Living in the Caribbean, I had expected less concern around size in dance class based on the multitude of different bodies seen in and out of dance class. It seems that as a dancer, whether here the US or in Europe, shape, size and body image are issues, yet some of my reading directs me away from this, where my own data through interviews leads me towards it. (Hamilton, L. et al)
My dancers in Barbados discussed issues of low self body image but in research taken out in the US with black ballet dancers, it showed black ballet dancers to have no major issue around weight or body image as compared with their colleagues who were white female ballet dancers.
Although I am putting this very simplistically, many questions have arisen for me because I had "assumed; that the majority of professional ballet dancers would have issues around weight and body image. My dancers in Barbados, are modern dancers who I would have 'assumed' would have less negative body images. In my very limited study, the emerging data has proved my assumption to be wrong.
Why do the Black US ballet dancers have less issue around weight and body image than their white counterparts and my dancers in the Caribbean?
With such a diverse range of shapes and sizes in Barbados why is the aesthetic of the European dancer preferred. Even (according to my participants) in Caribbean folk dance?
Given the make up of audience to be a majority, Caribbean, why would the typical European aesthetic be preferable? Whose choice is it? How does that reflect within female Barbadian dancers confidence and relationship with their bodies?
Then there is the male perspective of weight and body image in dance U.S.A, Caribbean, Europe).
Does anyone have any stories to share around any of these areas? Or any interesting literature that you feel would be worth reading?
Although my research is centred around what is prevalent in the dance studio, post pre and during movement, I am realising that participants back stories strongly influence everything within the session. The way they enter the class/audition or rehearsal, how they approach class overall and what they get out of class. I am noticing that their cultures and personalities colour everything from preparation to execution
I look forward to hearing from you
Bibliography
Sociocultural Influences on
Eating Disorders in Professional
Female Ballet Dancers
Linda H. Hamilton J. Brooks-Gunn, Ph.D. Michelle P. Warren, M.D.
Linda H. Hamilton J. Brooks-Gunn, Ph.D. Michelle P. Warren, M.D.
Tara,
ReplyDeleteGreat to read your posts (I read the one on assumptions as well).
I have the assumption that the US is considered a centre (and perhaps then, is a model, or ideal) of African-American dance. African American dance is well represented there, to international acclaim, and in this sense, I wonder if it doesn't possess a kind of iconic status that then makes it a revered model and looked-to standard for the rest of the world. I think of the established companies and artists there (both in the ballet as well as modern and contemporary worlds): Dance Theatre of Harlem, Alvin Ailey, Bill T. Jones, Philadanco, Misty Copeland, Abraham in Motion (AIM), to name a few.
I should mention that as a Canadian, I am right next store to the US so, perhaps this is influencing my assumption of the country as being a centre or strong model for black representation in dance.
I think that our perception of such centres certainly comes with our then looking to them as a standard. I think of Brussels for example, and the aesthetic that is prevalent there, and how it informs the choreography generated here in Canada. For me as a teacher of professional and pre-professional contemporary dancers, this copy catting manifests in the exoticization of guest European teachers, making it challenging to offer compelling content to the training community as a local instructor. A case of, 'we want what they've got access to" because we see the outcome of their being well-represented on the international scene. Everyone wants to move like a Vandekeybus or Hofesh Shechter dancer.
At any rate, this whole business of what resources dancers think they need to excel is very curious. Whether its a particular body, access to a type of training, or a specifically located (geographically) community of artists. I believe we are not uninfluenced by marketing, or, the dance market. They impact our perceptions of what we consider great or worthy of being iconic, dance.
Thanks Alanna, i read your message a while ago and re read it today and, it then occurred to me that Barbados, although having the nickname of 'little England' is heavily influenced by the US. I haven't noticed it in the dance sector so much but definitely in the way that people speak, what they watch and some of the behaviour emulated.
DeleteWe don't have TV but when we visit friends houses, their children are often watching American channels that promote American ideals and culture.
Thanks for responding, really good to get some otehr thoughts on this.
I should also mention, my comment is written with a heavy assumption that most professional dance is operating with the goal of visibility. That having an international impact, being considered iconic, is a more worthwhile status than the other alternatives.
ReplyDelete(In actuality, I value dance as something that is more than a commodity; it is great outside the context of international markets... as a community effort and initiative it has much to offer.)
Hi Tara! I don't have any immediate answers to your blog although from my experiences I think issues surrounding negative body images is appalling in the profession (amongst my male colleagues as well!). Today comes to mind, when I was listening back on a part of an interview where my lovely candidate was relating her experiences in ballet school when she was 15/16 years old. She told me her main focus then was to please her teacher, and to work with the technique in the way her teacher asked for, which was very difficult for her because as she said 'my body was not like that'. I find it interesting that traditionally it wasn't the technique that was adapted to support the development of the dancer but rather the body was forced to conform to the rules of the technique. In my opinion and through what I heard in my candidates' voice the process ended up in a form of torture and terrorization especially as the young dancer was at the same time constantly threatened with expulsion. I'm sure this approach is still taken in dance education. I feel that 'body image' is just the tip of the iceberg and in fact it may be a symptom of a far more distressing way of relating to the body and really the self. If the body is seen as something to be ' corrected' and that this correction is achieved through pain, anxiety, stress and hard physical labour (which often leads to injury and illness and subsequent feelings of failure because one cannot 'perform') I'm not sure we can expect at the same time for someone to love their body and have positive body image.
ReplyDeleteSo maybe generally I'm linking body-image to training methods and not simply negative criticisms surrounding how the body looks.......?
Also on another note, have you been looking at the experiences your candidates have had outside the dance study, because I think negative body image is a common problem in the general population? I'm just curious!!!
Take care and good luck with it!
Hi Sam, thanks. so much here to discuss but I wont delve too deeply (time!!!! deadline etc) but yes I did talk a little about body image outside of dance and one participant had a very different relationship with the mirror in class and outside in her personal life. One dancer who has been dancing ballet from 2 years old, I believe would find it very difficult to make the separation because of the age she began dancing, her age now and the intensity, in terms of time of her training.
DeleteWhen discussing this topic with my husband he was completely shocked to hear that as a dancer, training, the girls were weighed every week. He kept saying 'what?' as though i was speaking another language. Its interesting what we begin to accept as normal, even if in the beginning we question it. Its also amazing how little we question and what little action is taken!
I like the idea of body image and training methods. Injury has also come up for me via body image, has it surfaced for you?
Hi Tara! Very little about injury...Dancers have told me that as they get older and more experienced their focus in class has shifted from fulfilling expectations of others over their technique to caring for their body, being mindful over their bodies needs and giving less energy but being more precise over technique so to condition there body/guard against injury. This I think comes out of terrible fear of injury (because then one can't work)but more so general lack of faith in medical profession. After my 15 years dancing professionally pretty much non-stop the best methods dealing with injury I've found seems prevention or self diagnosis coupled with self treatment - constructive rest, self massage, adapting movements, returning to restorative exercise, looking again at my technique, healthier eating and generally read, read, read, read about the body. Sounds awful but most times osteopaths, physios etc don't seem to have the understanding of dance and the practical difficulties of the profession, to be helpful. This of course increases fear, anxiety and negativity over injuries I feel, but at the same time I don't notice amongst my associates that it correlates to negative body image. These are my personal experiences. It's an interesting question. Maybe also you're touching on the seeming glorification of injuies amongst dancers, they were them like a badge of honour. I think maybe it's a coping mechanism. But also I suppose the 'no pain, no gain' philosophy is still prevalent in dance training and I do know dancers that only see training as beneficial if it's painful, which I think in the long term can lead to injury and generally quite a sadistic approach to ones own body.
ReplyDeletereally interesting Sam, Is it OK if I use a quote from you in my work? There may be a couple......
ReplyDeleteHi Sam, hope all is well. I thought I would have seen you in London a couple of weeks ago. Feel free to skype or email, if you are available - X
ReplyDelete