Monday, 24 November 2014

Inquiry.

When I began this task, I wasn't actually sure what a 'line of inquiry' was. So I googled it, and found the term to mean: 'an ordering of questions so as to develop a particular argument' or 'the direction a writer pursues in order to advance an academic argument.'
I have answered the following questions by reflecting on my dance training and practice to date, and by considering my recent experience of transitioning from full- time dance to a non- dance related field. 

What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic? 

I can't say that there is something specific in my daily practice that gets me really enthusiastic to find out more about, however at the forefront of my mind is a questioning and eager attitude as to what the future holds. I'm currently not dancing professionally and am considering what other options are available to me, what interests me, which career path to go down and the possibility of living abroad in the future and how that could be feasible. 
I'm really interested in finding out about what other dancers have gone on to do, post- dance. Teaching is a popular choice, although I'm also interested in the other routes that have been explored. 

What are the career options available to dancers post- dance?
Are dancers given enough support and guidance on furthering their careers?

What gets you angry or makes you sad? Who do you admire who shares your feelings or has found a way to work around the sadness or anger?

When I was 23 I was offered a contract to dance in a show in Germany. At the time, I was grateful to have the opportunity to be part of a great show. The first few weeks were fine, but then things started to go rapidly down hill. The directors/ management (husband and wife, as it was a family run and owned business), began using bullying and intimidation as a management technique, screaming and swearing at us on a regular basis in front of other cast members. We would be called in to their office to be disciplined regularly and made to pay 'fines'. The hours of work and extra shows and 'duties' being asked of us was rapidly increasing, and so on, and so on. I think breaking point for me was when I became extremely ill due to sheer exhaustion, but taking any time off work was out of the question. 
The most frustrating thing during this ordeal was having no one to turn to for help or advice. These people were the senior management so we couldn't go above them, even our dance captain wouldn't dare stand up to them. In the end, there only seemed to be one solution, and sadly myself and another dancer decided to leave and end our contracts early. 

I have since seen the same contract advertised on websites such as Dancers Pro and Star Now, and it's really frustrating knowing that this company will continue to exploit artists, and other un- knowing dancers will go through the same thing, yet there is nothing I can do about it. When I first returned to the UK, I thought about contacting Equity, but really what could they do? It was my word against theirs. 
I have heard other 'horror' stories from friends and peers regarding the mis- treatment of dancers, and it raises questions of how this can be prevented in the future. 

It seems that it is becoming more and more common for dancers to be used as aerialists in shows, particularly on cruise ships. A friend of mine, was hired to work as a dancer/ aerialist on a cruise ship and underwent a month of aerial training. After signing a ten- page waiver, she fell one night and broke her wrist. 
I have heard of many dancers that are performing as aerialists and have suffered from similar injuries, and it makes me sad that dancers are exploited in this way. 
Being employed as a dancer/ aerialist is 'sold' by companies to dancers as an opportunity to learn new skills and to make yourself more versatile. However, these companies are primarily concerned with cutting costs, and do not have dancers' safety and best interests at heart. They are able to pay dancers a fraction of the cost of hiring a professional aerialist who has a specialist act and has trained in it their whole lives. Dancers are not able to learn the skills needed and acquire the extreme strength and technique that aerial requires, in one month. 

Having said that, I know and admire dancers that have decided to make the transition from dancer to aerialist, and have gone about it in the right way, dedicating themselves to the craft for numerous years. They now have their own specialist acts, which they have achieved through their drive and determination.  

How can the mis- treatment and exploitation of dancers be prevented and controlled?
Should dancers be used as aerialists without the correct amount of training?
Is dancers' safety at risk when performing as an aerialist?

What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?

I love that being a dancer has made me the person I am today. I have always said that being a dancer doesn't define me as a person, however dancing is all I've ever known and is a huge part of my life. I have realised that there are characteristics I have obtained, that set me apart from others. For example, dealing with rejection is something that all dancers are familiar with, it can be really tough and can have quite a negative effect. However, I think I'm stronger and a more resilient person because of it, and having experienced all of that rejection makes me thankful to have been as successful as I was. I've been lucky enough to travel the world through dance, experience many different cultures and meet lots of different people.
There are a lot of people outside of the dance industry who don't realise how challenging it is to become a dancer, how competitive the industry is and how intense full- time dance school is. Many professionals would disregard my C.V. because I don't have 'traditional' qualifications. I'm grateful for the transferable skills I believe I have gained, and that I can be just as valuable, to a company or business than someone who has achieved highly academically. 

I admire a friend of mine, who now works in HR for a large television production company. She had a successful career as a dancer, and like me wasn't given much career guidance at college as to what options are available to dancers once you 'retire' and didn't have many academic qualifications. She has worked hard and now has a successful career outside of dance. It's great to see her achieving her goals. 

Do dancers have the correct transferable skills in order to be successful in other fields?
How are dance colleges preparing students for the future?

What do you feel you don't understand? Who do you admire who does seem to understand it? 


I understand that image plays a large role in dancing. What I don't understand is the way in which issues surrounding body weight are tackled, particularly when I was at dance college. We weren't given much help and guidance surrounding nutrition and healthy eating, and were made to feel uncomfortable if we were seen to be eating anything deemed 'unhealthy' by members of staff. Our ballet teachers were particularly indiscreet, giving us advice such as; 'to eat our dinner off of a side plate instead of a large dinner plate.'


During a number of dance contracts, I was weighed on a regular basis. This would range from weekly 'weigh- ins' to once every couple of months, depending on the company's policy. I understand that the company expects you to maintain the weight you were hired at, give or take a pound or two, which is usually written into your contract, but being weighed in this way can put immense pressure on some dancers. 

Is body weight and image addressed in the correct way at dance colleges?
Are dancers educated properly on healthy eating and nutrition?
Are weekly 'weigh- ins' the most appropriate way of monitoring weight gain, or are there more supportive techniques?

How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society?


I was able to gain some teaching experience whilst working as a dancer. I taught ballet and jazz to children aged 3- 12.  There were times when I would question what was an appropriate level of physical contact. The 3 year olds would want to be hugged and picked up all the time, and would also need help going to the toilet. With the older children I wasn't really sure if I was able to give them corrections physically. 
When I was growing up and whilst at dance college, teachers were allowed to touch you in order to correct your body alignment, make you aware of correct posture, and of which muscles needed to be engaged etc. Whereas now, teachers aren't allowed to do that. I personally, am grateful for this style of teaching and feel it was a necessary part of my training. Do other dancers feel this way?

During a dance contract in Portugal, one of the other dancers was taken out of the show a few weeks before the end of our contract because she had put on weight. She was only allowed to appear in a couple of numbers in which her costumes weren't as 'skimpy'. This seemed so demeaning and a really unfair disciplinary action. Claire had been struggling to lose weight for a while, and wasn't really offered any help or support. It seemed so unnecessary considering we only had a few weeks left of a years contract. The rest of the cast was outraged, but it wasn't really appropriate to intervene. 

Should dance teachers be allowed to physically correct students?
What are reasonable disciplinary measures for dancers, particularly in regards to weight gain?






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