DDP Talks To
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
October 10th: Dance/NYC's Disability. Dance. Artistry. Dance and Social Justice Fellowship Program, October 15th: Carmel Dance Festival Choreography Fellowship, October 15th: NDEO, What Data Can Do for You: Data-Driven Opportunities in Dance Education, November 1st: Carmel Dance Festival Dance Fellowship
×"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
By Sally Blackwood, Liza Lim, Peggy Polias, & Bree van Reyk
As reported by Alison Croggon in Opera and the invisibility of women, the New Opera Workshop (NOW2019) held in Brisbane in Aprilhighlighted the entrenched bias, the structural nature of sexism and other exclusionary forces that are reflected in many of the norms, expectations and practices of opera as an artform.
The conference was an invitation to practitioners to evolve new thinking for opera in the 21st century and it is in this spirit that we – and our co-signatories below – are making a call for change.
NOW is the time for the opera sector to step up and join the conversation about gender equity, diversity and the championing of a multiplicity of voices. On the brink of redefining the Major Performing Arts Framework and in the wake of the National Opera Review Discussion Paper and Final Report, we ask that these points be urgently addressed. Now is the time for opera in Australia to evolve and to lead the way with diversity on our stages, in our creative teams, and on our panels. We are calling for a better vision for opera in its work practices and as an art form.
We demand a national commitment to systemic change:
Read the full call to action on the Performing ArtsHub.
Reach out to us to learn more about our mission.
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
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