The company’s 154 dancers benefit from a special status that has evolved into the focus of demand in recent years.
Published on 12/14/2024 11:56 am
Reading time: 5 minutes
The end-of-year holidays got off to a bad start for the Paris Opera. Four performances of the ballet Paquita by Pierre Lacotte, danced at the Bastille in December and performance of the show Play by choreographer Alexander Ekman at the Opéra Garnier, were afterward cancelled a strike movement launched by the CGT union and related to dancers’ working hours.
Wednesday 11 December, following a”resumption of discussions“, the CGT announced the suspension of the evening strike, which allowed the first performance of the Paquita which will be held at the Opéra Bastille. The next day, the CGT representative, dancer Matthieu Botto, announced that the strike notice had finally been revoked. Some explanations on the reasons and consequences of this strike.
The 154 dancers of the Paris opera Ballet have a special status.They were not affected by the pension reform and were able to maintain a special regime that allows them to retire at 42 and a half. They then receive a pension calculated in proportion to the number of years during which they have contributed.
90% of the dancers in the troupe spent more or less time at the Opera dance school located in Nanterre. They often join the company when they reach the age of majority, sometimes a little earlier, and can remain there until the maximum age of 42.
In 2023,according to data published by the newspaper le Figaro,a dancer who entered the dance troupe at quadrille level earned 3,140 euros gross per month and a dancer at the end of his career earned just over 6,000 euros gross,in 13 months.
Their salary is divided into a fixed salary equivalent not to 35 hours per week, but to 42 3-hour shifts per month, or 126 hours.Added to this are some bonuses, of rather symbolic amounts, for example for dancers who personally purchase and sew the ribbons for their pointe shoes.
As spring 2023, the negotiations between the management and the ballet’s representatives have focused on a recurring request from the dancers regarding their working hours: they want their preparation times before and after the performances to be taken into greater consideration (warm-up , make-up, make-up removal, dressing, undressing) and rehearsal times (mandatory dance lessons in the morning, sessions in the afternoon).
José Martinez, former opera star and dance director for two years, explained in March 2023 in an interview with News tank culture that these discussions had allowed us to arrive at a new work institution, concretely applied from 1 March 2024.”The dancers finish an hour earlier, at 6pm instead of the previous 7pm. We do shorter test services”, he explained. “They take advantage of this hour from 6pm to 7pm to go to the physiotherapist, do some strengthening and go home calmly.”
to put it simply, dance is one of the golden geese of the Paris Opera. In 2023, for the first time since 2017, it recorded positive results of 2.3 million euros. Ballets have a lot to do with this, because they often sell out and attract wealthy contributors. The institution’s own resources reached over 140 million euros, of which 74 and a half million came from
Behind the scenes, negotiations between management and the CGT over dancers’ pay are likely to continue to avoid further cancellations. According to data communicated by the paris opera, as of 9 December the losses amounted to 150,000 euros per Play and 260,000 euros for Paquita. For its part, the Southern union, which is not participating in this negotiation, informed AFP that it had presented a strike notice for the period from 19 to 31 December.”for all employees“, to defend”workforce demands“insufficient”in all services“, according to the union.
What are the key challenges dancers face regarding labor rights in the ballet world?
Title: Dance on the Line: Navigating Challenges in the ballet World
Editor: Good afternoon, and thank you for joining us today on Time.news. We have the pleasure of speaking with Marion lefèvre, a renowned expert in the world of ballet and labor rights in the performing arts. Marion,thank you for being here.
Marion Lefèvre: Thank you for having me. It’s a pleasure to be here to discuss such an significant topic.
Editor: Let’s dive right in. Recently, the Paris Opera faced some turbulence as performances were canceled due to a strike initiated by the CGT union, primarily concerning dancers’ working hours.Can you give us an overview of what led to this situation?
Marion Lefèvre: Certainly. The dancers at the Paris Opera, numbering 154, have a unique status that has evolved significantly over the years. This special status has become a focal point of demand, particularly as working conditions in the performing arts are scrutinized more closely. The strike was sparked by concerns over excessive working hours and a lack of reasonable breaks. When the dancers feel their health and well-being are compromised, they have the right to voice their concerns.
Editor: It’s interesting how the evolution of status can impact workers’ rights. What kind of changes have we seen in this ’special status’ for dancers?
Marion Lefèvre: Over the past few years, ther has been a growing awareness of the physical and mental toll that rigorous schedules can take on dancers. The special status affords them certain protections, but balancing performance demands with health concerns has become increasingly challenging. As such, amendments to their working contracts are often needed to better reflect the demands of modern-day ballet.
Editor: So, the foundation for the negotiations seems to be rooted in a need for better work-life balance. How do you see this affecting the cultural landscape, particularly regarding classical ballet?
Marion Lefèvre: That’s an excellent point. If the management of organizations like the Paris Opera listens and adapts to these demands, we could see a healthier, more lasting environment for dancers.This could usher in a new era where the art form not only thrives artistically but also values the people behind the performances. A strong foundation for workers may encourage more individuals to pursue careers in ballet and the performing arts.
Editor: Speaking of the future, what implications might this strike have for the broader performing arts community?
Marion Lefèvre: The implications could be significant. In the performing arts, we often see a ripple effect. If leading institutions like the Paris Opera enact positive changes, it could set a precedent for other organizations worldwide.This might inspire more unions and artists to advocate for their rights, leading to improved conditions across the industry.
Editor: There seems to be a growing trend of artists mobilizing for their rights globally. Could this relationship between labor rights and artistic expression become a more permanent theme?
Marion Lefèvre: Absolutely. The conversation around labor rights in the arts has gained momentum, and it’s likely here to stay. As more performers and institutions recognize the importance of sustainable working conditions,we can anticipate a cultural shift. This shift could lead to richer artistic expressions, knowing that dancers and artists have the support they need to thrive without sacrificing their health.
Editor: It’s inspiring to think about the potential for positive change in the arts. Before we wrap up, what advice would you give to dancers or artists facing similar challenges in their own fields?
Marion Lefèvre: I would encourage them to speak up and unite. Establishing open lines of communication with management and forming strong unions can empower artists to advocate for better working conditions. They should remember that their well-being is vital not just to their craft,but to the longevity of the art form itself.
Editor: Thank you, marion, for your valuable insights and for shedding light on this critical issue. We appreciate your time and expertise.
Marion Lefèvre: Thank you for having me. It’s crucial to keep this conversation going.
Editor: To our readers, stay tuned for more discussions on the interplay between labor rights and the arts in the coming weeks.Until next time, keep advocating for change.