The Shifting Landscape of Dance: Leadership Changes, Funding Shifts, and a Future in Flux
The dance world isn’t known for standing still, but the volume of transitions announced in September 2025 signals a period of particularly dynamic change. From artistic directorships to funding priorities, and even companies closing their doors, the sector is recalibrating. But beneath the surface of these comings and goings lies a deeper story: a reshaping of the dance ecosystem driven by financial pressures, evolving artistic values, and a growing demand for accountability.
A Cascade of Leadership Transitions
The appointments announced this month reveal a clear pattern of generational shifts and a broadening of perspectives. Ernst Meisner’s move to the Dutch National Ballet, following Ted Brandsen’s departure, and Mia J. Chong’s co-artorship at ODC/Dance, represent a passing of the torch. More significantly, the appointment of Sharon Bar-Lev as CEO of Batsheva Dance Company marks a notable change, as does Jamie Burns taking the helm at Baryshnikov Arts. These aren’t simply replacements; they’re opportunities to redefine artistic visions and organizational priorities. The simultaneous naming of repertory directors at New York City Ballet, filling the void left by Rosemary Dunleavy’s retirement, highlights the importance of preserving institutional knowledge while embracing new creative voices.
Funding Realities and Artistic Integrity
The closure of Kun-yang lin/dancers, a company with a 25-year legacy, is a stark reminder of the financial fragility facing many dance organizations. This closure, coupled with Michael Keegan-Dolan and And the Doherty’s withdrawal from Sadler’s Wells due to its ties with Barclays, underscores a growing tension between artistic independence and corporate sponsorship. Artists are increasingly willing to make difficult choices to uphold their values, even if it means sacrificing funding or institutional affiliations. This trend suggests a potential future where smaller, independently funded companies thrive, prioritizing artistic integrity over large-scale financial backing. The substantial grants awarded through the National Dance Project – totaling $45,000 for new works plus additional support – are a vital lifeline, but the sheer number of applicants (and the $10,000 grants for finalists) demonstrates the intense competition for resources.
Choreography in the Spotlight: From Music Videos to Emmy Awards
The recognition of choreographers like Robbie Blue (MTV VMAs and Creative Arts Emmys) and Marguerite Derricks demonstrates a growing appreciation for dance as a distinct art form, extending beyond the traditional stage. Blue’s awards for work on Doechii’s “Anxiety” and The Grammy Awards showcase the increasing influence of dance in popular culture and its ability to elevate visual storytelling. This crossover appeal is crucial for attracting new audiences and securing broader funding opportunities. The Made in NY Awards for Theatre and Live Performance, recognizing Patricia Delgado and Justin Peck, further solidify dance’s place within the larger performing arts landscape.
The Rise of the Independent Dancer and New Talent
The National Ballet of Canada’s Dancers First Award, recognizing Hannah Galway and You are rudy, exemplifies a growing focus on supporting individual artists. This trend, alongside the influx of new principals and soloists at Vienna State Ballet – Laura Fernandez Gromova, Madison Young, António Casalinho, and others – signals a vibrant influx of talent. However, it also raises questions about the sustainability of careers in dance. With companies facing financial pressures and established dancers retiring (like Pacific Northwest Ballet’s Lucien Postlewaite), opportunities for emerging artists are both plentiful and fiercely competitive. The need for robust support systems – including affordable housing, healthcare, and professional development resources – is more critical than ever.
Looking Ahead: A More Agile and Values-Driven Future
The changes announced this month aren’t isolated incidents; they’re symptoms of a larger transformation. The dance world is becoming more agile, more diverse, and more attuned to ethical considerations. Companies that prioritize artistic innovation, community engagement, and financial transparency will be best positioned to thrive. The future of dance likely lies in a hybrid model – a blend of established institutions and independent collectives, supported by a mix of public funding, private philanthropy, and innovative revenue streams. Dance/USA provides valuable resources for organizations navigating these challenges.
What are your predictions for the future of dance leadership and funding? Share your thoughts in the comments below!
