On Dance Leadership and the Dance Community We Build

It is extraordinary how we learn.  How one idea feeds from prior knowledge and is analysed from the optics of new learning.  Perception is affected and forever changed, often times with little clarity of what was the catalyst of the new wave of thoughts.  Knowledge and learning is a curious thing, perhaps the most motivating factor is the notion that one is always learning and constructing new meaning and conferring significance. 

On November 18th we had a meeting that included Helen Kindred and the graduate students of the Masters in Dance, MAPP (my focus being Dance Pedagogy and Technique).  Our meeting was for us to discuss and share about our research, Areas of Learning, and interests.  Our agenda was filled with a few very different topics that interestingly enough became intertwined and relevant to one another as the discussion flowed.

Perhaps one of the most unique things about this meeting was being able to appreciate and share the experiences of professionals from different countries around the world.  Despite the universality of dance, different factors may limit and shape the artistic experience and reality of some.  Some of us in Latin America spoke of the socioeconomic impact that one sees in dance formation in our countries.  An overall lack of government funding has unfortunately made the studies of Classical Ballet inaccessible to many.  Transforming the genre in one dominated by middle and upper class, mostly female students.  This lack of diversity within the ranks of national classical ballet impoverishes the general cultural experience of the dance genre.  In contrast, Contemporary dance has received an important amount of funding and special support through public universities making it more accessible to the student body of young, college students.  The experiential divide of both groups is saddening with a huge barrier of incomprehension growing in between dance genres.  Dance looses its universal search for aesthetics, truth and beauty.  In sharp contrast to our experience, we sighed with the amazing possibilities lived by our European peers in which the focus is shifting to strong, multi-genre dance students.  Students that blossom into professionals with great choreographic potential and a more genuine voice with their ample dance vocabulary.  Vocabulary that allows for generous and creative improvisation when the dancer is granted the freedom to explore.  Yet , despite our differences and nuances of current realities we did find a great echo amongst each other of how rich we wish that our student training could be and hope someday will become.  

I approached the meeting wanting to request help in my analysis as I do my literary review and research on the topic of Dance Leadership.  It is one of my most challenging Areas of Learning and I wanted to discuss it with the group and ask for suggestions and recommendations.  The discussion itself was so enriching that I  have decided to write a separately only on the topic of Dance Leadership, and in such a way capture the fascinating discussion that resulted.  The interesting phenomenon was in the direction that the discussion geared to.  In the importance of research, development and growth opportunities for those in positions of dance leadership.  The possibilities of diversifying dance experience and the loyalty of staff once they receive training.  Also, about the discussion of how after a certain number of years the dancer naturally transitions into roles of dance leadership.  Finally, and even more striking is how when seeking artistic and creative freedom the dancer must seek out and possibly create dance leadership scenarios in which to evolve in as an artist.  The universality of our concerns and hopes were outstanding.

When discussing this and within the topic of creativity we arrived at the importance of the creative mind and educational system which promotes play only in early stages of development of the child.  Our discussion revolved around the importance of creativity for dancers and non-dancers alike.  We discussed about the changes we wish to make, about the changes that are occurring naturally, and the changes we should be considering in our selves, in our work and in the dance community in general.  In the end we did realise that we are all leaders and students still...and...and...Oh pity! Time was up...it was time for each of us to return to our independent writing, analysis and dance world roles.  

My beautiful dancers and greatest teachers as I struggle to learn the meaning of dance leadership, 

knowing and learning, 

and creative development in our lives.