Dallas, Texas – A firestorm is brewing in the arts community as the Dallas Black Dance Theatre (DBDT) faces allegations of union-busting following the dismissal of its entire main company. The dancers, represented by the American Guild of Musical Artists (AGMA), claim they were terminated in retaliation for their decision to unionize.
The dismissal came just months after the dancers voted unanimously to unionize with the AGMA. The theater’s initial statement attributed the terminations to a playful video, posted to the dancers’ self-run social media account on June 21, 2024, that allegedly violated contractual terms and artistic standards. “Because this video violates our company policies for use of our name, brand, and does not reflect the organization’s values, we had an immediate and negative impact on our public image,” DBDT Executive Director Zenetta Drew recently told Dance Magazine.
The theater claims the June video displays the recently dismissed dancers in violation of several policies, including performing provocative dance moves, displaying the theater’s official branding and headshots without authorization, and using their personal phones while in studio and on company time.
However, the timing of the dismissals and the subsequent public outcry from artists communities and professional dance companies across the nation have led many to believe that the unionization efforts were the primary catalyst for this drastic action – specifically because the group had, in the past, posted similar videos showcasing similar playfulness. “We believe that this is clearly retaliation for unionizing,” a AGMA spokesperson told the Dallas Weekly. “The dancers of DBDT are facing an unprecedented reaction to their right to organize. It is one of the most extreme cases of union busting we have ever encountered.”
DBDT’s decision, announced on August 10, 2024, has sparked widespread outrage. The recent dismissals come amid a broader national trend of workers seeking to unionize, particularly in industries long considered immune to such efforts. The arts sector, once seen as a bastion of collaboration and shared passion, has increasingly become a battleground for labor rights.
Well, That Escalated Quickly
The dancers at DBDT, hoping for a stronger voice in their workplace and improved working conditions, voted unanimously to unionize with AGMA in May of 2024. Shortly thereafter, they began experiencing what they describe as a hostile work environment.
“Management began changing workplace benefits immediately after the dancers voted unanimously to unionize, which we alleged to be unlawful in an unfair labor practice charge filed on June 1,” the spokesperson said. “We know that the dancers of DBDT wanted a voice in their workplace in the hopes that management would respect that wish and meet in good faith to bargain over their terms and conditions of employment.”
The situation escalated dramatically when the dancers, who had already received letters of intent for the upcoming season, were abruptly terminated just ten days before the season was set to begin. AGMA alleges that this mass firing was a direct response to the dancers’ unionization efforts and that the video was used to nitpick minor actions that the dancers had previously (pre-unionization) and publicly engaged in.
“DBDT management has attempted to justify the mass firing by claiming that the dancers engaged in misconduct that violated company policies,” the AGMA spokesperson said. “However, the so-called ‘misconduct’ in question was nothing more than a playful and engaging Instagram reel that the dancers created after rehearsal finished on June 21 to introduce their new Instagram account as AGMA dancers.”
The spokesperson continued that “the post accompanying the video states that the dancers unionized with AGMA. The dancers engaged in similar social media activity, both before they unionized as well as with post-unionization posts that did not mention AGMA, and they were not disciplined.”
A History of Creative Union-Busting
The world of dance, often perceived as a realm of grace and beauty, has a history intertwined with the harsh realities of labor disputes. Dancers, like many workers, have sought to improve their working conditions through unionization, a process frequently met with resistance and, in some cases, outright retaliation from creative entities.
While the labor movement has a long history, the specific challenges faced by dancers in unionizing are often overlooked. The entertainment industry, characterized by its transient nature and emphasis on individual talent, has historically been resistant to unionization. Dancers, with their precarious employment status and often romanticized roles, have faced particular hurdles.
In the early 20th century, as dance forms like ballet and modern dance gained popularity, dancers began to grapple with issues of low wages, long hours, and unsafe working conditions. However, the lack of job security and the fear of being blacklisted made it difficult for them to organize collectively.
But the mid-20th century saw a growing awareness of workers’ rights, including those in the arts. Dancers, inspired by the broader labor movement, began forming unions to address their concerns. Organizations like the AGMA, which represents performers in opera, ballet, and concert dance, emerged as powerful advocates for dancers’ rights.
Despite these efforts, retaliation against unionizing dancers persisted. Dance companies, often blaming financial pressures and potential disruptions to productions, resisted union demands. Blacklisting, a common tactic, was used to punish dancers who actively participated in union activities.
The Roles of Region & Race
While the image as a staunchly anti-union bastion has persisted, Dallas was not immune to the labor upheavals of the late 19th and early 20th centuries. The city’s burgeoning industrial sector, particularly in manufacturing and transportation, created fertile ground for labor organization. Still, the influence of worker unions is often limited by the anti-union sentiment prevalent in the region.
As the nation sees a new boom in efforts to unionize, the South has, once again, found itself at the center of labor-rights debates. “There has been a recent upsurge in dancers unionizing, particularly in the South,” said an AGMA spokesperson. “It is nothing short of inspiring to see so much solidarity in the dance industry, particularly in a region of the country that has historically been so hostile to workers’ rights.”
Meanwhile, race has historically played a significant role in union busting in creative professions, often targeting minority workers who are especially at the mercy of powerful entities due to limited opportunity. Historically, employers would exploit racial divisions among workers, using fear-mongering tactics to prevent unionization. These tactics include highlighting the perceived economic interests of different racial groups, suggesting that unions would prioritize the needs of one group over another.
This strategy has been particularly effective in industries with diverse workforces, as it can undermine solidarity and create a sense of competition among workers who desperately compete for limited opportunities rather than demanding more be created.
In the case of the dismissed DBDT dancers, it’s the perfect storm. Between the region’s anti-union culture, the perceived lack of opportunity for Black dancers, and an industry-wide history of retaliation against unionizing artists, the fight is likely to be an uphill battle.
AGMA’s Plans to Fight
Still, the AGMA says they plan to stick beside their comrades. The union has strongly condemned DBDT’s actions, calling them “appalling” and characterizing the situation as the latest in a series of retaliatory measures against the dancers. The union has filed unfair labor practice charges against the company, stating that “AGMA’s professional staff, which includes counsel, has been working tirelessly with the dancers since they first approached AGMA for representation.”
AGMA says that they plan to back the Dallas dancers for the long-haul to ensure “that the rights of dancers are protected.” According to the spokesperson, “on August 1, AGMA filed several additional unfair labor practice charges against DBDT, for several issues, including the retaliatory discharge of a 14-year veteran of the company, the refusal to hire main company dancers to teach in the DBDT Academy.” AGMA is leaving no stone unturned in its pursuit of justice for the dancers. The union is seeking legal counsel to explore all potential avenues, including an injunction to reinstate the fired dancers.
For the recently dismissed dancers of DBDT, the financial and emotional toll on the dancers has been devastating. According to the union, the financial implications of the dismissals on the dancers including lost wages, benefits, and future job prospects. “They are now left without work, and due to a prior change in company policy that we have also alleged to be unlawful, they have also lost teaching opportunities at the DBDT school, which many of them relied on for additional income,” the AGMA spokesperson noted.
“An attack on one of us is an attack on all of us,” the AGMA spokesperson declared. “When an employer retaliates against workers who stand together for their rights, they challenge the very principles of fairness, respect, and dignity that the artists of our Union fight for every day.”
National Calls for Inquiry
As the story unfolds, it is clear that the battle for labor rights in the arts industry is far from over. The actions taken by DBDT have ignited a broader conversation about the treatment of artists and the importance of unionization in protecting workers’ rights. Many are questioning the future of the company and expressing concerns about the precedent this sets for other arts organizations.
DBDT, a cornerstone of the city’s cultural landscape, is facing intensifying criticism for its handling of the situation. Several members of the Dallas City Council have called for a probe into the dismissal. “It does involve us because the city leases a building for $10 a year, a downtown property for $10 a year to this organization. There is some subsidizing of utilities that goes on,” said Councilwoman Gay Donnell Willis at a council meeting.
Meanwhile, the dismissed dancers of DBDT are pulling in support from across the nation. While hundreds of Dallas protestors participated in an in-person demonstration this past weekend, millions have spoken out in virtual solidarity online. Additionally, creative institutions have recently come out in support of the dancers, with professional companies such as the Texas Ballet Theatre, Houston Ballet, San Francisco Ballet, Alvin Ailey American Dance Theatre, Pittsburgh Ballet, Memphis Ballet and countless others making public statements of solidarity.
*Dallas Weekly’s CEO, Jessica J. Washington served on the board of Dallas Black Dance Theater from Oct 2021 – August 2024. This article was published with no connection to our CEO’s former board position and in the spirit of upholding Dallas Weekly’s pillars of community service through journalism and free press.