On October 8, 2025, our Instagram feed was filled with the news that Artists of New York City Ballet were boycotting one of the most important fundraising events of the season as a response to ongoing contract negotiations.
So as celebrities and donors arrived at Lincoln Center for the annual Fall Fashion Gala, the dancers who typically grace the David H. Koch Theater in their designer attire were conspicuously absent from the red carpet and after-party.
I reached out to one of the dancers (the one whose IG post first drew my attention) asking for help in coordinating an interview and was directed to an email address for the American Guild of Musical Artists (AGMA) who, just a few hours after sending my message, agreed to facilitate email conversation with the NYCB dancers and stage managers.
I had originally thought that sharing the perspective of various artists would make this story interesting. Yet upon receiving information that
“The Negotiating Committee (and the Shop) has been speaking with one collective voice this whole time, so they wanted to maintain that.”
I realized that this absolutely made more sense and solidifies the unity of the AGMA Artists of New York City Ballet.
In the interview with the Negotiating Committee that follows, they bring further to light what led to the key moment on October 8th and what they’re fighting for.
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Interview with the Negotiating Committee for the AGMA Artists at New York City Ballet
‣ Can you walk us through what led to the decision to boycott the Fall Fashion Gala on October 8th and what made that particular moment the turning point after months of negotiations?
Bargaining about compensation has been very slow. Management’s proposals do not begin to address the large gap between our wage growth and inflation over the last several years. This has been frustrating not just for the negotiating committee but for the whole shop (all the dancers and stage managers).
The shop has been very engaged throughout the negotiations, and nearly the whole shop attended our bargaining session on Monday, October 6. Considering Mondays are the one day off we have each week during performance weeks, this was a true show of commitment.
We had hoped that this show of solidarity at the bargaining session would motivate management to come back with a more appropriate wage proposal, but it did not.
As a result, the shop was enthusiastic when the negotiating committee presented the idea of using the Fall Fashion Gala – a major fundraising opportunity for the organization – to draw attention to the difficulties we have been facing in our efforts to improve wages for the AGMA Artists at NYCB.
HOW THE PUBLIC CAN HELP!
Following a bargaining session we had between performances on October 11, where management increased its compensation proposal by 0.5% over three years, we launched a letter-writing campaign.
‣ Considering the company’s latest offer increased by just 0.5% over three years, can you help us understand what that means in practical terms for an artist trying to live and work in New York City?
The cost of living has increased by 22% in New York City since the onset of the pandemic. We took a 4% pay cut at the start of the pandemic amid the company’s financial instability, and then received a 13.7% increase in our last round of negotiations, resulting in a net increase of only 9.7% despite historic inflation.
That is a big gap, particularly in one of the most expensive cities in the country, when inflation is predicted to continue to rise for at least the next few years.
In practical terms, this means living in smaller apartments, splitting rent with multiple roommates, preparing our own meals to maintain peak physical shape, and relocating farther from Lincoln Center, which results in longer commutes to and from rehearsals and performances.
We are only guaranteed work at NYCB 37 weeks out of the year. So that means we need to fill our lay-off periods by booking other gigs, teaching, and getting jobs totally unrelated to the dance industry. This is especially tough for our younger company members, who often have fewer opportunities to pick up outside work.
It means that the educational opportunities many dancers pursue to secure career paths after retiring from dancing are becoming increasingly unaffordable.
It means less money to save for retirement or a down payment.
It means delaying having families.
‣ Beyond the immediate wage concerns, what does “fair compensation” mean to you as a professional performing artist? Are there aspects of your work that you feel aren’t fully recognized or valued?
The Artists believe that this company is a paragon of excellence and an industry leader; that artistic, professional, and creative excellence requires that our contract be first-rate, too.
If wages do not continue to grow at a rate that reflects not only the rising cost of living but also our talent and commitment to this organization, we have concerns about the legacy of this beloved institution.
Without fair pay, NYCB closes itself off from world-class talent and forfeits its industry status.
‣ Your statement (on October 8, 2025) mentions that you’ve “made progress” in negotiations. What areas have shown movement, and what are the key sticking points that remain?
In the more than five months since we began negotiating with management, we have reached what are called “tentative agreements” on a number of non-economic items, such as a formal annual evaluation process, as well as some small economic issues, such as adjustments to per diem.
We have also had extensive discussions about how to improve the safety of our stage, which we hope to reach a final agreement on, along with compensation.
‣ The phrase “industry leader in its treatment of artists” appears in your messaging. What would that look like in concrete terms, and how does NYCB’s current offer compare to other major ballet companies?
There are a lot of AGMA dance companies that have negotiated collective bargaining agreements in the last 12 months, and at nearly every company, AGMA dancers and stage managers have secured significantly higher wage increases than what we have been offered at NYCB, notwithstanding the fact that these other signatories do not have the budget, endowment, or financial stability of NYCB.
‣ You’ve remained united throughout this process. How have the dancers and stage managers supported each other during what must be a stressful time?
We are heartened by the unity and determination of the shop, which has guided us throughout this negotiation. The shop has been very invested in this negotiation process, and it has been inspiring to see the whole shop get behind our collective action.
Our internal community, which includes not only our shop but also other unions, feels stronger than ever as we band together to stand up for what we deserve.
We were really moved when the NYCB orchestra issued a statement of support on October 8 and wore AGMA t-shirts and buttons in the pit on October 11. We appreciated seeing stagehands in AGMA t-shirts, as well!
‣ Looking ahead, what outcome are you hoping for, and what message do you want the public and NYCB’s donors to understand about this situation?
We hope to secure contractual wage increases that make our lives as performing artists in New York City more sustainable.
We want NYCB to be an organization that is known for valuing and taking care of its employees.
We love what we do, but we deserve fair pay for our exceptional work.
Featured Image of the American Guild of Musical Artists at New York City Ballet courtesy of AGMA.
