Female-led companies: Community, curiosity and collaboration
Our take
In recent years, the ballet and dance world has witnessed an inspiring trend: the emergence of small, female-led companies across cities like New York and beyond. These companies, often helmed by dancer/artistic directors who actively participate in the creative process, signify a shift in how dance is conceptualized and executed. As discussed in the article "Female-led companies: Community, curiosity and collaboration," this movement is not just about women taking on leadership roles; it reflects a broader cultural change towards collaboration and shared creativity. The idea that women in the arts are gravitating towards discussion rather than embodying the "solo genius" trope emphasizes the value of collective input and the rich tapestry that results from diverse perspectives.
This evolution is significant for several reasons. First, it challenges the traditional hierarchies that have often dominated the ballet world, where a few individuals held power while others were relegated to the background. By fostering an environment of collaboration, these female-led companies are setting a precedent for inclusivity and mutual respect among artists. This mirrors trends we see in other arenas, such as in the article "Dancing teachers: How teaching can positively impact your performing career," where the value of shared knowledge and mentorship is highlighted as a crucial aspect of growth in the dance community. When dancers take on multiple roles—as performers, choreographers, and directors—they not only enrich their own experiences but also create a platform for others to shine.
Moreover, the rise of these companies signals a shift in the narrative surrounding women in the arts. Historically, the dance scene has been dominated by male choreographers and directors, leaving female voices underrepresented. The emergence of female-led companies represents a reclaiming of space for women, allowing them to create work that resonates with their experiences and perspectives. This movement also serves as an inspiration to younger generations of dancers, showing them that they can take charge of their careers and contribute to the art form in meaningful ways. It disrupts the notion that success in ballet must come from a single path and highlights the importance of adaptability, creativity, and community.
As we look to the future, one of the most compelling questions emerges: how will these female-led companies continue to evolve and influence the broader dance landscape? The focus on collaboration and discussion not only enhances the quality of the work produced but also fosters a sense of community among artists. This shift could lead to a more nurturing environment where emerging dancers feel empowered to share their ideas and express their creativity without fear of judgment. As these companies grow and flourish, they may inspire other sectors of the performing arts to adopt similar collaborative frameworks, further breaking down barriers and creating a more inclusive and vibrant artistic community.
In conclusion, the rise of female-led dance companies is a powerful movement that challenges existing paradigms within the ballet world. By prioritizing collaboration, these women are not only transforming their own experiences but are also paving the way for future generations of dancers. As we witness this shift, it’s crucial to support and celebrate these initiatives, recognizing that the true beauty of art lies in its ability to unite and inspire. What other fields could benefit from such a collaborative approach, and how might this reshape the way we think about leadership in the arts? The answers may very well define the future of creativity itself.
Something interesting is happening in the ballet (and ballet adjacent) world. There are small, female-led companies popping up in NYC and other parts of the country. In many cases, these companies are led by dancer/artistic directors or co-artistic directors, meaning that the ladies who started these groups dance themselves. Many are also in other companies in addition to running the one they’ve created. So, why are working dancers going through the massive effort to create, dance and run their own company?
In a word: collaboration.
In a few more words: women trend toward discussion, know that discussion enhances the quality and richness of the work, and choose to reject the idea of the “solo genius.”
While aspects of collaboration have always been part of dance, true collaboration is often elusive in company life. Ballet has its deep tradition of hierarchy, and contemporary companies often fall into a similar, though less defined, structure. But for these women, establishing a space that truly honors collaboration and seeks greater artistic depth because of it, taking on artistic directorship is worth the effort and the challenge.
While female dancers dominate the dancing part of the dance world, women in leadership and decision-making roles have far less concentration. In fact, according to the Dance Data Project (DDP), in 2024, among the 50 largest ballet companies in the United States, only 22 percent had female artistic directors, a statistic that’s remained unchanged since 2013. The inequality of this leads to missed opportunities that female leadership brings to the artistic process.
In 2022, Rachel Thalman and Laura Kaufman founded Woman in Motion to foster individuality and collaboration. In addition to breaking the trope that conformity is valuable, they also deeply rely on collaboration. Kaufman notes, “We believe in the value of collaboration and lead by making room for everyone’s ideas. Each artist brings different ways of seeing movement, and when we truly listen to each other, that’s when the magic happens. The best work happens when we build together.” Utilizing the unique and individual qualities that each dancer brings enables Woman in Motion to provide curious and creative dance to audiences.
Renversons, founded by Minnie Lane in 2025, intended to create an environment where the dancers’ well-being is a priority. In many cases, particularly with small companies, it is not. Lane provides her dancers with similar compensation and benefits (company-purchased pointe shoes and physical therapy) afforded by larger companies, knowing that when dancers are nurtured in this way, better work emerges. Renversons also engages in same-sex female partnering, shifting away from the male-female traditions, which opens new ways to watch and experience ballet. Additionally, the company opens class (at no charge) to other freelance dancers in New York City, believing that collaboration within the larger community benefits all within it.
“We’ve found that investing in and engaging with our community – whether that’s other freelance dancers or freelance companies – only strengthens the NYC dance community at large,” Lane says. “By sharing how we are navigating the creation of a values-driven ballet company at this moment, we hope to contribute to a timely conversation about sustainability, equity and leadership in the ballet field.”
Furthering the idea of collaboration, a couple of female-led troupes are even doing so geographically. AVID: Artistic Ventures in Dance and Pointeworks both create, rehearse and perform in two places (so far!), making them dual-based. AVID is in Denver, CO, and Pointeworks in San Diego, although they both consider NYC a base, as well. For both, the idea of geographical collaboration furthers the aim of making ballet accessible around the country, while maintaining high-level work and connection with the rich and deep river of the NYC dance world.
Emily Speed, Artistic Director of AVID, shares what drove her to make this choice when creating the company. “We’re a Colorado organization and are deeply invested in collaborating with local artists and organizations there – that community and support has been essential to how we’ve grown. At the same time, rehearsing and performing in NYC felt like a natural and important way to be in conversation with the dance world at large. New York offers visibility, density, and a shared professional language that helps the work be seen and situated within the broader field.”
Sophie Williams shares the same sentiment, although she intentionally avoids calling any one place home for her company, Pointeworks. “NYC is such a powerful pulse of the nation’s arts and culture that presenting and developing work there allows it to be seen, challenged and appreciated at the level we are aiming for. At the same time, San Diego is a vital and deeply meaningful home, and it’s incredibly fulfilling to bring national-caliber ballet to a region that doesn’t always have consistent access to that level of programming. Both cities offer something distinct and equally important.”
Geographic diversification as a element of collaboration drives artistic excellence and curiosity. Acknowledging the value of NYC, while seeking voices and artists from the broader dance population, gives both these companies another avenue to deepen opportunities. As Williams mentions, “The company was founded to bring people together across backgrounds and geographies, and to allow the work and the female voices we’re commissioning. The more places we go, the more opportunities we have to share these new works and broaden their impact.”
Dance is a fundamental aspect of being a human, one that we’ve all gravitated toward long before such a thing as a stage even existed. It’s a way for us to connect with one another, to share stories, and to communicate the nuances of existence for which there is no language. As technique becomes more refined and spectacle becomes more commonplace, these women and these companies remind us of the value in community, curiosity and collaboration – elements that unite us all and honor the most joyful pursuit of dance.
By Emily Sarkissian of Dance Informa.
The post Female-led companies: Community, curiosity and collaboration appeared first on Dance Informa Magazine.
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