June 10, 2025

On March 15, 2025, Chloë Flores and Dorothy Dubrule gathered a group of dance artists and representatives from some of LA’s visual arts institutions for a conversation hosted by the Feminist Center for Creative Work. Their intent was to build mutual understanding around the inclusion of dance within the local visual art field, particularly regarding labor and working conditions. The conversation they facilitated aimed to: (1) foster an understanding between performers and institutions on the nuanced conditions of supporting live work in nontraditional performance contexts, and (2) name a set of shared practices amongst LA-based Art Organizations that will nurture a thriving and sustainable performance ecosystem for years to come. Participants included: John Burtle, Jay Carlon, Amelia Charter, Alexsa Durrans, Mara McCarthy, taisha paggett, Amanda Sroka, with additional contributions by  devika wickremesinghe, and samantha mohr taking notes.  Alex Sloane also contributed to the development of this program.  Funding was provided by homeLA.  Below is an anonymized summary of the conversation. 

Introduction

Dorothy: Published in 2024, Being Work is a collection of personal essays written by performers working in visual arts contexts and includes descriptions of the day-to-day nature of this labor, such as somatic experiences inside of durational work, interactions with visitors, how the work fits into the context of the performers’ personal lives, etc. I wanted to make this book because, as an artist who has done over a decade of delegated performance work in LA, and as the former Executive Director of Pieter Performance Space, I feel very aware of the persistently siloed experiences between performers and visual art audiences, performers and institutions, and from institution to institution, despite the recurrence of conversations about the friction between dance and visual arts spaces. I feel that these silos work against a potential future of performance in LA that is thriving and just, and I believe that “thriving” and “just” are interdependent conditions. Being Work is an attempt to visibilize and value the many kinds of labor performers do when working in these contexts. In so doing, the book aims to create connection, building empathy and understanding of performers’ perspectives in a nuanced and lasting way.

Chloë: From the beginning, homeLA has been an organization that seeks to uplift the dance and performance sector. One of the ways we do that is through wages and advocacy work.  For instance, I made a decision early on to do less so we can pay more: taking a stand to prioritize wages and model a standard for supporting performers. 

In 2023, homeLA reached out to Dorothy because we wanted to support her work and acknowledged the discrepancies that the book brings forth. Many of the discursive platforms we use in our sector are based on display and representation, which are not great for affecting change. So, we decided on a format that feels more action-oriented and offers us the opportunity to shape cultural awareness and consciousness around the topics we will be discussing.  Our hope is that the ripple effects of homeLA’s work and the work we do here together today help shape the stabilization of performance in Los Angeles.   


Why
To come together across our various roles in the ecosystem that makes movement-based performance possible in LA (against all odds!), unified in our desire to see this work sustain and thrive despite its many challenges (unique to this place, this medium, this time, etc). 

What
To support this desire, we hope to create some common ground across divergent perspectives, closing gaps in understanding and making space for nuance, as well as determine some explicit and transparent shared practices to move forward with and propagate as an ecosystem – with the belief that without a shared standard, terms rarely favor performers – so that each presenting space does not have to feel as though they are tasked with reinventing the terms with each show and performers aren’t continually tasked with the labor of advocating for fair standards. 

How
We don’t expect this conversation to be exhaustive, the time for this conversation is limited. Additionally,  this is an opportunity to generate proposed initiatives and topics that might follow today’s conversation. This is the beginning not the end. We may not come to consensus, but what is shared will be documented in the hope that the record of this conversation will be a reference point in shaping equitable conditions in the future.

To Review
The 4 section names of this conversation come from adapting considerations for performance to exhibition context for visual art.  Each section begins with an opportunity for everyone to share something that they’d like the ecosystem to understand from their perspective. Please keep in mind our scope (movement-based work in visual arts contexts, terms of delegated performance and not the commission of new performance works).

Commission: Contracts

Description: 

This discussion focused on how contractor agreements translate into performance-based work. Participants explored how to standardize agreements across different show runs and account for varying physical demands. Emphasis was placed on outlining rehearsal plans, clarifying performer responsibilities, and improving transparency in audition calls. The group also addressed power dynamics, the advocacy role of lead artists, and the need for institutions to clearly define for performers  liability, access, and institutional obligations at the outset of an engagement, to ensure accountability and transparency in performance work.  It was noted that performers often lack training in negotiation, and institutions could provide support or third-party guidance to ensure fair outcomes.

Proposed Practices:

  • Lead artists should advocate for ensemble members by reviewing conceptual and logistical terms before contracts are shared.

    • Institutions should collaborate with lead artists to share logistical responsibilities, rather than burdening the lead artist alone. 

  • Contracts should include:

    • Rehearsal and performance schedules, locations, facilities access, working conditions,  payment schedule, contingency plan (postpone/cancellation);

    • Expectations around audience interaction, documentation participation requirements, and which aspects of the engagement are open to public observation; 

    • Exit policies and performers’ rights if conditions change;

    • Artist crediting protocol;

      • To support performers' visibility and career opportunities, institutions should ensure proper crediting (properly identified and spelling) of performers in all images, videos, press materials, and institutional archives, acknowledging their contributions alongside the lead artist.  See also: further guidelines under Exhibition/Proposed Practices section.

    • Payment processing requirements (e.g., invoice submission, institutional approval, etc.) and timelines;

    • If emergency payment options are available, this should be included in the agreement.

  • Audition notices should include as much detail as possible from the contract terms. This ensures clear expectations and allows performers to make informed decisions about their participation in the work.

  • Contracts should be sent as soon as possible, but no less than 5 business days prior to the start date of the engagement.

  • Upon sharing contracts, institutions should be transparent about the possibility of negotiations, encourage performers to ask questions and seek clarification.

    • Institutions may consider offering performers the option to review agreements with an institutional point of contact, as well as putting lead artists and fellow performers in contact with one another to facilitate a streamlined process. 

  • Institutions should assign a designated contact for addressing contract discrepancies or emergencies and establish a resolution process.

Commission: Fees

Description: 

This discussion focused on the need for fair compensation for performers working in visual arts settings.  Participants addressed gaps between institutional resources and current compensation practices, especially when comparing the treatment of performers to the care given to art objects. Discussions called for the development of sustainable compensation practices that reflect the value of performers' labor.  This included the importance of transparent and equitable wage structures, including separate rates for rehearsal and performance time. Additionally, participants emphasized that performer pay should consider the physical demands of the work, transportation, time away from other employment, unpaid prep hours, and appropriate overtime rates for delegated performers. Participants expressed hesitancy to  standardize compensation for performance work when the nature of the work varies so widely. However, they agreed that performer compensation has been undervalued due, in part, to the lack of standard minimum rates. Participants took a hand vote on the following:

  • Rehearsal Pay: unanimous support of  the WAGE-proposed standard of  $30 per hour or $150 per day, whichever is greater.

    • For example: If the rehearsal is 3 hours, it should be compensated $150, whereas if it is 6 hours, it should be $180.

  • Performance Pay: While the $30/$150 rate was accepted for rehearsal work, it was considered too low for performance fee. $40/$200 and $50/$250 per day were suggested, as alternatives, with $50/$250 receiving more support, however there was  no clear consensus.

Proposed Practices:

  • Institutions should separate compensation for rehearsal and performance.

    • For performers traveling from out-of-town for the engagement, a per diem should be provided for both rehearsal and performance days. Institutions should clearly state how out-of-town status is determined, i.e. an # mile distance.

  • If an institution cannot meet standard minimums (e.g., $30 per hour or $150 per day of rehearsal), the project scope should be re-evaluated in conversation with the lead artist. 

  • Call time before performances should be acknowledged and paid (i.e. the total hours a performer is required to be onsite on a performance day  should be compensated at the performance rate).

Install

Description: 

This discussion addressed the unique physical demands placed on body-based performers and the importance of creating environments that support their care. Participants emphasized the need to build in adequate time, resources, and thoughtful planning during the rehearsal process. Areas of focus included the conditions of the rehearsal and performance spaces, accommodations such as water, toilets, and shade, as well as the provision of a Green Room, a framework for visitors, and safety measures for performers. Participants discussed the nuances of safety protocols for performers and audience engagement for different kinds of work (i.e. one size does not fit all). When emergencies or unexpected changes that emerge during a performance are not prepared for, this can create undue hardship for performers with whom the burden primarily lands. It was agreed that gallery attendants and/or designated relevant personnel and  thoughtful audience engagement are especially important for charged situations, such as when nudity or controversial content is involved. The group also addressed how a dedicated performance coordinator (or similar dedicated role) and additional budget support may be necessary to ensure smooth coordination without overburdening existing staff. 

Proposed Practices:

  • Performer  support should reflect a consideration of human needs, such as: water, toilets, temperature regulation,  cleanliness, safe visibility conditions, and sun exposure.  

    • For example: before rehearsals begin, institutions should assess the availability of water, toilets, rest areas, personal belongings storage, shade, and costume care.

    • If their facilities are insufficient, institutions should consider partnerships with other venues. 

  • Institutions should consider scheduling rehearsals during off-hours or closed days to support a more focused rehearsal process.

  • Institutions should schedule a comprehensive orientation on the first day of rehearsals covering safety protocols, facilities, security introductions, and site-specific information. This includes considerations of:

    • How to access the rehearsal and performance spaces, such as security clearance, parking instructions, etc.;

    • How performance spaces will be utilized, including any trade-offs or repurposing of non-performance areas, to manage expectations and ensure all parties understand the space's limitations and potential;

    • Contingency plans to address any emergent issues during rehearsals or performances.

  • Performers should enter the engagement with an understanding of the factual limitations of spaces designed to house art objects rather than live art.

    • Institutions should support this understanding with transparency about what can and cannot be offered to accommodate performers’ needs. 

    • Performers should respect the art objects in the space they share (i.e. proximity, climate conditions), and institutions are responsible for balancing the care needs of both object-based work and performers’ care needs.

    • Institutions should have a designated  Performance Coordinator/Producer (or similar dedicated staff member) to manage logistics, communication, and scheduling for performances and rehearsals.

    • This is distinct from curator responsibilities, though the same person may need to hold both roles.

  • Institutions should develop visitor engagement and safety protocols with clear signage, considerations of proximity of visitors to performers, trigger warnings, and audience orientation strategies in advance of public rehearsals or performances.

    • Safety protocol should include gallery attendants and/or designated relevant personnel and front-of-house staff on the conditions of  live performance, especially when performances involve nudity or sensitive material.

Exhibition 

Description: 

This discussion highlighted the importance of structured communication, hospitality, staffing, and intentional documentation practices during performance.  Participants discussed establishing clear guidelines for performer care, and that proper crediting ensures a supportive environment for performers. The group also discussed the importance of recognizing the labor involved in body-based performance and providing proactive staffing and logistical support to maintain a productive and respectful artistic process.

Proposed Practices:

  • Performance days require reasonable breaks between call-time and the start of the performance.

    • Some performances may require more frequent breaks or additional recovery time to ensure performers’ well-being and sustainability.

    • Meal breaks must be long enough for digestion, especially when cardiovascular work is involved. 

  • Institutions and performers should establish a structured daily check-in/check-out process for rehearsals and performances to touch base on any occurrences/changes/ learnings/emergent questions.

  • Institutions should ensure adherence to the crediting protocol outlined in the contract (see: contract>proposed practices). During exhibition, this may include:

    • Providing performers with access to documentation that they appear in.

    • Decisions regarding public sharing of documentation should prioritize performer safety, taking into account visibility (which typically benefits performers)  and the political climate (where visibility can potentially endanger performers). 

  • Institutions should establish and communicate clear guidelines for the allowance of food, beverages, and water in performance spaces, with special attention to the unique performer needs of a given work.

Deinstall

Description: 

This discussion established post-mortems and exit interviews as critical moments for reflection, learning, and accountability.  Participants discussed how these practices allow performers, collaborators, and institutions  to assess what worked, identify areas for improvement, and explore how future processes can evolve. Additionally, participants noted that timely payments, proper crediting, and access to documentation as fundamental to strong performer-institution relationships.  

Proposed Practices:

  • Institutions should integrate exit interviews as a standard institutional practice, but more importantly, feedback should be continuous, not only reserved for post-performance debrief

    • Exit interviews can take the form of in-person conversations, anonymous forms, or written submissions. 

    • This feedback should be considered as important as audience surveys in shaping institutional learning.

  • Institutions should never absorb performance concepts or structures into ongoing programming without consultation with and compensation to performers and the lead artist.

  • Archives should document the names of all performance participants for historical accuracy purposes. 

  • Payment made in a timely manner, as laid out in the contract,  ideally with a maximum period (e.g., within 30 days of invoice).

    • Institutions could process W9s and other payment documentation before performances to avoid delays.

  • Institutions should clearly communicate the striking schedule, process, and whether performer participation is mandatory.

  • Gratitude is essential; everyone, from performers to support staff, deserves acknowledgment for their contributions.

Closing Remarks

Description: 

The discussion emphasized the importance of keeping the conversation active and expanding its reach. 

Suggested follow-up  initiatives for the working group:

  • Find a larger platform for the findings such as local and national conferences, institutional collaborations, publications, etc.

  • Host informal gatherings to  provide an opportunity for continued and expanded engagement with these topics

  • Create two sets of questions to serve as publicly available  resources for supporting just and sustainable working conditions for performers in visual arts contexts:

  • One set is for institutions to pose internally when preparing to host performance work, with the intention of promoting intentionality.

  • One set is for performers to use as a self-advocacy tool. These questions are for the contracted performer to pose to the hosting institution at the start of an engagement.

  • Consider a separate discussion on the lead artist's role.  Lead artists are key in setting expectations, managing collaboration, and ensuring fair treatment of performers. This conversation would focus on the pedagogy and practice of team care strategies.