Zoomerang Survey....
Here is the link to my pilot survey!
http://www.zoomerang.com/Survey/WEB22C5YF2J8G7/
I would really appreciate it if you spend a few minutes having a look and commenting.
I look forward to hearing what you have to say.
Thank you.
Thursday 31 March 2011
Wednesday 30 March 2011
Sticks and stones………………
Reading the “Course Reader - Professional Ethics” - the case study: ‘The Dance Class’ got me thinking as it is particularly relative to the questions I have raised in my blogs and my rationale towards my line of inquiry. This is a sceanario where the teacher belittles one dancer in particular throughout a lesson. I have witnessed this behaviour and been the victim of such behaviour many times at college. My personal view is that this behaviour is ‘bullying’ and is ethically wrong. However I thought I would seek the view of someone else who is a teacher as this may be my subjectivity here as I am particularly sensitive to bullying issues and could my view of what is morally wrong be clouded because it is my belief it is wrong?.
I discussed the issues with my mum who is a singing/piano teacher. She agreed with me that the teacher’s behaviour in this case scenario was unacceptable and morally wrong. Her opinion was,
“Everyone has a right to be treated with respect and uphold behavioural standards by law and this should work both ways in a teacher/student relationship. It does not matter whether the teacher has good intentions behind what he says, it is how it is received by the recipient. The teacher’s attitude in the case study is bullying because it is degrading and humiliating to the individual. He is using his position of power as the authoritative figure of the group to be intimidating and to gain control. By using demeaning behaviour to one in the group he is stamping his control on the whole of the group. He is therefore abusing his position of authority. It is very often the case in this type of scenario that the individual feels helpless to question or complain about the behaviour for fear of a rebuttal.”
I checked out the Act on line; http://www.equalities.gov.uk/equality_act_2010.aspx
“The Equality Act 2010 provides a new cross-cutting legislative framework to protect the rights of individuals and advance equality of opportunity for all; to update, simplify and strengthen the previous legislation; and to deliver a simple, modern and accessible framework of discrimination law which protects individuals from unfair treatment and promotes a fair and more equal society.”
Harassment is defined as “unwanted behaviour that has the purpose or effect of violating a person’s dignity or creates a degrading, humiliating, hostile, intimidating or offensive environment”. Under the Act, someone can complain about behaviour they find offensive even if it is not directed at them. So in our case scenario all members of the class are protected.
Norwegian researcher Dan Olweus defines bullying as when a person is
"exposed, repeatedly and over time, to negative actions on the part of one or more other persons." He defines negative action as "when a person intentionally inflicts injury or discomfort upon another person, through physical contact, through words or in other ways".In the case scenario the student is repeatedly exposed to negative actions.
It seems the dance world still finds this a very embarassing thorn in their side and are reluctant to open up and discuss that there are problems. Eating disorders in particular are one area of the dance profession that are still swept under the carpet – it’s almost like “he who cannot be named!” [Harry Potter – J.K. Rowling]
Mina (fellow BAPPer) pointed me to a very interesting article in the Daily Telegraph via the SIG –
http://www.telegraph.co.uk/culture/theatre/dance/8392840/Ballet-Girl-Kimberly-Jaraj-makes-weighty-pointes.html
“Kimberly Jaraj, the actress, speaks of the pressures at the Royal Ballet School, where pupils are regularly weighed. The actress, 22, who attended from the age of eight, says: "I never felt the pressure for being skinny, but other girls definitely did. They did weigh us frequently and they would say things to me like, 'Your mother's 5ft 6in and your father's 6ft, so why aren't you taller?' I'd think, 'How am I supposed to know?'. The smallest thing, like if you didn't have your little pink ribbon in your hair, you'd panic. They would tell you to sit out. You're in competition with your friends every day." She claims: "They didn't really warm to other ethnicities. They weren't that accepting of somebody who wasn't white or Christian.”
A Royal Ballet School spokesman says: "Students are elite athletes. The school is committed to ensuring that each student's fitness programme enables them to perform at their best and includes maintaining a healthy weight. The school welcomes students from all backgrounds. Pastoral care is a priority."
Excerpts from reports of the death of ballet dancer Heidi Geunther in 1997 –
“The death of a 22-year-old Boston Ballet dancer, Heidi Geunther, two years after Boston Ballet Company officials suggested she lose weight and six months after they told her she was too thin and should stop losing weight, has cast a shadow over the company and the ballet world.
Lola de Avila, who taught Guenther at San Francisco Ballet School for seven years until she joined Boston's second company in 1994, said Guenther did not need to lose weight at that point, "but in her last year here her body was changing when she became a young lady." De Avila remembered her student as ‘teeny, small-boned, and very energetic. She was very young, and her body was like a young girl's body’.
The newspaper said "several dancers said ballet members had become noticeably thinner as Holmes took over more and more duties from artistic director Bruce Marks." The newspaper alleged that "the [Boston] ballet ... acknowledged that Guenther, and several others, had been told that they must lose weight, especially if they wanted to dance principal roles.At 5 feet 3ins and 100 pounds, she wasn't truly emaciated, but everyone at the Boston Ballet had watched Heidi struggle a bit too successfully with the pressure to stay thin. "Please do not lose any more weight," company officials had urged the 22-year-old dancer in a written evaluation in January. On June 30, Guenther collapsed and died suddenly of apparent heart failure. The ballet company speculated that the death may have been ‘precipitated by an eating disorder’".
http://findarticles.com/p/articles/mi_m1083/is_n9_v71/ai_19719650/
If you type eating disorders into Amazon.co.uk you get dozens of pages of ‘kiss and tell’ books written by ex ballet dancers from elite companies all over the world who all tell the same story of bulimia, anoerexia, obsession with body image etc . Are the schools/companies saying these are all false claims? There seems to be too much evidence to the contrary. Whilst a film like ‘The Black Swan’ is criticised for it’s lack of authenticity it has certainly got the dance industry in the news again and brings all the ‘issues’into the public arena again for discussion. Some feel it sets the image of ballet back 50 years [Deborah Bull ex ballet dancer Royal Ballet] but can the dance industry not recognise itself in the film to some degree even though many of the issues may be over exagerated for the purpose of Hollywood? I mean the two leading actresses were required to lose 20lbs each to be suitable to take the roles – doesn’t that say something in itself? Neither actress could be described as ‘overweight’ beforehand!
I have several friends who have mentioned to me in conversation a recent programme on Sky that featured the Birmingham Royal Ballet. I unfortunately missed the programme but maybe some of you caught it and can comment and give your views. Certainly the ladies at my Zumba class thought the girls were all skeletal and looked ill and despite the claims that ‘weigh ins’ do not take place they were shown as part of the daily routine as a way to maintain healthy weight? Another friend of mine who is a performing arts teacher said she thought they were all beautiful dancers but they didn’t look ‘normal’, they looked like children not young women.
I have contacted several outside practitioners involved in the dance profession and some ex and current students of dance and hope some of their views may help guide me towards my final line of inquiry. I am still waiting for replies to be able to reflect and analyse their views and I am currently designing a pilot questionnaire to use through the SIG and blog to see what those results reflect. If anyone has any comments on any of the above I would find other opinions most useful.
Perhaps a different ending should be given to the playground idiom ……. “sticks and stones may break my bones but please don’t call me names it could well destroy me!”
Reference:BA Professional Practice – Course Reader 5 – Professional Ethics ( Middlesex University)
Equality Act 2010 - http://www.equalities.gov.uk/equality_act_2010.aspx
Wikipedia - http://en.wikipedia.org/wiki/Moral_relativism
http://www.telegraph.co.uk/culture/theatre/dance/8392840/Ballet-Girl-Kimberly-Jaraj-makes-weighty-pointes.html
http://findarticles.com/p/articles/mi_m1083/is_n9_v71/ai_19719650/
“Sticks and stones may break my bones but calling names can’t hurt me!” - just one of those little rhymes that I recall from the playground. None of us really believe the chant. We mouth those words as a defense against stinging, spiteful words, especially when the words dig deep, carving a gaping wound.
I discussed the issues with my mum who is a singing/piano teacher. She agreed with me that the teacher’s behaviour in this case scenario was unacceptable and morally wrong. Her opinion was,
“Everyone has a right to be treated with respect and uphold behavioural standards by law and this should work both ways in a teacher/student relationship. It does not matter whether the teacher has good intentions behind what he says, it is how it is received by the recipient. The teacher’s attitude in the case study is bullying because it is degrading and humiliating to the individual. He is using his position of power as the authoritative figure of the group to be intimidating and to gain control. By using demeaning behaviour to one in the group he is stamping his control on the whole of the group. He is therefore abusing his position of authority. It is very often the case in this type of scenario that the individual feels helpless to question or complain about the behaviour for fear of a rebuttal.”
Ok back to the reader and Moral relativism?
Moral relativism is concerned with the difference in moral judgements across different people and cultures -
descriptive relativism points out that people frequently disagree over what is the most moral course of action
meta-ethical points out that justification for moral judgements are relative to the traditions, convictions and practices of an individual group of people
normative is the position that suggests we ought to tolerate the behaviour of others even when it is against our personal or cultural standards.
Moral relativism is concerned with the difference in moral judgements across different people and cultures -
descriptive relativism points out that people frequently disagree over what is the most moral course of action
meta-ethical points out that justification for moral judgements are relative to the traditions, convictions and practices of an individual group of people
normative is the position that suggests we ought to tolerate the behaviour of others even when it is against our personal or cultural standards.
Bhikkhu Bodhi an American Budhist monk wrote:
“……. morality and ethical values are not mere decorative frills of personal opinion , not subjective superstructure, but instrinsic laws of the cosmos built into the heart of reality.”
My understanding then of this is whilst there may be a difference of subjective opinion about the methods used by the teacher in ‘The Dance Class’ in different cultures or religions, in reality the individual is protected by law.
My mum pointed me in the direction of the Equality Act 2010.I checked out the Act on line; http://www.equalities.gov.uk/equality_act_2010.aspx
“The Equality Act 2010 provides a new cross-cutting legislative framework to protect the rights of individuals and advance equality of opportunity for all; to update, simplify and strengthen the previous legislation; and to deliver a simple, modern and accessible framework of discrimination law which protects individuals from unfair treatment and promotes a fair and more equal society.”
The Act replaced most of the anti – discrimination laws and sets out in legislation that there is no discrimination in the workplace to anyone due to age, disability, race, sex, gender, religion etc and this includes direct or indirect discrimination, harassment or victimisation.
Everyone has the right to be treated fairly and with respect and any unacceptable or inappropriate behaviour in breach of those rules should be reported and acted upon.
Interestingly The Equality and Human Rights Commission is producing statutory Codes of Practice on the Equality Act 2010.
Everyone has the right to be treated fairly and with respect and any unacceptable or inappropriate behaviour in breach of those rules should be reported and acted upon.
Interestingly The Equality and Human Rights Commission is producing statutory Codes of Practice on the Equality Act 2010.
I wondered why then this type of behaviour is still particularly predominant in dance?
Back to my mum for her opinion again.
She said, “It could be historical. Behaviours are often carried forward and have their roots in the person’s own past. They could be cultural if a teacher has come from a different ethnic background as happens in the dance world. It is very likely that they copy the behavioural patterns they experienced as students themselves.They often don’t realise the effect their comments are having on the individual and just what distress they are causing. Most would be mortified if they knew they were making someone’s life a misery.”
She also told me a story from her childhood which she’s never mentioned before to me. When she was learning to play piano her teacher regularly tapped the back of her knuckles with a ruler if she couldn’t play her scales and arpeggios correctly. Whilst she doesn’t think this actually caused any long term psychological damage, just some very sore knuckles, it had the required affect that she practiced her scales like mad. She did assure me she did not carry this method forward to her teaching practice. We had a laugh about it because she said probably some of her students would take the ruler and hit her back these days if she even tried but back then it was an accepted way of reprimanding someone by piano teachers!.
Back to my mum for her opinion again.
She said, “It could be historical. Behaviours are often carried forward and have their roots in the person’s own past. They could be cultural if a teacher has come from a different ethnic background as happens in the dance world. It is very likely that they copy the behavioural patterns they experienced as students themselves.They often don’t realise the effect their comments are having on the individual and just what distress they are causing. Most would be mortified if they knew they were making someone’s life a misery.”
She also told me a story from her childhood which she’s never mentioned before to me. When she was learning to play piano her teacher regularly tapped the back of her knuckles with a ruler if she couldn’t play her scales and arpeggios correctly. Whilst she doesn’t think this actually caused any long term psychological damage, just some very sore knuckles, it had the required affect that she practiced her scales like mad. She did assure me she did not carry this method forward to her teaching practice. We had a laugh about it because she said probably some of her students would take the ruler and hit her back these days if she even tried but back then it was an accepted way of reprimanding someone by piano teachers!.
Fortunately we now have legislation in place that protects children from that type of humiliation and abuse. However the point is not that long ago teachers could use physical abuse on students but now there are laws to stop that behaviour but what is relevant here is that using words and insults and constant negative comments can be equally damaging and often people forget that. Many people do not consider “words” are abuse.
This made me think again of Adesola’s comments to me on a statement I used in a previous blog. “............ embedded in my culture, geography and historical time and I have been influenced in my thoughts and opinions by my upbringing, my parents, peers, education and tutors and this all plays an important part in how I learn and the conclusions I draw from that information and any experiences."
This made me think again of Adesola’s comments to me on a statement I used in a previous blog. “............ embedded in my culture, geography and historical time and I have been influenced in my thoughts and opinions by my upbringing, my parents, peers, education and tutors and this all plays an important part in how I learn and the conclusions I draw from that information and any experiences."
In my blog, “Professional ethics, morals and codes of conduct, traditional values and cups of tea!”, I discussed how I thought this statement related to me and how I was influenced by my traditional values and upbringing. Turning this around to focus on the behaviours of a teacher, they could well have certain methods within the way they teach that are embedded in their past that influences their behaviour towards their students? Are they only emulating their peers? Do they actually have an honest belief that it is the best way to coerce a student into being what they want?
In the case of tutors I had, I know that is exactly what they thought. One was ex Royal Ballet and so had that ‘mind set’. They thought they were doing the best for their students – a genuine belief they were preparing us for the professional world. Is this ‘meta-ethical’? Does that justify the moral judgements as relative to the traditions, convictions and practices historically used in the dance world?
Someone who is bullied often becomes a bully. Behavourial patterns often repeat themselves. So is this ‘bully mentality’ way of demeaning dance students a way of achieving their dominance – ‘rankism’? A sort of “if it was good enough for me, then it is good enough for you” approach, ‘I survived and so will you”. In the case study the teacher’s explanation of his behaviour is he is preparing the student for the real world. In my opinion this cannot be a justification for unethical behaviour.
The UK currently has no definition of bullying but there are laws against it in the USA.
Norwegian researcher Dan Olweus defines bullying as when a person is
"exposed, repeatedly and over time, to negative actions on the part of one or more other persons." He defines negative action as "when a person intentionally inflicts injury or discomfort upon another person, through physical contact, through words or in other ways".In the case scenario the student is repeatedly exposed to negative actions.
In the worst case scenario a person can be so dehumanised by the bullying that they can have a complete mental breakdown or even take their own life. In the film “The Full Metal Jacket” we see character Private Leonard "Gomer Pyle" Lawrence, an overweight, clumsy, slow-witted recruit who becomes the focus of the seargeant’s attention for his incompetence and excess weight, making him the platoon scapegoat. He eventually becomes the model soldier but the effect has been that he has a complete mental breakdown, turns pyschotic and shoots his sergeant and then himself. An extreme example I know but it shows the effect of victimisation in it’s extreme.
My lines of inquiry are developing around promoting the health and well-being of the dancer. Methods of teaching that damage the self-esteem, confidence and morale of the individual can cause serious health problems such as eating disorders, depression, self harming, obsessions and injuries and in the very extreme mental breakdown or even suicide.
It seems to me that however much we promote healthier dancers through education on nutrition, health and well being it is no good if there are no support mechanisms in place. Who do students go to when they are subject to inappropriate behaviour? How many colleges provide a free confidential counselling service? How many students would actually feel comfortable reporting a peer for inappropriate behaviour?
Many dancers/students who are subject to this form of harassment are in a minority and feel isolated, they begin to believe it is their own fault and they are a failure. Other students often don’t see the damage either. Certainly in my case after one particularly ‘bad hair day’ in a ballet class a fellow student said to me, “Are you ok? All I could think throughout that lesson was thank god that’s not me. I felt so sorry for you !” Others were indifferent, “It’s in your best interests!”, “You have to learn to toughen up!”.
I think that is the most frustrating thing about the dance world – there is an apathy to the problems, it is accepted this is the way it is and has been for years so “put up and shut up”, as we say in my part of the world. Many just submit to it!
Is this moral – relativism in it’s normative descrition - which suggests we ought to tolerate the behaviour of others even when it is against our personal or cultural standards. Don’t we all have a moral obligation and responsibility to ensure this type of behaviour is not allowed to happen?
Despite vast improvements and the work of such organisations as ‘Dance UK’ to promote healthier dancers there is still a long way to go in embedding that in the profession and changing attitudes towards the body image of dancers, what is ‘perfect’ and how dancers are perceived aesthetically and how they are taught – this I think is evident from the little bit of research I have conducted already and information I have got through the SIG and talking to outside practitioners. Is this moral – relativism in it’s normative descrition - which suggests we ought to tolerate the behaviour of others even when it is against our personal or cultural standards. Don’t we all have a moral obligation and responsibility to ensure this type of behaviour is not allowed to happen?
It seems the dance world still finds this a very embarassing thorn in their side and are reluctant to open up and discuss that there are problems. Eating disorders in particular are one area of the dance profession that are still swept under the carpet – it’s almost like “he who cannot be named!” [Harry Potter – J.K. Rowling]
Mina (fellow BAPPer) pointed me to a very interesting article in the Daily Telegraph via the SIG –
http://www.telegraph.co.uk/culture/theatre/dance/8392840/Ballet-Girl-Kimberly-Jaraj-makes-weighty-pointes.html
“Kimberly Jaraj, the actress, speaks of the pressures at the Royal Ballet School, where pupils are regularly weighed. The actress, 22, who attended from the age of eight, says: "I never felt the pressure for being skinny, but other girls definitely did. They did weigh us frequently and they would say things to me like, 'Your mother's 5ft 6in and your father's 6ft, so why aren't you taller?' I'd think, 'How am I supposed to know?'. The smallest thing, like if you didn't have your little pink ribbon in your hair, you'd panic. They would tell you to sit out. You're in competition with your friends every day." She claims: "They didn't really warm to other ethnicities. They weren't that accepting of somebody who wasn't white or Christian.”
A Royal Ballet School spokesman says: "Students are elite athletes. The school is committed to ensuring that each student's fitness programme enables them to perform at their best and includes maintaining a healthy weight. The school welcomes students from all backgrounds. Pastoral care is a priority."
Excerpts from reports of the death of ballet dancer Heidi Geunther in 1997 –
“The death of a 22-year-old Boston Ballet dancer, Heidi Geunther, two years after Boston Ballet Company officials suggested she lose weight and six months after they told her she was too thin and should stop losing weight, has cast a shadow over the company and the ballet world.
Lola de Avila, who taught Guenther at San Francisco Ballet School for seven years until she joined Boston's second company in 1994, said Guenther did not need to lose weight at that point, "but in her last year here her body was changing when she became a young lady." De Avila remembered her student as ‘teeny, small-boned, and very energetic. She was very young, and her body was like a young girl's body’.
The newspaper said "several dancers said ballet members had become noticeably thinner as Holmes took over more and more duties from artistic director Bruce Marks." The newspaper alleged that "the [Boston] ballet ... acknowledged that Guenther, and several others, had been told that they must lose weight, especially if they wanted to dance principal roles.At 5 feet 3ins and 100 pounds, she wasn't truly emaciated, but everyone at the Boston Ballet had watched Heidi struggle a bit too successfully with the pressure to stay thin. "Please do not lose any more weight," company officials had urged the 22-year-old dancer in a written evaluation in January. On June 30, Guenther collapsed and died suddenly of apparent heart failure. The ballet company speculated that the death may have been ‘precipitated by an eating disorder’".
http://findarticles.com/p/articles/mi_m1083/is_n9_v71/ai_19719650/
If you type eating disorders into Amazon.co.uk you get dozens of pages of ‘kiss and tell’ books written by ex ballet dancers from elite companies all over the world who all tell the same story of bulimia, anoerexia, obsession with body image etc . Are the schools/companies saying these are all false claims? There seems to be too much evidence to the contrary. Whilst a film like ‘The Black Swan’ is criticised for it’s lack of authenticity it has certainly got the dance industry in the news again and brings all the ‘issues’into the public arena again for discussion. Some feel it sets the image of ballet back 50 years [Deborah Bull ex ballet dancer Royal Ballet] but can the dance industry not recognise itself in the film to some degree even though many of the issues may be over exagerated for the purpose of Hollywood? I mean the two leading actresses were required to lose 20lbs each to be suitable to take the roles – doesn’t that say something in itself? Neither actress could be described as ‘overweight’ beforehand!
I have several friends who have mentioned to me in conversation a recent programme on Sky that featured the Birmingham Royal Ballet. I unfortunately missed the programme but maybe some of you caught it and can comment and give your views. Certainly the ladies at my Zumba class thought the girls were all skeletal and looked ill and despite the claims that ‘weigh ins’ do not take place they were shown as part of the daily routine as a way to maintain healthy weight? Another friend of mine who is a performing arts teacher said she thought they were all beautiful dancers but they didn’t look ‘normal’, they looked like children not young women.
I have contacted several outside practitioners involved in the dance profession and some ex and current students of dance and hope some of their views may help guide me towards my final line of inquiry. I am still waiting for replies to be able to reflect and analyse their views and I am currently designing a pilot questionnaire to use through the SIG and blog to see what those results reflect. If anyone has any comments on any of the above I would find other opinions most useful.
Perhaps a different ending should be given to the playground idiom ……. “sticks and stones may break my bones but please don’t call me names it could well destroy me!”
Reference:BA Professional Practice – Course Reader 5 – Professional Ethics ( Middlesex University)
Equality Act 2010 - http://www.equalities.gov.uk/equality_act_2010.aspx
Wikipedia - http://en.wikipedia.org/wiki/Moral_relativism
http://www.telegraph.co.uk/culture/theatre/dance/8392840/Ballet-Girl-Kimberly-Jaraj-makes-weighty-pointes.html
http://findarticles.com/p/articles/mi_m1083/is_n9_v71/ai_19719650/
Friday 25 March 2011
"Dancers are the athletes of God" ~Albert Einstein .
I was at a school this week doing a dance workshop and this quote was written above the studio door, but what does it mean?
I asked the year 12 students in my workshop what they thought it meant and they said it was there as an inspirational quote but they hadn’t thought about what it really means.
One student said they thought it meant dancers were like athletes because they needed to be really fit.
Yes I agree we are 'athletes' in that sense but what does “athletes of God” mean, something much more than mere physical excellence I think?
I have tried to interpret it for myself…….. I saw in an article the quote ;
‘A dancer is an artist who is an athlete’ (Brinson & Dick 1996).
Dictionary definitions
a dancer is a person who performs a dance or a person whose profession is dancing,
an athlete is a person who is proficient in sports or physical exercise,
an artist is a person who practices or performs any of the creative arts,
a person is an individual human being.
I think the description ‘a dancer is an athlete’ is the easy bit to explain. A dancer has to be supremely fit and healthy. Of course you need to be in shape to be a professional dancer just like you would to be a professional athlete.
So is a dancer an artiste or athlete?
I think dancers are first and foremost artistes. They communicate narratives and express emotions through movement which is inspired by music and rhythms.
But dancers are also most definitely athletes too. Their co-ordinative abilities, fitness, strength and stamina match those of most athletes.
The long working hours, daily classes, rehearsals and performances require both strength and virtuosity. Dancers working in an ongoing production will be familiar with 8 show weeks, translating to 6 day weeks with only 1 day off. Over a 6 to 12 month period (the usual length of a contract), this taxing schedule also requires strength and dedication on both a physical and artistic level. Sometimes it is tougher for the musical theatre dancers, as it is not standard practice to be given daily class by the company like a ballet or contemporary company does. They have to take it upon themselves to maintain their fitness and dance technique.
I remember one principal of a dance college I went to audition at told us a professional dancer has to be fitter than a professional footballer.
So dancers are both artistes and athletes. But what about the dancer as a person, an individual human being? What about the reference to 'athletes of God'?
Dance reaches deep into our physical and emotional being as well as being physically demanding. Dance is not just about being an athlete or technician it is an unexplained communication between mind, body and spirit. Many of us who dance are familiar with that phrase ‘born to dance’. The outstanding dancer combines musicality and physical grace with an astonishing technique.
Dance is a powerful tool for expressing emotion and passion, one that can cross cultural divides. It has a value in society as a cultural and communication tool and has a sociological role as a means of non verbal communication.
This is where I think being likened to an ‘athlete of god’ imparts some spiritual connection and events for which there is no obvious agent which thus may be attributed to some higher force, ie: ‘God’.
The unexplainable side of dance, the spiritual element that embodies, not only physical excellence, but the communication of mind, body and spirit ! Professional dnacers are supreme athletes but they also combine this with a spiritual side, grace, passion, emotion and musicality as an artiste – 'athletes of god’.
I think the lyrics from the song ‘Electricity’ from the musical theatre show ‘Billy Elliot’ best describes how it feels to dance from that point of view ……………………..
“I can't really explain it,
I haven't got the words
It's a feeling that you can't control
I suppose it's like forgetting, losing who you are
And at the same time something makes you whole
It's like that there's a music playing in your ear
And I'm listening, and I'm listening and then I disappear
And then I feel a change
Like a fire deep inside
Something bursting me wide open impossible to hide
And suddenly I'm flying, flying like a bird
Like electricity, electricity
Sparks inside of me
And I'm free I'm free
It's a bit like being angry,
it's a bit like being scared
Confused and all mixed up and mad as hell
It's like when you've been crying
And you're empty and you're full
I don't know what it is, it's hard to tell
It's like that there's a music playing in your ear
But the music is impossible, impossible to hear
But then I feel it move me
Like a burning deep inside
Something bursting me wide open impossible to hide
And suddenly I'm flying, flying like a bird
Like electricity, electricity
Sparks inside of me
And I'm free I'm free
Electricity, sparks inside of me
And I'm free, I'm free
I'm free. Free I'm free”
What has this to do with my lines of inquiry ?
I think the idea of being an athlete as well as an artist and the need to be healthy to be an athlete fits in with my lines of inquiry and my developing ethical questions about the well being and health of the dancer and why we should not only consider the dancer as an artist and as an athlete but also ultimately as a person. If dancers are as Einstein describes them, ‘athletes of god’, we need to not only consider their health physically but also mentally and spiritually!
I was at a school this week doing a dance workshop and this quote was written above the studio door, but what does it mean?
I asked the year 12 students in my workshop what they thought it meant and they said it was there as an inspirational quote but they hadn’t thought about what it really means.
One student said they thought it meant dancers were like athletes because they needed to be really fit.
Yes I agree we are 'athletes' in that sense but what does “athletes of God” mean, something much more than mere physical excellence I think?
I have tried to interpret it for myself…….. I saw in an article the quote ;
‘A dancer is an artist who is an athlete’ (Brinson & Dick 1996).
Dictionary definitions
a dancer is a person who performs a dance or a person whose profession is dancing,
an athlete is a person who is proficient in sports or physical exercise,
an artist is a person who practices or performs any of the creative arts,
a person is an individual human being.
I think the description ‘a dancer is an athlete’ is the easy bit to explain. A dancer has to be supremely fit and healthy. Of course you need to be in shape to be a professional dancer just like you would to be a professional athlete.
So is a dancer an artiste or athlete?
I think dancers are first and foremost artistes. They communicate narratives and express emotions through movement which is inspired by music and rhythms.
But dancers are also most definitely athletes too. Their co-ordinative abilities, fitness, strength and stamina match those of most athletes.
The long working hours, daily classes, rehearsals and performances require both strength and virtuosity. Dancers working in an ongoing production will be familiar with 8 show weeks, translating to 6 day weeks with only 1 day off. Over a 6 to 12 month period (the usual length of a contract), this taxing schedule also requires strength and dedication on both a physical and artistic level. Sometimes it is tougher for the musical theatre dancers, as it is not standard practice to be given daily class by the company like a ballet or contemporary company does. They have to take it upon themselves to maintain their fitness and dance technique.
I remember one principal of a dance college I went to audition at told us a professional dancer has to be fitter than a professional footballer.
So dancers are both artistes and athletes. But what about the dancer as a person, an individual human being? What about the reference to 'athletes of God'?
Dance reaches deep into our physical and emotional being as well as being physically demanding. Dance is not just about being an athlete or technician it is an unexplained communication between mind, body and spirit. Many of us who dance are familiar with that phrase ‘born to dance’. The outstanding dancer combines musicality and physical grace with an astonishing technique.
Dance is a powerful tool for expressing emotion and passion, one that can cross cultural divides. It has a value in society as a cultural and communication tool and has a sociological role as a means of non verbal communication.
This is where I think being likened to an ‘athlete of god’ imparts some spiritual connection and events for which there is no obvious agent which thus may be attributed to some higher force, ie: ‘God’.
The unexplainable side of dance, the spiritual element that embodies, not only physical excellence, but the communication of mind, body and spirit ! Professional dnacers are supreme athletes but they also combine this with a spiritual side, grace, passion, emotion and musicality as an artiste – 'athletes of god’.
I think the lyrics from the song ‘Electricity’ from the musical theatre show ‘Billy Elliot’ best describes how it feels to dance from that point of view ……………………..
“I can't really explain it,
I haven't got the words
It's a feeling that you can't control
I suppose it's like forgetting, losing who you are
And at the same time something makes you whole
It's like that there's a music playing in your ear
And I'm listening, and I'm listening and then I disappear
And then I feel a change
Like a fire deep inside
Something bursting me wide open impossible to hide
And suddenly I'm flying, flying like a bird
Like electricity, electricity
Sparks inside of me
And I'm free I'm free
It's a bit like being angry,
it's a bit like being scared
Confused and all mixed up and mad as hell
It's like when you've been crying
And you're empty and you're full
I don't know what it is, it's hard to tell
It's like that there's a music playing in your ear
But the music is impossible, impossible to hear
But then I feel it move me
Like a burning deep inside
Something bursting me wide open impossible to hide
And suddenly I'm flying, flying like a bird
Like electricity, electricity
Sparks inside of me
And I'm free I'm free
Electricity, sparks inside of me
And I'm free, I'm free
I'm free. Free I'm free”
What has this to do with my lines of inquiry ?
I think the idea of being an athlete as well as an artist and the need to be healthy to be an athlete fits in with my lines of inquiry and my developing ethical questions about the well being and health of the dancer and why we should not only consider the dancer as an artist and as an athlete but also ultimately as a person. If dancers are as Einstein describes them, ‘athletes of god’, we need to not only consider their health physically but also mentally and spiritually!
Tuesday 22 March 2011
“It is more what you'd call 'guidelines' than actual rules!"
So why do we still have tales of “Teaching by Terror” methods particularly in the ‘vocational’ field ?
Why do we still have dancers obsessing over weight issues and body image issues?
Why do dancers still train with injuries?
Why do dancers train for over 12 hours a day without proper and regular breaks?
Why is dance science not included in the timetable at most vocational colleges?
Well here it is in black & white a really comprehensive code of ethics for the dance Industry courtesy of Dance UK
Industry standards for dancers' health, well being and performance.
The dance profession aspires to:
- Excellence in dance performance.
- Healthy and effective dance training/teaching.
- Fit, healthy, confident, accomplished dancers providing positive role-models for future generations.
- Responsible employment taking into account dance specific industry recommendations in addition to statutory health and safety requirements.
- Continuing professional development.
All dancers have a right to:
- Be taught safely and effectively by an appropriately qualified and experienced teacher.
- Education in and access to up-to-date information on healthy dance practice, injury prevention and dance science.
- Access to affordable and fit for purpose medical healthcare and dance science services.
- Safe and appropriate spaces to work in.
- A working environment that allows for adequate rest, nutrition, hydration.
- A working environment that is conducive to psychological as well as physical health in order to meet the performance demands of the dancer-athlete.
Dance education and training
For young people and the general public will include:
- A basic introduction to warming up and cooling down, nutrition and applied anatomy (including the growth spurt), demonstrated through the teaching.
- Clarity from the teacher for students and parents on why these are important and how they apply to healthy dance practice.
- Signposts to further information for students and parents.
For vocational dance students will include:
- The above and…
- Education in how the interrelated areas of anatomy, physiology, biomechanics, psychology and nutrition apply to dance practice and performance.
- Essential information on injury prevention and management.
- Essential information on the growth spurt.
- Dance spaces – what the requirements for safe and optimal dance practice are and how to mitigate risk in circumstances that aren’t ideal.
For dance teachers will include:
- The above and…
- The application of the above in and through the teaching of dance.
- Basic first aid and the contents of a dancer's first aid box.
- Continuing Professional Development (CPD) on the above subjects to be undertaken at least biennially.
- Being a member of an appropriate network/organisation that will ensure access to up-to-date information and news of developments in the field.
Professional dancers, choreographers, directors and dance managers:
- Will keep themselves regularly updated on the latest best practice for dancers’ health, wellbeing and performance appropriate to their position.
Dance Medicine and Science researchers / practitioners:
- Will uphold their responsibility to disseminate research and application of relevant findings to dance educators to allow the above.
Dance medicine and science support
For all dancers will include:
- Use of the NHS: dancers educating the health practitioners seen about the specific needs of dancers (Dance UK and its partners will lobby for more 'Sports and Exercise Medicine' specialists and to have dance as a speciality within that).
- Dance UK’s Practitioners Register: ensuring dancers know about the register and can access it to find dance knowledgeable medical practitioners when they need them.
- Dance specific musculoskeletal assessments for individuals to understand their own anatomical limitations in order to work with them.
- Monitoring of growth for young people to adapt training accordingly during growth spurts.
- Health questionnaire to be completed by individuals to flag up any potential problems to be aware of during dance training.
- Access to suitable first aid, especially ice.
For dancers on intensive training programmes:
- Regular assessments – musculoskeletal, health, fitness, anthropometry – to monitor for improvements/problem areas, helping to assess effectiveness of the training for that individual.
- Supplementary training provided as needed and recommended for individuals following individual assessments.
- Access to (at minimum) a dance knowledgeable physiotherapist, nutritionist and counsellor as well as registration with a local GP.
- Longitudinal monitoring of injury for analysis in order to spot trends, mitigate identified causes of injury and inform resource provision and training.
- Access to an appropriate medical insurance scheme.
For professional dancers:
- Regular assessments – musculoskeletal, health, fitness, anthropometry – to monitor for improvements/problem areas, helping to assess effectiveness of the training for that individual.
- Access to multi/interdisciplinary team of dance medics and scientists including: physiotherapist, masseur, Pilates (or other somatic/body conditioning practitioner), physiologist, psychologist, nutritionist, GP, physician, surgeon.
- Supplementary training programmed as per recommendations from medical/science team following assessments/consultation.
- Longitudinal monitoring of injury for analysis in order to spot trends, mitigate identified causes of injury and inform resource provision and training.
- Access to an appropriate medical insurance scheme
Working environment
Dance spaces - the requirements for safe and optimal dance practice are:
- A clean, suitably sprung floor with the appropriate surface for the type of dance (see Dance Floors by Mark Foley (1998, Dance UK)).
- A high enough ceiling to allow jumping, leaping and lifting without obstruction.
- Enough space so that when limbs are outstretched each dancer has enough personal space not to come into contact with an obstruction/fellow dancer.
- Natural lighting (for regularly used rehearsal spaces and studios).
- Well-ventilated.
- Heating able to be maintained at a comfortable 21c; not going below 18c.
Working time for dancers:
- Hours: in practice work load is known to increase up to 10 hours per day with proximity to performance periods (Wyon, 2010), however this high workload may be a contributing factor to dancer’s self-reported high levels of fatigue and injury rates (Fit to Dance 2) – focus should be on quality not quantity of training (Wyon, 2010). At least one day a week should be free of strenuous physical activity and free of dance. More research is needed to give optimum recommendations.
- Travel / touring: ensure that rest days really are rest days and not filled with other physical activity or travel – plan so that dancers are not performing in the evening of a day spent travelling a significant distance (Fit to Dance 2 – p.103)
- Periodisation: draw up a plan of the year or the season that includes rest periods as well as work periods – also looking a weekly and daily schedules – ensure those making decisions about schedules and touring understand the importance of rest and risks of excessive or monotonous workloads (Fit to Dance 2 – p.103). The week immediately prior to each performance period needs to be designated as taper – entailing reduction in volume of dancing time, but not in the intensity of the dance (see Wyon, 2010 – for full application and example). Periodisation should be evolving and continually adjusted to reflect changing performance schedules and dancers’ fitness levels (Wyon, 2010)
- Adequate breaks for refuelling – day to day planning of small breaks is highly important for optimal training and performance of dancers. A lunch break of at least 1 hour should be provided in the middle of the day as well as small breaks around every 2 hours to allow food and fluids to be taken on board. Dancers should also be given opportunities to take on fluids during class and rehearsal.
“This draft was drawn up by Dance UK’s Healthier Dancer Programme following input from representatives from dance companies, dance training and education, independent dance and community dance. It is an attempt to provide, in one simple document, clear guidelines on the standards of practice the dance industry is striving for in this area that can be used as an advocacy tool and checklist”.
Ok so there it is! Covers everything! Just what we wanted!
So why do we still have tales of “Teaching by Terror” methods particularly in the ‘vocational’ field ?
Why do we still have dancers obsessing over weight issues and body image issues?
Why do dancers still train with injuries?
Why do dancers train for over 12 hours a day without proper and regular breaks?
Why is dance science not included in the timetable at most vocational colleges?
I think the answer lies in the statement…….. “clear guidelines on the standards of practice the dance industry is striving for in this area that can be used as an advocacy tool and checklist”.
A code can only work if it is actively used, interpreted, reviewed and revised over time. It cannot be a matter of personal taste or choice to follow the code in professional behaviour and those who do not should be held accountable for their actions. Adherence to such a code should be encouraged by incorporation into the educational process and should be regulated. Attitudes need to change - a code is of no use if practitioners can pay ‘lip service’ to it and are not held accountable if they break the code - “it is merely what you'd call 'guidelines' than actual rules!".
Reference:
Monday 21 March 2011
"It's just not cricket" is a common, if old-fashioned, English expression for something being unfair…………………….but even pirates could invoke the right of ‘Parley’!?
‘It’s just not cricket!” is another one of those 'hand-me – down' sayings from my upbringing which I heard my mum use the other day. My mind is juggling all the thoughts about rights and wrongs, ethics, codes, morals etc and reflecting on my lines of inquiry I decided to jot it all down in my journal and now have transfered it here as a blog post.
I have been trying to take stock of where to go next and I thought about some of the information I’ve gathered so far and tried to put it all into some perspective.
I have been trying to take stock of where to go next and I thought about some of the information I’ve gathered so far and tried to put it all into some perspective.
I overheard a teacher say to a student the other day,
‘You’re too sensitive, it’s just character building! You will have to cope with worse than that in the adult world’
I wondered are we as dancers too sensitive?
For example a teacher saying to a student, “Anorexia is a disease which you should think about catching!”
Is this just ‘dance’ etiquette accepted by professional practitioners as a way to prepare us for a very ‘tough’ industry?
Is this what is referred to as ‘character building’?
Is life sometimes just ‘unfair’?
Is it just ‘not cricket!’
Should we just accept something we think is morally wrong with a ‘stiff upper lip’, try to live through it and hope we become a better person or should we challenge it, should we have codes of conduct in the dance industry ?
Are such comments 'unethical'?
I was wondering what value codes of conduct have. This is when the film ‘Pirates of the Caribbean’ sprang to mind.
Strange how the mind works and makes associations but believe it or not even pirates had a code of ethics – well more like guidelines!
So I am trying to grasp all the concepts involved in my thought process as I battle with the ethical questions my line of inquiry has raised so far and whether my inquiry is going to be beneficial and how to develop it towards a title.
Is this just ‘dance’ etiquette accepted by professional practitioners as a way to prepare us for a very ‘tough’ industry?
Is this what is referred to as ‘character building’?
Is life sometimes just ‘unfair’?
Is it just ‘not cricket!’
Should we just accept something we think is morally wrong with a ‘stiff upper lip’, try to live through it and hope we become a better person or should we challenge it, should we have codes of conduct in the dance industry ?
Are such comments 'unethical'?
I was wondering what value codes of conduct have. This is when the film ‘Pirates of the Caribbean’ sprang to mind.
Strange how the mind works and makes associations but believe it or not even pirates had a code of ethics – well more like guidelines!
So I am trying to grasp all the concepts involved in my thought process as I battle with the ethical questions my line of inquiry has raised so far and whether my inquiry is going to be beneficial and how to develop it towards a title.
Urban dictionary definition:
‘It’s just not cricket!’ - having something that is unjust or just plain wrong done to someone or something. This came from the game of cricket which is regarded as a gentleman’s game where fair play was paramount.
‘Stiff upper lip!’ - an attitude of determined endurance or restraint in the face of adversity.
‘Character building!’ - is experiences which teach you some of life's lessons. Many character building experiences hurt and may contain a "significant emotional experience". With a little good luck, you will live through them and be a better person.
‘It’s just not cricket!’ - having something that is unjust or just plain wrong done to someone or something. This came from the game of cricket which is regarded as a gentleman’s game where fair play was paramount.
‘Stiff upper lip!’ - an attitude of determined endurance or restraint in the face of adversity.
‘Character building!’ - is experiences which teach you some of life's lessons. Many character building experiences hurt and may contain a "significant emotional experience". With a little good luck, you will live through them and be a better person.
So what is ‘character’ ?
No one can force another individual to do something they believe is morally wrong. Our upbringing and experiences learn us about our own virtues and values, and how they correspond to our life and the world around us. Character is the sum of qualities that show up in a person or group, moral or ethical strength, and the description of a person's attributes, traits and abilities. Character is ‘who you are’. It defines you and guides your actions
We all choose a set of rules, morals, or principles that we believe will lead to a happy life and we subscribe to the ethics we develop as our own based on our experiences.
Quote: “To thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man”(William Shakespeare, 1564-1616).
So I need to be true to what I believe?
What is 'unfair'?
Oxford dictionary definition: 'not based on showing fairness, unjust, contrary to the rules of the game'.
I looked up ‘ethics’.We all choose a set of rules, morals, or principles that we believe will lead to a happy life and we subscribe to the ethics we develop as our own based on our experiences.
Quote: “To thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man”(William Shakespeare, 1564-1616).
So I need to be true to what I believe?
What is 'unfair'?
Oxford dictionary definition: 'not based on showing fairness, unjust, contrary to the rules of the game'.
Wikipedia definition: ‘Ethics, also known as moral philosophy, is a branch of philosophy that addresses questions about morality—that is, concepts such as good and evil, right and wrong, virtue and vice, justice, etc’.
http://en.wikipedia.org/wiki/Ethics
I looked up ‘moral/morality’.
Oxford dictionary definition:
‘Concerned with the principles of right and wrong behaviour’.
Wikipedia definition:
‘Morality (from the Latin moralitas "manner, character, proper behavior") is a sense of behavioral conduct that differentiates intentions, decisions, and actions between those that are good (or right) and bad (or wrong). A moral code is a system of morality (for example, according to a particular philosophy, religion, culture, etc.) and a moral is any one practice or teaching within a moral code. Immorality is the active opposition to morality, while amorality is variously defined as an unawareness of, indifference toward, or disbelief in any set of moral standards or principles.
Morality has two principal meanings:
- In its "descriptive" sense, morality refers to personal or cultural values, codes of conduct or social mores that distinguish between right and wrong in the human society. Describing morality in this way is not making a claim about what is objectively right or wrong, but only referring to what is considered right or wrong by an individual or some group of people (such as a religion). This sense of the term is addressed by descriptive ethics.
- In its "normative" sense, morality refers directly to what is right and wrong, regardless of what specific individuals think. It could be defined as the conduct of the ideal "moral" person in a certain situation. This usage of the term is characterized by "definitive" statements such as "That act is immoral" rather than descriptive ones such as "Many believe that act is immoral." It is often challenged by moral nihilism, which rejects the existence of any moral truths, and supported by moral realism, which supports the existence of moral truths. The normative usage of the term "morality" is addressed by normative ethics’.
I looked up ‘Good and Evil’:
‘In religion, ethics, and philosophy, the phrase, good and evil refers to the location on a two-way spectrum of objects, desires, or behaviors, the good direction being morally positive, and the evil direction morally negative. Good is a broad concept but it typically deals with an association with life, charity, continuity, happiness, and prosperity. Evil is more simply defined: the opposite of good. The good and evil of a context represents a personal judgment, a societal norm, or either's claim to an absolute value related to the human nature or transcendent religious standard for that context’.
http://en.wikipedia.org/wiki/Good_and_evil
I looked up ‘Philosophy’;
Oxford dictionary definition: ‘a theory or attitude that guide’s ones behaviour’.
Wikipedia definition: ‘Philosophy is the study of general and fundamental problems, such as those connected with existence, knowledge, values, reason, mind, and language’.
http://en.wikipedia.org/wiki/Philosophy
I looked up ‘Etiquette’:
Oxford dictionary definition: ‘the customary code of polite behaviour in a society’.
Wikipedia definition:
‘Etiquette is a code of behavior that delineates expectations for social behavior according to contemporary conventional norms within a society, social class, or group’.
So why should we apply this in a professional sense?
What does all this mean in relation to me as a dancer?
Practitioners often take actions that require moral reasoning and articulation of values.
This is defined as professional responsibility -
‘How should I behave?’,
What does all this mean in relation to me as a dancer?
Practitioners often take actions that require moral reasoning and articulation of values.
This is defined as professional responsibility -
‘How should I behave?’,
‘What should I do?’,
‘What is my responsibility?’
‘What moral import will my actions have?’
‘What is my responsibility?’
‘What moral import will my actions have?’
Moral philosophy when applied to a particular profession is useful in uncovering the values that drive practices.
‘Professional Ethics’ then can basically be defined as rules or standards for governing the relations between people to benefit all concerned with mutual respect for the needs and wants of all parties involved and ‘professional ethical behaviour’ can be defined as;
to conduct all relations between parties in honesty and good faith ,
to conduct all relations between parties in honesty and good faith ,
to honour fully, in word and spirit, all agreements once made, and
to confine critical comment to a reasoned and temperate discussion of
actions and practices.
So what value is having a code of conduct?
actions and practices.
So what value is having a code of conduct?
Codes can be especially valuable in circumstances where action by the practitioner could cause harm to someone and where rights of individuals are conflicting or there are competing interests or where professional etiquette is required when dealing with others. Setting standards is a way to determine good practice for the benefit of all and reflect the moral foundation of professional life. It can promote harmony between people, appreciation and mutual respect. However a code can only work if it is actively used, interpreted, reviewed and revised over time. It cannot be a matter of personal taste or choice to follow the code in professional behaviour and those who do not should be held accountable for their actions. Adherence to the code should be encouraged by incorporation into the educational process.
Code of Conduct on a Pirate Ship:
Anyone who has watched Disney's 'Pirates of the Caribbean' knows all about 'The Pirate Code', laid down by the pirates Morgan and Bartholomew.
The character Elizabeth Swann declares,
"Parlay! I invoke the right of parlay! According to the Code of the Brethren, set down by the pirates Morgan and Bartholomew, you must take me to your Captain! I know the code!"
Pintel replies,
"She wants to be taken to the Captain. We must honour the code."
"Parlay! I invoke the right of parlay! According to the Code of the Brethren, set down by the pirates Morgan and Bartholomew, you must take me to your Captain! I know the code!"
Pintel replies,
"She wants to be taken to the Captain. We must honour the code."
Just a modern myth created by Disney?
Apparently not ! Pirate codes did exist, but there was no single code which all pirates recognized and subscribed to.
Pirate codes often contained similar rules, no matter which captain and crew developed them but they were basically unique to each;
Apparently not ! Pirate codes did exist, but there was no single code which all pirates recognized and subscribed to.
Pirate codes often contained similar rules, no matter which captain and crew developed them but they were basically unique to each;
· Fighting between crew members could be punished by death or marooning both
men.
men.
· Pirates who brought women disguised as men aboard ship were threatened with
death.
death.
· Sexual assault was punished with death.
· Drinking during watch was punished by death.
· Gambling for money was forbidden.
· Musicians had to play every day, with rest only on Sunday.
"Parlay" - Urban dictionary - (6) 'Parlay' entitles the invoker free passage to negotiate with the ship's captain until negotiations are complete.
So even pirates had rules / guidelines to follow – as Jack Sparrow himself remarks,
"Keep to the Code. Aye, the Code."
So a code of ethics in professional practice is a good thing then?!
Well, if it’s good enough for 17th century pirates surely it’s good enough for dance practitioners ?
It promotes fairness and holds people accountable for particular kinds of behaviour, giving a professional culture that assures people that the group is serious about protecting others from ‘unethical’ behaviour.
My conclusion - it is most definitely ‘cricket’!
We need dance practitioners to play by the rules of the game!
My next question then is, what are the rules of the game and how many and what codes of conduct are there in the dance profession,it seems from my initial research it is a bit like the pirate's code - a little piece meal, each 'ship' having it's own set of rules with no regulated rules that all practitioners subscribe to or recognise, therefore certain practitioners can choose to ignore the 'code'.
It promotes fairness and holds people accountable for particular kinds of behaviour, giving a professional culture that assures people that the group is serious about protecting others from ‘unethical’ behaviour.
My conclusion - it is most definitely ‘cricket’!
We need dance practitioners to play by the rules of the game!
My next question then is, what are the rules of the game and how many and what codes of conduct are there in the dance profession,it seems from my initial research it is a bit like the pirate's code - a little piece meal, each 'ship' having it's own set of rules with no regulated rules that all practitioners subscribe to or recognise, therefore certain practitioners can choose to ignore the 'code'.
As Barbosa the pirate says,
" The code is more what you'd call 'guidelines' than actual rules!"
" The code is more what you'd call 'guidelines' than actual rules!"
I will now go and see what codes and guidelines are actually out there. Perhaps the problem in the dance profession is that they are not regulated and so cannot be enforced, maybe the 'code' needs to be introduced through the educational system? Dancers given the right to invoke the right of "Parlay" (that'll be the French for 'to speak' )?
[ Had a sudden fit of the giggles when I had an image of my ballet master as a Barbosa character with a parrot on his shoulder – me crying "Parlay - I demand you take me to the Principle, I know the code".
" Aye but they be mere guidelines my dear! Welcome to the dance profession Miss Harris!"]
" Aye but they be mere guidelines my dear! Welcome to the dance profession Miss Harris!"]
Concise Oxford English Dictionary
Wikipedia - http://www.wikipedia.org/
Wikipedia - http://www.wikipedia.org/
Ethics in Health, Physical Education, Recreation and Dance (ERIC Digest) – Gerald S. Fain (1992) - http://www.ericdigests.org/1992-4/ethics.htm
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