After more than six months of courageous advocacy and relentless solidarity, the wrongfully terminated Dancers of DBDT have reached a settlement agreement with Dallas Black Dance Theatre (DBDT). This resolution marks a significant milestone in a fight that has brought long-hidden abuses into the light, mobilized communities, and demanded accountability from one of the nation’s leading Black dance companies.
“This has always been bigger than us,” said Sean J. Smith, Sierra Jones, Micah Isaiah, Terrell Rogers, Gillian Clifford, Dominiq Luckie, Nile Ruff, Derick McKoy, Jr., Elijah Lancaster, and Brianne Sellars, in a written statement. “We voted as one to unionize, we fought as one through months of intimidation and retaliation, and we’ve made this decision to move forward as one. We exposed what was happening behind closed doors, and people took to the streets to stand with us. While this settlement allows our lives to go on and gives us some sense of much-needed closure, we recognize that the fight for accountability and justice at DBDT is far from over.”
In May 2024, the dancers of DBDT unanimously voted to unionize with AGMA, forming the first union in the Company’s nearly five-decade existence. In retaliation, DBDT leadership denied benefits to departing dancers, eliminated teaching opportunities for company members, fired a 14-year veteran dancer, and failed to hire replacements for departing dancers, leaving the company dangerously understaffed for the 2024-2025 season. Then, in August, just 10 days before the dancers were set to start the new season, leadership terminated the remaining nine dancers—the entire company.
Since August, a powerful movement has erupted in response to the wholesale firing of DBDT’s dancers, beginning with a rally attended by over 200 supporters and igniting nationwide solidarity across the performing arts community. The movement has extended far beyond Dallas, with six picket lines organized by AGMA and the dancers throughout the season, drawing the attention of The New York Times, which sent a photographer to document the fight. The Dallas City Council responded by pausing funding to the company, and the National Labor Relations Board (NLRB) issued a nearly 40-count complaint and recommended emergency injunctive relief.
AGMA has received reports of declining ticket sales, donors withdrawing their support, and major foundations severing ties with DBDT in the wake of its actions. These losses reflect the growing demand for fair treatment and transparency in the Performing Arts, as audiences and supporters take a stand against unjust practices.
This unified effort has sent a clear message: the days of silence are over, and exploitation in the Performing Arts will not be tolerated.
“While we are proud of this moment, DBDT remains the same organization under the same leadership,” said AGMA’s Dancers Vice President Antuan Byers, a former Dallas Black Dance Academy Student. “Their egregious behavior over the last six months, including labeling the National Labor Relations Board’ unconstitutional,’ speaks volumes about their blatant disregard for both their dancers’ rights and the rights of all working people. It is troubling and deeply disappointing that, despite widespread public outcry, financial consequences, and legal action, this leadership remains unchanged. As we move forward, we must continue to hold them accountable for their actions, while fighting to ensure that Dallas Black Dance Theatre is an institution that upholds the values it preaches, where all dancers, especially Black dancers, are fairly compensated and treated with dignity and respect.”
The dedicated and diligent professionals of the NLRB acted swiftly and with professionalism throughout this labor fight, demonstrating their unwavering commitment to protecting workers’ rights. The resulting Settlement Agreement, largely brokered by the NLRB, is historic in its scope. Alongside traditional cease-and-desist orders and future compliance measures, the Settlement Agreement includes the following:
- Monetary Compensation: DBDT will compensate the dancers for the harm they caused with more than a half million dollars in front pay, back pay, and other pecuniary harms.
- Personal Apologies: DBDT leaders Ann Williams, Georgia Scaife, or Zenetta Drew will apologize to each dancer for the harm they caused.
- Public Accountability: The full 7-page NLRB Notice detailing the Company’s misconduct and the traditional Statement of Statutory Rights will be:
– Published in The Dallas Morning News for seven days.
– Read aloud to employees by a senior leader.
– Posted and distributed physically and electronically. - Training and Union Access:
– Managers and employees must undergo labor rights training.
– The Union will have access to meet with employees on company property during work hours for one month.
– The Union will have an additional 10 months (plus the normal one-year contract bar) to negotiate a collective bargaining agreement. - Other Worker Protections: DBDT will notify the Texas Workforce Commission that it will no longer try to prevent dancers from receiving unemployment compensation.
This settlement does not erase the abuses or silence the voices that spoke out. It ensures, however, that this chapter will remain a marked time in DBDT’s history—a reminder that no organization, regardless of its legacy, is above accountability.
“These ten dancers have taught a master class in courage and unity. Their fight is a testament to the power of collective action, and their resilience has set a precedent for artists everywhere,” said AGMA’s National Executive Director Jeffrey Boyd.
“AGMA and the dancers extend heartfelt thanks to the hundreds of supporters who rallied, raised their voices in unified chants, and stood with us on each of our picket lines, going back to our first rally in August,” said National Organizing Director Griff Braun. “Together, we’ve shown that misuse of power in the Arts can be confronted by the artists themselves, standing in solidarity with all working people. This settlement provides a measure of tangible justice for the fired dancers of Dallas Black Dance Theatre. Let us hope that, going forward, DBDT will take stock of itself and its actions and make the leadership and structural changes necessary to make it an arts organization of which the city of Dallas can truly be proud.”