Power structures in our society and the effects of hierarchy in the dance world.
Living in a Western capitalist system, where money is valued, competition is rife and hierarchical establishments control others, at what cost is this to the creative individuals with no support system around them who have original ideas and lack of funding? Cooperation and relationship building, unity and respect for all. Is this evident in our dance world or are people still bartered, exploited and objectified? Instead of controlling human nature, repressing individuals for personal gain, using people as stepping stones to cross the river, exploitation is evident in our society today as much as it ever has been.
Power structures are often build within the proven, scientific, certainty in something on the fear of making mistakes. Assessments judged within the confines of rules and rules are formed by who? A 'fact-value dichotomy' allows domination and superiority to rule. (Lewin).
Creativity runs the risk of running out through our conformity and dependence on others. We must learn to understand others by providing multiple choices 'generating a pluralistic idealism and personal ism (Leibnez).
Modernity still controls people through mechanistic ritualism. Our lives are dictated to us at each and every corner from morning until night. Time constraints, parental and teacher expectations, exam systems based on one universal language which doesn't fit all. Certification required to prove oneself. Sat navigation systems take the 'thinking' out of driving, Apps take the tactility out of shopping while play spaces for children are being sold off to developers developing a world to accommodate an overly growing population which we soon will not have the food to feed and for which many do not have food. Everybody seems to be looking out for themselves.
Michel Foucault talked about Power exerted over things, exerted by groups and individuals upon each other in order to retain order and certainty. How the power openly and cruelly displayed publicly on the scaffold using the body as central to the punishment sensationalized and desensitized the majority. The public revolted and the power shifted to a private, more hidden manipulative power through sciences of psychology, physiology, psychotherapy and shockingly electro therapy in the aim to control a person as an object of use, to 'correct' them and fit them into a system of 'norms' based on rules made and judged by hierarchical establishments. Such as the church, monarchy, government, medical professionals and businessmen to name a few, without any genuine thought for the individual.
Our entertainment business typifies teachers turning out mini-me's, agents seeing people as commodities, objects to make money from through overwork and low pay, of course there are many good ones! Our business is helped by Equity and yet still has differentiation depending on race, sexuality, gender, it goes on.
Does this sound familiar to you, in the dance class setting as well?
Elitist dance forms through a selection process could negate an individual when pursuing technical prowess in a highly competitive environment. Do we fit each individual into a system of training, criteria and rules whilst overlooking the first reasons we all chose to dance? Can training crush creativity and do the benefits of a highly trained dancer contradict finding new ways to move?
Dance forms are also born from sharing of ideas and codes such as Hip-Hop, Street, Tap and dance styles can come from the desire to express with the body what we sometimes aren't able to say in the open. The most successful dance styles are promoted to still fit into a set of 'social norms'.
Do we fit each individual into a system of training, criteria and rules based on these 'norms' whilst overlooking the first reasons we all chose to dance? Can training crush creativity? Is the body habituated and controlled blocking the path to our authentic inner voice?
Once the enjoyment has been replaced by competitiveness, perfectionism, self-consciousness of body image and sheer hard work with little rest-bite, 'no pain, without gain' mentality, is this detrimental to the mental health of our young people? How do we bring about an educational setting and equilibrium?
Are we still standing children in lines, evenly spaced, dancing to music evenly counted, matching music perfectly to all movements, and providing one narrative based on our own concepts? I actually think not. I do think we as teachers and creators are applying strategies to allow the 'self' in and to embody other dance identities.
How are you connecting to your learners? Do you use the didactic method of teaching?
Our society has many children that do not fit to a straight forward system. Are we doing the right things to connect with them and other ambiguities?
There are many organizations and companies that are.
I would love to hear your thoughts on this.
I do think training *can* crush creativity if done really poorly. I've been really stressing to my students this semester that class is a place for exploration and experimentation. I've been backing that up with corresponding exercises and it seems like they're beginning to relax a bit. And it hasn't come at the expense of pure technique either; I'm seeing that steadily improve as well. It's definitely easier in a modern class than a ballet class though just because of the structure. I like finding ways to mess with the traditional ballet class structure all the same, but there's no denying it's harder.
ReplyDeleteThank you Hannah for your reply. I hope you are well and enjoying Module 3. I feel technique classes can be approached creatively tapping into what motivates each learner through imagery taking the hard work out of a movement by providing meaning. If a learner doesn't respond to imagery or imaginative descriptive approaches then we look for alternatives until they do respond to something and stick to that for them. I personally also enjoy messing around with Ballet as there are so many alternatives to find, well then it becomes really challenging and enjoyable! Sometimes, it could be difficult to align the movements to any form or label!
DeleteHi Jane, I've just been reading through your blogs, very thought triggering and you raise many questions, that you could probably spend hours and hours discussing! Many of your questions have been accompanying me for quite some time now. I think the culture, the circumstances you live in, who you meet on your path and all of your experiences shape who you are. And even though, I suppose, you cannot make yourself "culture free", you can become aware of the culture, the codes and how, why and by whom they got created and who's interest it is to keep them up a certain way, I think this awareness allows for critical reflection and questioning and the freedom to start to examine, how those codes and structures resonate with your own beliefs and might inspire you to explore and look for new approaches. For example, I must say writing my AOLs last semester and reflecting on teaching ballet, made me really question so many (or many more ;-) things about it (gender issues, body ideals, racism, sexism and the list could go on and on). So while on one side I was/still am really asking myself, why on earth am I teaching ballet (I teach contemporary, creative dance and do community dance projects as well), at the other hand there are many things I love about it, I enjoy the sensation, the familiar feeling, exploring my body, through a known structure. So can codes give us a feeling of security? What is the relationship between freedom and structure. Is it possible to find freedom in a structure? If I try to "peel of" all of those layers of things I question about Ballet, what is left of it? Maybe it also depends how you look at something, if you perceive it as "the" truth (i.e.: believing in one universal ballet ideal), or of one way amongst many other to explore and experience your body/self.
ReplyDeleteI'm really curious to know, what your inquiry topic is? Looking forward to reading more of your blogs.
Thank you for your reply Agata. I have also questioned myself and past teaching habits which changed after about 16 years. This has still been an emotional journey. I do believe Ballet and the certainty felt and shared through a known code can provide the structure and stability for learners. It is essential to provide structure and build-ups for safe practice. Ballet has all the qualities in one package, a beautiful dance form to embody and the softness and sensitivity felt while moving is special. This doesn't fit all children, but we all have the capacity for gentleness.
ReplyDeleteThe allegro and pirouettes, high jumps can provide a child more excitement in the speed of movement and thrill of execution. I don't see why a creative approach to Ballet can't work for all types and personalities and learning styles, gender, body shapes, cultures, etc. It just has an image attached to it still, full of generalization and class judgment. Reinventing some of the approaches does generate more interest for children in Ballet. Modern and Contemporary embraces a Ballet structure with difference as well. On the other hand, throwing off prejudice, historical implications while going through a process of deconstruction, reconstruction could be thought of as devaluing any respected Artform but dance is in continual flux. I am researching the benefits improvisation has on all dance forms codified and non-codified. How it has helped forge new paths for dance, provide purpose for choreography. How the subconscious is at play through the body, a body that is formed through life in all the ways you have said, our culture, who we meet, where we live, what we absorb in our everyday lives providing us our identity and 'self'. We aren't just this though, are we? Do we start life as an empty vessel?