-time off. It was interesting for me to realize that everyone’s priorities in a negotiation are different and that it is fundamental to prepare for a negotiation and to try to figure out your employer’s interests as well your own. Continue reading
Our very own Brighid Greene was featured in this NPR story: Can Young People Get Obamacare For $50 A Month? Sometimes
“For Obamacare to succeed, it’s crucial for young people to sign up. Healthy young Americans need to pay into the insurance system to help cover the costs for older, sicker people,” explains Chris Arnold.
His article probes the White House’s pledge that half of young people can get coverage for $50 a month or less.
The administration mentions on its blog, emails and press releases that this $50-or-less number refers to people who are “eligible for the health insurance marketplace.” But it doesn’t explain that that qualifier eliminates more that half of uninsured young Americans. Continue reading
Sunday September 22nd, Hollis Bartlett and Alexander Thompson (Dance/NYC Junior Committee’s Chair and Vice-Chair) attended the fourth general meeting of the Brooklyn Commune. The Brooklyn Commune Project is a grassroots initiative organized by Culturebot and The Invisible Dog Art Center to educate, activate and unify performing artists of all disciplines to work together towards a more equitable, just and sustainable arts ecology in America. The afternoon began with a presentation by Andrew Simonet, former co-director of Headlong Dance Theater in Philadelphia, titled “Why Artists Are Poor and Why They Shouldn’t Be”. In addition to his work with Headlong, Andrew has worked extensively with Creative Capital’s Professional Development Program as well as founding his own Professional Development Program for artist in Philadelphia called Artists U. He spoke to a number of common challenges that artists face, perhaps most important of which is compensation.
Hollis: If we follow Andrew’s analogy, then performing artists should think of their projects as research. Researchers need access to resources, collaborators, labs, administrative support etc. How can artists secure those elements for themselves?
Alexander: It’s interesting to think about art as research, and there are definitely some interesting parallels, but I think the comparison comes from a place of needing to legitimize art by comparing it to something that people already explicitly value.