O artigo Sexism in dance: where are all the female choreographers? saiu no «the Guardian» no dia 28 de Abril, e foi a colega Mónica Guerreiro que deu por ele, e logo identificou que aqui, no Em Cada Rosto Igualdade, é espaço certo para ser divulgado. E no dia 29 foi o dia Internacional da Dança, e quase «não se deu por ele». Diriamos que temos a atmosfera certa para sublinharmos os problemas colocados no artigo do «theGuardian» porque embora se centre no Reino Unido, podem ser generalizados. De facto, facilmente nos lembraremos de grande coreógrafas, mas o que o jornal levanta tem a ver com carreiras e com lugares de direção. E a questão da paridade coloca-se, e ir às causas que a não permitem faz todo o sentido. Uma passagem do artigo:
«(...) It's 14 years since a woman was commissioned to create a main-stage ballet at the Royal Opera House. If this were true of women playwrights at the National Theatre, or female artists at the Tate, there would be outrage. But at the flagship institution of British dance, the omission has escaped public notice. As it did last summer when the Royal Ballet and the National Gallery launched a collaboration named Metamorphosis: Titian 2012. Of the 15 artists and choreographers involved, none was a woman. An ironic decision, given that the subject was the goddess Diana, the personification of feminine power.
Even in contemporary dance, historically a territory marked out by choreographic pioneers such as Martha Graham and Pina Bausch, men are much more prominent than women. In the UK the female choreographers are there – Fleur Darkin, Shobana Jeyasingh, Charlotte Vincent and others have been diligently carving out careers for years – but it's almost always their male colleagues, even the less experienced ones, who get the big commissions. "It's a nightmare for those of us who watch as men get given chances they are simply not ready for while we graft away at our craft and take smaller-scale opportunities," says Janis Claxton, an Edinburgh-based choreographer. "Women quit because they don't get the support that their male colleagues get, and having to push constantly against this outrageous gender inequality is infuriating."
In classical dance, female choreographers are rare indeed, and the dynamics of vocational ballet schooling are at least partly responsible. Boys see themselves as individuals from the start, but girls quickly learn how replaceable they are, and in consequence can become over-anxious to "fit in".
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