This report is the latest in the ongoing venue examination series, which began with the 2020 Dance Venue Leadership & Programming Report, produced in collaboration with the Center for Equity, Gender, and Leadership (EGAL) at UC Berkeley’s Haas School of Business and led by DDP Advisory Council Member and former board President Patrick Crocker during his time at the school. In it, we document our latest findings on gender equity in performing arts programming and leadership for the 2023/2024 season, revealing that while women’s dance works made up a significant share of premieres and mixed-bill programs, women remain underrepresented in full-length productions, major venues, and leadership roles across 116 performing arts centers.
DDP examined ballet/classically based, contemporary, and modern dance programming across 116 performing art centers. Of the 2,221 dance works presented, 31.4% were choreographed by women. Women choreographed 17.8% of the 891 total programs identified in the study, and 35.9% of these programs included choreographers of mixed genders. A breakdown of programming by format further highlights this disparity: women choreographed 30.2% of full-length works and 32.3% of mixed-bill works. “This report serves as both a benchmark and a call to action—we can build a future where women’s choreography is fully recognized and celebrated on the world’s biggest stages,” said Junyla Silmon, DDP’s Senior Research Consultant. “At DDP, we are dedicated to extending the scope of our research to capture a more comprehensive range of data. Our goal is to expand this report globally in future iterations.”
A closer look at premieres reveals notable differences in representation: Women-choreographed works represented 40.9% of total premieres, including 48.2% of world premieres, 25.0% of U.S. premieres, 12.9% of company premieres, and 32.7% of venue premieres. The stark contrast in representation between world premieres and company premieres suggests that while women are gaining visibility in new creations, they are less frequently included in works being introduced to established companies.
DDP also examined programming based on the number of dance works presented per center. Centers that presented the highest number of works (over 25) included an average of 31.8% female-choreographed works. Those presenting a medium number of works (11-25) programmed 30.8% female-choreographed works, while centers with the fewest works (10 or fewer) programmed the lowest percentage, averaging 28.9%. Notably, there were 13 centers that did not program a single work choreographed solely or co-choreographed by women.
The study analyzed theater size as a factor in gender distribution. The Largest Capacity Theaters with a combined seating capacity of 177,814, programmed just 22.2% of dance works by women. The Medium Capacity Theaters (75,665 seats total) programmed 31.2% women-choreographed works, while the Smallest Capacity Theaters (20,241 seats total) had the highest percentage at 39.8%. These findings suggest that women’s works are disproportionately relegated to smaller venues, limiting their visibility and impact.
“Women are still being given fewer opportunities on the largest stages, which reinforces an inequitable cycle,” said DDP Research Lead Jenna Magrath. “When major institutions fail to program women’s works at scale, that diminishes these choreographers’ chances of securing commissions, funding, and broader recognition.” The report also highlights gender representation in leadership roles within performing arts centers. Of the 206 individuals identified in executive and artistic director roles across 116 centers, only 92 (44.7%) were women. On governing boards, women comprised 43.5% (1,287 of 2,956 board members). While these numbers indicate progress, the findings demonstrate that gender parity remains elusive in decision-making roles that influence programming choices.
“Despite limited time, funding, and resources, DDP is making significant strides in analyzing key data and expanding our research to encompass a broader range of programming, including festivals, venues, and touring companies.” said DDP President and Founder Elizabeth ‘Liza’ Yntema. “By offering this data, we hope to illuminate the barriers faced by women and ensure that the programming pipeline becomes more inclusive, rather than dominated by a narrow group of high-profile male artists. For example: The Joyce Theater, under the leadership of Director of Programming Danni Gee, prioritizes diverse and inclusive programming, creating vital opportunities for female choreographers.”
