Moving Beyond Tokenism: Embracing Genuine Equality
2023/24 Clore Fellow Charlotte Edmonds highlights how women are still largely excluded from leadership roles in UK ballet, calling for real change and equal opportunities.
Introduction
Over the past 100 years, there have been only six female Artistic Directors at the top five UK ballet companies. Out of these, two of them founded the companies themselves.
Today, there are none at all.
The stark reality of these figures may be shocking to outsiders. But for those involved in the industry it comes as no surprise. Today, I seek to challenge the status quo and pose a question: “why has there been so little progress towards gender equality and inclusion in an industry that I love so much and to which I’ve dedicated my life to?”
The aim of this provocation is to find a route forward to an inclusive space. It is based on the simple premise that the more diverse the array of voices in a room, the stronger the conversation. At a time when funding in the Arts is being slashed and the economy is faltering, I worry about the future of our industry. If we want dance to be a catalyst for change, as I know it can be, it’s imperative we have the right individuals in key positions, providing unwavering leadership and support.
Drawing on my personal experience
It is with this in mind that I reflect on my own career. I have been fortunate to work with and study under some exceptionally talented individuals. But the gender imbalance and attitudes of those in a leading position has often marked that experience. An incident from 2015 stands out: at only 19 I was presenting my work as part of a choreographer’s week-long residency. This was an incredible opportunity which I was keen to make the most of. Yet while seeking feedback on my choreography, I was told by the then Artistic Director of the company that things might have gone better, “if only you put makeup on”. His reductive comments hit me like a tonne of bricks. What I wanted was an opportunity to deepen my relationship with this company and receive constructive feedback on my work;instead I was subjected to unsolicited misogynistic advice.
Since then I’ve worked with companies and teams across many different industries, countries, and sectors. Working outside ballet and stepping into different roles and fields has helped me to develop a deeper understanding, heightened appreciation and broader perspective of inclusion. While in other industries, I’ve increasingly worked under female leadership, in ballet I’ve observed only a marginal shift in the employment of underrepresented voices.
Sources of evidence
This observation may appear anecdotal but it is born out in the statistics. Indeed, only 32% of Global Resident Choreographers, a prestigious and financially secure post, are women as of 2022. Similarly, out of 179 Artistic Directors at major ballet companies, 33% are women, with 0.6% identifying as gender expansive, as of 2021 (reported by the Dance Data Project). From 1924 to 2024, the landscape of leadership within the UK’s foremost dance companies has seen only six women rise to the position of Artistic Director. Ninette de Valois, who founded The Royal Ballet in 1931, held the position until 1963, followed by Monica Mason from 2002 to 2012. Marie Rambert founded Rambert Dance Company in 1926, though the company has since been led exclusively by male Artistic Directors. At English National Ballet, Alicia Markova and Anton Dolin held the position from 1950 to 1963, succeeded by Tamara Rojo from 2012 to 2022, and Galina Samsova led Scottish Ballet from 1987 to 1991. Sharon Watson, the seventh and longest-serving Artistic Director of Phoenix Dance Theatre, made history as one of the first female Principal Dancers invited to join the all-male, award-winning company, touring with them from 1989 to 1997. However, it’s striking to note that Northern Ballet and Birmingham Royal Ballet have never had a female Artistic Director.
The lack of female representation in these types of roles often causes women to question their interest in leading companies historically shaped by men, considering the entrenched status quo. Stepping into leadership roles requires them to resist ingrained norms and biases. For women to thrive in these positions, companies need to undergo significant transformations, for women and young people to work and perform at their best. They could start by offering more responsibilities and opportunities to voice their perspectives at all levels of the organisation, and fostering an environment where they can contribute effectively and creatively.
In recent years appointments of female Artistic Directors across prominent ballet companies worldwide include: Tamara Rojo to San Francisco Ballet, Leanne Benjamin to Queensland Ballet, Cathy Marston to Zurich Ballet and Alessandra Ferri to Vienna State Ballet. These posts represent significant strides towards gender inclusivity and diversity in leadership roles within the ballet industry. Not every female artist aspires to lead, but for those in the UK who do, there is still a significant shortfall in opportunities. Siobhan Davies, Cassa Pancho, Jasmin Vardimon, Shobana Jeyasingh, Yolande Yorke-Edgell, Kate Prince, Seeta Patel and Jules Cunningham have all made significant contributions and established their own companies in the UK to pursue choreography and equality. I applaud these artists, but am forced to question why they should need to establish their own company in order to lead? Why is this the prevailing route to garner exposure?
I often see male choreographers being given large-scale opportunities early on in their development, while women of equal experience may wait decades. This disparity doesn’t reflect a lack of talent—it reflects a structural imbalance in how opportunity is distributed. Until the dance sector addresses this, gender equity will remain an aspiration rather than a reality.
Questions about the gender gap and whether the inclusion of female choreographers is a token gesture have surfaced frequently in recent interviews; tokenism persists, as do political decisions. In light of these realities, there remains an urgent need to establish long-term, fully inclusive access in the arts and to champion initiatives for ethical change within both small and large companies.In the aftermath of the pandemicwe have witnessed regression, making it imperative that we double down on our efforts to ensure equitable representation and opportunities for all.
Leadership and Opportunity
You might be familiar with the singer Lulu, who faced challenges as a young artist in the industry until The Beatles unexpectedly mentioned her during a TV interview. During the interview, when asked what they had been listening to recently, they singled out her debut song and this recognition played a significant role in propelling her to success. It’s important to strive for this kind of allyship.
Instead of allyship, Artistic Directors have sometimes monopolised opportunities. While I appreciate the significance of choreographers who ascend to the role of Artistic Director occasionally presenting their work or premiering new pieces, it’s crucial that the primary focus of an Artistic Director is to foster opportunities for others as well as themselves. Cathy Marston says “Choreographers as Leaders: an opportunity to be seized.” (Clore Fellowship 2014). Choreographers possess many transferable skills for the role, however, there’s a concerning trend within a company where the Artistic Director has claimed 15 out of 25 opportunities to choreograph full-length works, effectively stifling opportunities for other creators.
The opportunity gap persists as companies, facing resource constraints, are less inclined to take risks, but the real risk is our failure to progress and evolve with the times. There is a pressing need for innovative, forward-thinking approaches while upholding the heritage and core values that have underpinned the industry. Even at school, I was aware of the gender imbalance. As a teenager, I decided to write to the Dancing Times about my passion for choreography and my reservations about the support for women. These early experiences underscore the challenges faced by young female artists in gaining respect and recognition.
Taking action
In December 2023, I unlocked the first three episodes of a new digital series called Cameo, which premiered with NOWNESS. It has created a space in which to engage with female and non-binary influential figures in the world of dance, spotlighting lived experiences within the industry. The first series enters into conversation with contemporary choreography talents including Holly Blakey, Jules Cunningham and Julia Cheng, inviting intimate discussions that expand on their methods of working with movement. With the intention to shed light on underrepresentation in senior positions, the conversations open up a dialogue among female and non-binary artists, taking an unflinching look into the world of dance from all angles. By laying the inner workings of the dance world bare, Cameo initiates important conversations t, communicating lesser-acknowledged facets of the art form and the impact on those who operate within its influence.
What these conversations reveal is that embracing gender and diversity in choreography is not only necessary but also enriches artistic expression. The imperative for change lies in embracing a spectrum of creativity, accessibility and perspectives within both performance stages and company culture. This entails comprehensive efforts, from strategic planning to policy implementation to foster an inclusive environment where all artists can thrive. I believe that fostering a more equitable balance within our industry would mitigate or alter these experiences for the better.
Securing funding for this initiative has presented its challenges. In fact, one potential funder expressed reluctance to support the concept, sharing reservations about including non-binary voices. Their remark—”why can’t it just be featuring women?”—was not only an uncomfortable situation but highlighted the broader struggle we face in striving for a progressive future. As I propel the Cameo movement forward, my next step is to draft a Statement of Intent, outlining goals and commitments for equity. Engaging with cultural leaders and board members in this dialogue is vital as is securing support from funders and partners.
Cameo Series One – Charlotte Edmonds interviewing choreographer Julia Cheng, Photo by Ross Brind
Cameo Series Two – Charlotte Edmonds interviewing choreographer Blue Makwana, photo by Matie de Orbe. To find out more visit: cameo
Next Steps
What are the next step? While it is encouraging to see Equality, Diversity and Inclusion (EDI) statements on some ballet companies’ websites, the lack of a public commitment from all is concerning. Without accountability for concrete actions and tangible changes within the industry, progress towards true equity remains uncertain.
It’s crucial to emphasise that addressing gender equality, race and ethnicity discrimination, and LGBTQ+ inclusion is a serious endeavour across the board. It’s not a token gesture, it’s people’s lives. Engaging with these issues in one programme, season or production does not signify completion or absolve responsibility.
Equileap’s gender equality reports highlight a global challenge across industries, making it hard to find a blueprint to mirror. The lack of ballet and arts companies with EDI statements on their websites reflects the industry’s current position. Until they adopt and adhere to a public-facing policy, genuine change will remain elusive.
About the author
Driven by a passion for storytelling through movement, Charlotte Edmonds is a British choreographer, dancer and filmmaker whose work honours classical and contemporary dance as pure art forms. Having trained at The Royal Ballet Lower School, Rambert School of Ballet and Contemporary Dance, and with a masters in choreography from Central School of Ballet, Charlotte’s prestigious academic background speaks to her outstanding technical understanding of dance as a medium of expression. Breaking ground early in her career, Charlotte became the the Royal Ballet’s Inaugural Young Choreographer, and her ability to explore different social and emotional perspectives through dance and film has since made her a prolific creative across the realms of dance, art and commerce. Charlotte has created classical and contemporary choreographies internationally for respected dance institutions such as The Royal Ballet, Bayerisches Staatsballett, Northern Ballet, The Royal Academy of Dance, Dutch National Ballet, Norwegian National Ballet and Studio Wayne McGregor. She has worked with art and cultural institutions such as Sotheby’s, Gazelli Art House and Soho House, as well as fashion brands including Nike, Burberry and Belstaff. Accomplished in capturing dance on film Charlotte has also worked with media giants such as BBC Arts and Nowness. Represented by Ben Totty at Box Artist Management.
Photographer – Maite de Orbe
Themes Leadership Styles Inclusive Leadership Practice Qualities of Leadership
