Annotated Bibliography Summer 2019

Barrett, T. (2009). Stories. The International Journal of Arts Education, 41-54. 

          Barrett’s article “Stories” speaks to a broad audience through a series of narratives that enhance deeper understanding and perspectives through the experience of sharing. Barrett argues that “...if people were more open and transparent about their lives [;] we would have a more compassionate world” (Barrett, 2009, p.44). Thus, prompted to gather varied points of views from colleagues in the field of education, students, including the authors own experiences; sharing commonalities how they see the world, experience hardship, and influenced by art. Narratives help broaden peoples’ perspective, and in the process of sharing, they can “heal” (p.46) as the narrations come to reveal (Barrett, 2009). Essential questions such as “how does [one] find language for the deepest of all issues?” (p.50) highlights, the particular healing property art has (Barrett, 2009). Initiated by personal interests to explore the significance of dialogue exchange, analyzing artwork interpretation, the author supports how emotionally, connections with art allows us to find a greater meaning to our human experience (Barrett, 2009, p.51). Theoretically, one can examine how many of our questions may be answered through art; in its interpretation, and how our peers’ experience, though contrast to our own, may enhance a new outlook. I connect to how significant dialogue exchange is. When I share artworks for example with my students and ask to interpret a choreography, I am in awe how my point of view will shift. I also come to understand my students in a more profound way how they perceive the world and how they interact with it. Unbeknownst to them, my stories, pain, love, and past inspires my choreography. They may see beauty or peacefulness I had not felt initially but, become aware of when seeing dance through their eyes. Most important, is the ignited creativity from my students that comes forth when establishing dialogue to describe how they see the movement represented. 

Garber, E. & Garber-Pearson, E. (2012). Tramps and bruisers: Images of roller derby and contemporary feminism. In M. Bae & O. Ivaskevich (Eds.). Girls, Cultural Productions, and Resistance (pp. 92-106). NY: Peter Lang.

          This paper discusses the influence of imagery, vital for educators in particular to understand. For example, roller derby images influence onlooker perceptions about the sport that often oppose the sentiments the athletes may actually have about themselves. Case in point, there is a particular image associated with the “tough girl” (p.95) that is either violent or eroticized as Garber and Garber-Pearson (2012) shines light on when one thinks of roller derby. Thus, providing fuel for the exploration of generational influences, agency, and media perception of female empowerment (Garber & Garber-Pearson, 2012, p.97). Imagery is incredibly influential and when evaluating media’s “girl power” (p.98) branding deeper, it is apparent there is a correlation between influences and idealized notions that threaten a female’s body and self-image (Garber, 2012). Contrast to, the images athletes (the roller derby girls) have set for themselves as a reflection of creativity and expression (Gerber, 2012, p.98). Through “email interviews… observations of performances [and analysis of] poster[’s] advertising” the authors frame how “ roller derby [is] an expression of girls’ empowerment … that embodies athleticism, creativity, play, community, …and resistance to traditions of both felinity and 1970-style feminism” (Garber & Garber-Pearson, 2012, p.97). In my experience, images play a significant role in whether a student particularly young males, want to engage in Ballet. Typically, a ballerina, is the prominent image one envisions when describing the art form and her male counterpart, is rarely at the forefront in popular culture posters, or other forms of advertising. To break the stigma that Ballet is a female-only art form, I often showcase renowned male dancers, choreographers, and pieces where males are highlighted in order to create an inclusive environment where my male students feel encouraged and supported to engage in the Dance Arts.

Lee, N. (2012). Culturally responsive teaching for 21st-Century art education: Examining race in a studio art experience. Art Education: Journal of the National Art Education Association, 65 (5), p. 48-53 

          Lee speaks to educators in this article; specifically, how to correctly approach race dialogue in art education. There is a clear argument of the “importance that teachers [must] understand that racial experiences are real and impact how ... [one] views and understands the world” (Lee, 2012, p.48). Thus, by examining the “role of culture and race in students, live’s” (p.48) educators may become better equipped to address certain viewpoints and help nurture that outlet of expression through art for greater understanding (Lee, 2012). Dialogues about race and ethnicity tremendously aid students to understand the “lens” (p.49) in which they see the world and become enlighten in regards to understand oppressive thoughts and behaviors (Lee, 2012).  Light is shown, questioning if teachers are equipped to enter the field as the cultural dynamics of students has grown so diverse. More poignantly, what is the impact of “lack of [multicultural] teachers” (p. 50). The interest of students is primary for the author and states, by stemming away from “…color-blind socialization … in the lives of … diverse students” (p.49); engaging in racial issue, educators become aware and “begin to develop the skills necessary for cultural proficiency” (Lee, 2012, p.50). Ultimately, the most significant impact is in the classroom itself “…[because] art-making provides [an]…overlooked avenue of understanding and an underused avenue for exploring.” (Lee, 2012, p. 50) Referencing scholarly articles, theorizing how “many teacher’s cultural expectations [may] not [be] aligned with students’ cultural needs,” (p.50) provides fuel to seek the significance of addressing racial issues in art education and made apparent in group activity dialogue using “a constructive epistemological stance” (p.51). Dancers, in particular, communicate through movement to convey an emotion or an outlet of expression. When I introduce choreographers from various ethnicities into my curriculum and allow the students to physically also perform the repertoire, the contributions of these artists become much more memorable than If I were to mention their impact unto the Dance World in a lesson by solely, a verbal reference. I concur with Lee (2012) that retention of the lesson is my primary objective and that through “hands on” (p.51) learning, children have a life long memorial experience.

Morris, C. B. & Carpenter, S. (2014). On being invisible and passing through walls: Toward a pedagogy of seeing and being seen. In (S. Goncalves & M.A. Carpenter, Eds.) Diversity, Intercultural Encounters, and Education. NY: Routledge. 

          Morris and Carpenters’ article addresses educators who may greatly benefit from the authors' research on the impact of feeling invisible amongst our society. Specifically, signing light on curriculum that may not, if ever, address or know how to address these issues. The exchange of narration is vital for, “exploration of invisible identity and is educationally significant because research in the areas of racial identity and multicultural identity development is ... relatively young” (p.199) and as educators, one strives to maintain, a positive and inclusive learning environment (Morris, C. B.& Carpenter, 2014). Through the “ tell [ing] of ...stories as invisible others ...[educators and students benefit] reconsidering and reconceptualizing ... disempowered positions” (Morris, & Carpenter, 2014, p.195). By questioning the systematic way, things in our society are one can begin that dialogue how people are represented. Quintessentially, this research provides evidence “stories are not only informativ[e], but they also have the power to convey change” (Morris & Carpenter, 2014, p.207). Stories, as presented, clearly expose how people have experienced feeling marginalized. Thus, having a curriculum being able to address these issues or a “methodology available in ... various educational environment[s]” (p.207) is the most significant interest this research targets (Morris & Carpenter, 2014). Through gathered autobiographic stories spanning fifteen years, issues such as “race, representation, internalization, and implications ...[help]... explore how [people] ... have been affected by history, social structure and culture...[ultimately, to help address the affected, deal with our own experiences and]... “deal with/in institutions for social justices” (Morris & Carpenter, 2014, p.195). Theatrically, as referenced by Ladson-Billigns and Tate (1995) “one’s social reality is constructed by the formulation and exchange of stories (Morris & Carpenter, 2014, p.195) and “the exploration of invisible identity is educationally significant because ... negative attitudes and pre-judicial treatment... threaten the self-concept of minority youth” (p.199) something one must be conscious of as an educator (Morris & Carpenter, 2014). This reading made me heavily evaluate how often I incorporate dialogue with my students in regards to their differences so I may represent them better in dance as part of our lessons beyond the integration of successful choreographers and dancers of different races when choosing choreography. I want every one of my students to feel prideful who they are in class and it is important to showcase an array of successful multicultural artists who mirror the ethnic/cultural backgrounds of my young students in order to see how inclusive Ballet (a historically European dominant art form) world is. 

Staikidis, K. (2007). Maya paintings as teachers of justice: Art making the impossible possible. JSTATE, 27, 79-118.

         As a student and fellow painting artist, Staikidis (2007) discusses the significance of Maya paintings in this article as part of an arts curriculum. The author, speaks to educators and students alike to see the message within the images; paintings become a teaching tool, reflective of rich culture and historical documentation of the past. The author argues art, is a “need [for] creative expression [; ]” ( p.126) a means to document and hold on to traditions (Staikidis, 2007). As a result, “paintings [become] the vehicle to present and commemorate the identities, as well as the atrocities, experienced on a daily basis (Staikidis, 2007,p.126). There is concern for “particulars rather than generalizations” (p.127) both for indigenous and non-indigos how one should observe; questioning a painting’s subject matter as a “reflect[tion of ] the loss or maintain of Mayan cultures” (Staikidis, 2007). For “Mayan artists[,]… there is a felt need to visually represent community values” and, there is a ‘transmission [of] the tradition of the Maya cultures…separate from that of the dominant one” (Staikidis, 2007, p.28). For onlookers, “paintings … capture and crystallize the essence of Maya culture” (Staikidis, 2007, p.131). Various interviews by Mayan painters, sharing similar stories of cultural identification and need to preserve traditions through their art provides evidence of the theory paintings are a tangible narration, “both visual and vocal” (p.129) of a people’s rich history and voice for political and social injustices to a community (Staikidis, 2007). In terms of my world as a Dance educator, I reflect on how choreography/dance, similar to paintings, can encapsulate or record historical accounts. For example, folk dances that have influenced classical repertoire or found through character work illustrating particualr eras in a Ballet. As well as, how Traditional Dances, tell of creation, war, or harmonious periods. Dance, in this instances, vocalize stories or hermitage, essential to be seen, appreciated, passed on to generations and for students to have exposure to them in art classes, such as the one I teach. 

Research Context

Who uses the space/classroom/program area? 

  

Physically designed for dance and movement, the studio where I teach accommodates Ballet, Hip-hop, Jazz, Contemporary/Modern, and Acrobatics class. Equipment includes multiple mirrors, mounted and portable Ballet barres, sound equipment, Wifi, and i-Pads for students to view repertoire, mats, and a sprung floor to learn and practice dance. Supplemented to instructors are teaching materials that include practice costumes, texts to reference dance works/ dance history, anatomy, and other props facilitating engagement. As a learning facility that supports and prides itself in establishing a multicultural establishment, the previous decor, which included outdated posters of predominantly European Ballet dancers in the hall that welcomed students, is replaced by images of student work. As “multicultural scholars maintain[,] knowledge reflects people’s social, cultural and power positions within society. [V]alued only when it comes from an acknowledgment of the knowledge’s specific positions in any context …defined by gender, class, [or] other variables” (Banks & Banks, 2004,p.14). The replaced posters showcase prospecting pupils an illustration of the dance program that includes various dance styles the studio offers, then solely Ballet and the diversity of students who perform each term. During business hours, children use the space to take dance classes, rehearse, or rent the facility to conduct private lessons. During non-operational hours, professional companies or local troupes rent out the space to rehearse, conduct auditions or castings. Over the years, this has positively allowed our learning facility to create a strong dance community; bridging the professional art world and our program; accommodating guest appearances, performance information, and student discounted prices. 

  

Conveniently placed in the radius of a community center and park, in addition to the close vicinity of a public library, middle, elementary school, and few preschools, the studio has become the epicenter for after-school activities to learn the Performing Arts and a center for families to congregate. Weekend classes, in particular, allow children, parents, or extended family to gather to support the artistic endeavors of their children. Advantages located within a metropolitan area as vastly ethnically diverse as Los Angeles is that our dance family comprises a beautiful array of different multicultural and ethnic backgrounds. Socio-economic diversity is vastly diverse as the studio is located within Hollywood Boulevard—the proximation vicinity between the wealthy neighborhood areas of West Hollywood/Sunset and more industrial communities of East Hollywood. Program classes are all tuition-based. Students have the choice to take multiple weekly classes and schedule private courses to supplement their studies. Due to the expense of classes, particular materials students require, such as specific uniforms, scholarships, and discounts, are provided and reviewed by the administration at the parents’ request. 

Quarterly, all classes have an exhibit week where families observe classes and see their children’s progress. Students in other participating classes are encouraged to view their classmates to enhance a support system. Simultaneously, as means to expose students otherwise uninterested in registering in a course, in considering. Events such as “bring a friend for a free” month, apart from scholarships, sibling discounts, have allowed students with financial strain to participate in the program or a series of techniques. If, for only a period. 

Who is it designed for? 

Though the studio offers various techniques, I solely teach Ballet and Choreography. All classes are separated by age and technical level. Apart from regularly scheduled courses, the studio provides a Pre-professional program (8-13/13-16/16+). Students take multiple classes and techniques, rehearse for competition (which is an additional out-of-pocket expense), and most all take private lessons. I acknowledge that this unfairly accelerates a groups’ physical aptitudes compared to a student of the same age who only trains or engages in one weekly course in Ballet. 

Regular standard programs start as young as 3 1/4, and many students who have entered the pre-professional program have commenced at that or similar age. Ballet is available three times a week for Pre-Ballet for younger students is 50 minutes. When students culminate, typically at six years of age, they partake in Ballet I&II courses twice a week for 60 minutes. In these classes, children use their foundation skills in introductory courses before executing a much more virtuous movement. At about 8-10 years of age, the student may remain in progressing advanced classes or register and try for the pre-professional program. Teachers and parents work together to cultivate and engage the student’s interests at this age. If recreational interests are preferred, children are encouraged to take classes and partake in the yearly show with all students enrolled in the studio. Children committed to the pre-professional program take multiple hours of dance a week and attain a much more rigorous performance schedule. The mini-company performs frequently and has a more prominent opportunity to develop comfortability on the stage.

  

How does that impact who feels comfortable in the space, who uses it, and how? 

 

Not all students partake in the mini-company separate from semester classes. A key observation I have made is the racial imbalance between the regularly scheduled classes’ diversity and if I mentally separate the pre-professional group. “Children have an acute knowledge of racial differences, sometimes mak[ing] incorrect racial self-identification [if teaching practices unknowingly practice an] expressed preference for White” (Banks & Banks, 2004,p.16). Thus, in each class, I attempt to create an equitable space to practice, creating “Free dance.” That is implemented towards the ending of each of my class’s lessons. By calling down the roster of class enrollment, to fairly allow all students to experience and become familiarized with being on a stage setting observed by their peers throughout the semester, simulating the time the pre-professional group engages in stage time. 

Some students may attain a faster or stronger aptitude to execute a step than other classmates, and I am most perceptive of this when choosing or allowing students to demonstrate in front of their class. I am aware that not all students have adequate additional time to practice through private instruction. As an instructor, one must be cautious of “democratic curriculum [practices and methods]” (Banks & Banks, 2004,p.17) “giving students experiences that prepare them for equal status interactions before assigning group tasks to students from different races [and different socio-economic backgrounds]” (Banks & Banks, 2004,p.18). For, “if not done, both minority and White students will expect that White students to dominate …group situation[s]” (Banks & Banks, 2004,p.19).

What limitations are there/ Is there anything missing? 

As Rose (2019) states, “critical [meaning, as an] approach [functions to aid one to] think about the visual in terms of the cultural significance, social practices and power relations in which it is embedded[.] This means[,] thinking’s about the power relations that produce, are articulated through and can be challenged by ways of seeing and imaging” (p.22). “Socially and historically agreed upon representational and symbolic meanings in art and teaching are susceptible to intentional fallacies” (Buffington & Mckay, 2013, p.17 p,179). Thus, as a “theoretical concept, [I use Semiotics a means to navigate] various connections among works of art, educational theories, classroom practices [such as the creation of dialogue; understanding, and explorations of views in addition to bringing an understanding of], teachers beliefs, and a wide range of critical theories” (Buffington & Mckay, 2013 p.173).

When I reflect on the Ballet program, the most significant limitation that impedes some students from taking Ballet is cost. For example, taking higher notice of dance uniforms for Ballet, attire consists of slippers, pointe shoes for the older students who raise en pointe, toe pads, tights, leotards, and dance skirts, apart from other warm-up garments. Practice garments typically range at a cost higher than other techniques, in comparison to, Hip hop, modern, Acrobatics, and Lyrical uniforms that utilize a universal black slack for male and female students or dance shorts paired with a studio logo top. Footwear for Hip Hop is sneakers, and Modern Dance and Acrobatics practice in bare feet. Historically, the Classical Performing Arts have upheld a specific image of how one should practice dating back to the European Opera houses. As an educator in an American metropolitan city, I question how to make the art form much more relatable to students’ experiences.  

When I teach Choreography, I attempt to combat the fallacy one solely needs specific expensive garments to practice/create Balletic work through the integration of a multitude of repertorial renditions by contemporary artists/companies apart from original works. I acknowledge if I present only one lens within the selection of tools to illustrate movement, I may be discouraging some students. Descriptively, as an example, to show a port de bras as seen in Swan Lake to emphasize how the upper body can accentuate storyline in Ballet, I would incorporate renditions of Contemporary dance artists and companies for students to have exposure in underscoring how professional dance artists currently use the same movement found within the original works when first premiered on the European stages. The integration of past and contemporary work becomes a moment to inspire creative agency for students to experiment with the many fashions and paths using movement in their original choreographic dance work. My goal as a dance educator is not for students to mimic the imagery on the screen/stage of other artists but to cultivate an emerging young dancer’s artistry. “Reform for schools [or studio programs may challenge the status quo but is necessary ] to increase the academic achievement of low-income students and students of color” (Banks & Banks, 2004, p.20). 

The Ballet program’s tools, seen in the texts, reportorial videos, or posters that once enforced a perception of how the art form should be done, seized my attention when I began to experience a trend where students would disenroll towards the end of the second session. Or not participate in the Spring commencement performance. The cost of tutus, tights, headpieces, footwear, and performance tuition was too much for some families to consider, and students were under the impression if they did not buy these items, they could not perform Balletic work. 

“Many school reform efforts fail because the roles, norms, and ethos of the school do not change in ways that make the situationazation of reform possible” (Banks & Banks, 2004, p.20). Removing our studio’s antiquated posters was the first step in the right direction. Still, a reevaluation of performance garments and how curriculum reinforces how to create dance work by selecting repertoire and images teachers utilize should be continuously analyzed and revised. “Careful Historical description and analysis [could] help the field [of Ballet if it] identif[ied] its links to the past, gain deeper insight into the problems and premises of multicultural education today[that can help] plan more effectively for the future” (Banks & Banks, 2004, p.20). 

“Constructivists believe that reality or truth [is created] and that numerous realities and truths can exist simultaneously” (Buffington and Mckay, 2013, p.28), and Semiotics has allowed me to construct and reflect on curriculum aligning with a Constructivist Paradigm. Since I am most concerned about dance Myths—the “stor[ries] or tale accepted as history that serves to explain a world view or particular curtail knowledge” (Buffington & Mckay, 2013, p.190). Also known as “shared cultural meanings that [signs communicate which] can change over time but serve to naturalize ideological beliefs (Buffington &Mckay, 2013, p.178) that can perpetuate or decimate biases within a Semiosphere. The “conceptual and physical space that [one] inhabit[s] as mean making creatures” such as classrooms, studios, or other institutional environments for learning (Buffington &Mckay, 2013, p.178). I continuously revise and consider my teaching tools, such as repertorial presentation of performances that also include not only paths to reimagine garments but the spaces in which the Performing Arts displays work. 

Suppose I return to Swan Lake as an example, in addition to the original work I may mention, such as presenting the textual images of the Russian Bolshoi Ballet. In that case, I may include Mexico’s Compañia Nacional de Danza outdoors rendition in the outdoor space of Chapultepec Park. To spark creative discussion on how Ballet can be and is performed currently by contemporary leading Ballet companies outside of the boundaries or realms of expensive Theaters, sparking intrigue to what stage designs would students consider in their dance work. For, “it is not nearly about adding to [dance] curriculum[.R]ather, the curriculum is reconceptualized to help students understand how knowledge is constructed and how students understand how knowledge is constructed and how it reflects human interprets, ideology and the experience of the people who create it” (Banks & Banks, 2004, p.23). 

My array of teaching tools in the form of reportorial videos, texts, images, posters before incorporating and fusing the works of contemporary dance artists/companies’ renditions were limiting. They were heavily Eurocentric and only presented one lens of how Balletic Work can be performed and practiced. The 2020 Pandemic was one of the most valuable teaching lessons of my practice, forcing a thorough reevaluation of teaching material, specifically since I witnessed how teaching material could either inspire or alienated students. When students, for instance, found themselves at home, it would have been erroneous of me to continuously show them material that reinforced how to practice with the tools they may have found themselves without. The use of Barres in my own demonstrations online converted to using chairs and any accessible items found in my students’ homes. Repertorial presentations incorporated links to performers’ renditions with a reimagination of garments to perform Balletic work and spaces. Of which were often found and shared by students through online engagement and their story why they were looking for material; why, what, and how they did not feel connected to certain ways of doing things. As, Morris, C. B.& Carpenter (2014) state,  through the “ tell [ing] of ...stories as invisible others ...[educators and students benefit] reconsidering and reconceptualizing ... disempowered positions” (Morris, & Carpenter, p.195). By questioning the systematic way, things in our society are one can begin that dialogue how people are represented. Quintessentially, “stories are not only informativ[e], but they also have the power to convey change” (Morris & Carpenter, 2014, p.207). 

Our semiosphere no longer resides within the physical four walls. Through acknowledgment and reflection, I make the changes to how practice is relevant to our experience transiting online without the studio space’s tools. “Together art educators and students need to engage in outside analysis of the contents of multicultural lesson plans, including what they do well and needs reconceptualize” (Acuff, 2013, p.311). For, one should “continuously engage in [a] critical examination of all the ways in which information is delivered to and used by….practicing art teachers ” (Acuff, 2013, p.313). 

References: 

Acuff, J. (2013). (Mis)information highways: A critique of online resources for multicultural art education. International Journal of Education through the Arts. 303-316.

Banks, J., Banks, C. (2004). Handbook on research on Multicultural Education. Chapter 1.   Multicultural Education: Historical Development, Dimensions, and Practice. pp. 3-25.

Buffington, M. & Mckay, S. (2013). Practice Theory: Seeing the Power of Art Teacher Researchers. Reston, VA. National Art Education Association. 

Morris, C. B. & Carpenter, S. (2014). On being invisible and passing through walls: Toward a pedagogy of seeing and being seen. In (S. Goncalves & M.A. Carpenter, Eds.) Diversity, Intercultural Encounters, and Education. NY: Routledge. 

Rose, G. (2016). Visual methodologies: An introduction to researching with visual materials. LA, CA. Sage Publications.

Canal 22. (2017). Tchaikovsky. El lago de los cisnes. Compañía Nacional de Danza. Retrieved from https://www.youtube.com/watch?v=VBR6vd7E2M0

Teacher Identity

I fell in love with teaching ten years ago when my dance company, at the time, participated in an immersion arts program for children. Throughout my dancing career, I guest taught intensives and art exchange experiences for schools and studios. When I retired from dancing, it was a seamless transition. At the core of why I teach is rooted in my passion for the art form. Dance can provide a vessel to communicate deep-rooted emotions, stories, or record ones’ histories, through a physical outlet of expression. I find joy and deep fulfillment in my profession when I see students refine their technique; find an inner voice, or learn something about themselves in the process of choreographing. In return, in viewing classmates’ performances, students acquire universal life lessons such as empathy and respect.

As a woman of Hispanic descent and an ex-professional dancer experiencing a first-hand racial imbalance in casting, my cultural and professional experiences provided me with perspectives into how vital it is for dance educators to diversify teaching tools like repertorial videos. Or images for our emerging dance youths. Inclusions to classical balletic repertorial selection to equitably represent material has always been at the forefront of my practice. Students “use the social and physical structures [such as] schools [or art institutions alike, to] construct their …identities and control the construction of others” (Paechter & Clark, 2007, p. 319).

I cannot deny incidents in the first years transitioning as a teacher from a performing artist solidified my views on the importance of presenting lessons equitably. As Lee (2012) highlights, it is “important that teachers understand that racial experiences [and socio-economic differences] are real[; they] impact how each [of] us views and understands the world” (p.48). When students are given “lens[es]” (Lee, 2012, p.49) to provide healthy enlightenment of what they may otherwise be, accustomed to, misconceptions or “myth base representations” (Savage, 2015, p.163) can cultivate or reside within them well into adulthood. Teaching in the heart of Los Angeles, my student demographic is highly diverse. For instance, a sample of my past handful of students’ ethnicities I taught every Monday evening was Thai-American, Hispanic, Ethiopian-American, and Greek-American. As a professional dancer, my performance trajectory and education in performing arts from Saint Mary’s College and certification in Ballet Methodology from El Ballet Nacional de Cuba granted me positions to instruct technique, variations, and choreography. One incident at the beginning of my teaching career I will never forget in particular. 

I had known the variation of “Cupid” from Don Quijote, having danced it numerous times in troupes in Los Angeles and with El Ballet Nacional de Cuba. On one of my first Monday evenings, after my last intermediate Ballet class was over, I headed over to admin. I picked up an iPad my employer left with tabs of the performances marked for a group of girls to view and learn. Though asked to teach the variation, what I felt was a micro-aggression, I was not to teach students the movement from my professional performance memory or participate in the selection to view repertoire from professional dance companies. Reduced to solely polishing the girls’ steps more like a coach—they would learn from the screen. 

Taking notice of the links, each rendition of the repertoire was from a European dance company. As the end of the class approached, my Thai-American dancer, in particular, became more frustrated. Unable to piece the pique turns sequence, I asked Z (whose name I will conceal for privacy issues) to review the monitor. All I could think about that evening was the sadness and defeat in her gaze. I knew that gaze. At that moment, as my preteen stared at the sea of links of dancers zeroing in on Evgenia Obraztsova glide en pointe, I could see I was quickly losing and extinguishing Z’s spark to continue to dance. The moment took me by surprise, and a lump in my throat came over me, hearing her say, “I’m just not good enough. I’m not her.” 

“One learns early on in life to identify and differentiate an ‘us,’ and a ‘them.’ [T]here is evidence that these distinctions occur even before the onset of beliefs our mental propositions take shape” (Kraeche & Lewis, 2018, p.1). Z’s words referred to Obraztsova, but the manner her fingers flipped through the links with disconnect and bitterness reflected how the material I was making my student view reaffirmed everything she was not. Looking at my students, in that instance, I was them. It felt as if I had time-warped back to my adolescence. When I would compare myself and be distinctively aware, I did not look nor came from the background my teachers praised dancers, choreographers, or Ballet companies referenced for teaching me the Balletic Arts.  

This flashpoint resurfaced my conformity to all these years, dancing my art form professionally to how the Balletic Arts typically validates performers and performances. I connected with my student (though she was unaware) on a level which “washed over [me]; halting me [to realize and reflect how seeing material made me feel like an adolescent ]” (Travis & Kraehe, 2018, p.4). As Travis and Kraehe (2018) state, “raised to an intensity that is both real and felt in the body[,] a flash signals kinesis [to] change violation or creation. [Yet] only when we take note of uneasy gnawing and nagging in the body’s memory …that we [can] locate [; re-experience and articulate the fiery sensations that mark the time and place of a flashpoint” (p.3).  

As a reflect on the earliest memory as a performer, there is one instance as Travis and Kraehe (2018) describe flashpoints, “burned onto the back of [my] retina…assaulting [,] it …halts me [every time I think of it]” (p.4). Hired to perform Swan Lake as part of a core de ballet, I remember creating close bonds with the dancers. As if I were in my early twenties once more, I remember being excited and ready to go on stage as I describe the moment. During wardrobe preparation, rubbing the white pancake makeup on my body, I recalled a senior dancer, who I admired, stopping me in my place, re-rubbing the white sponge over my body because I was dark and had to match the rest of the girls. Everyone stared back in the line watched me as the dancer’s hands with haste redid the pancake until I was as light as the rest of the core. I wanted to burst into tears. “For certain bodies, the environment might be perceived as inherently hostile; the flesh might be experienced as putrid” (Travis & Kraehe, 2018, p.6). I was made fully aware of my differences. My talent did not overshadow my dark olive skin because my flesh was not ideal and had to be covered. Though this difference had never crossed in conversation during casting or a rehearsal, all my desire to dance that night swept away; I stepped on stage without the enthusiasm as I had when I first stepped into the rehearsal space. “Through radical reflection, readers can become attuned to how bodies …gesture, sweat, and interact with one another in the plasma of the flesh” (Travis & Kraehe, 2018, p.10). My body coiled, and desire dimmed. The following year, my Korean-American friend was type-cast in “Tea” for The Nutcracker. Where I shut down, her body fumed with anger, relinquishing participation all together that year to perform as she was preassigned before auditions had ever begun. Her flesh in that Ballet had been stereotyped; her talent, reduced to a caricature.

Moments such as these two instances from my performance career are significant. For, they are moments that have impacted how I have structured my teaching practice today. When Ballet West (an American Ballet Company) announced that it would celebrate their artists’ natural tones by permitting nude colored shoes and tights within its costumery, it felt like a vindication. I would have more repertoire to choose from to include within historical renditions that spoke to my students’ experience. More significantly, slowly, this art form’s structures beginning in the 15th century, finally realized that today’s artists in the 21st, do not all resemble the casts which once dominated the stage.

As an insider, an educated woman of color with potential power in the position as an instructor, I can incorporate viewing material to address diversity disparity by acknowledging my art forms history. Seeing how racially diverse the professional dance world has become as opposed to how historically the Balletic Arts once was during its inception and earlier years, my views of presenting equitable dance lessons meant including women in positions of power. Positions of power historically European men held as artistic directors or choreographers. In addition to displaying an array of ethnicities, sexes my students can connect to and displaying roles in non-heterosexual ways that speak to the inclusivity of the 21 century. Historically, subject matter, though the art of Ballet has not typically presented, is necessary to incorporate through renditions by Contemporary ballet companies and dance artists. Specifically when mentioning repertoire and its historical roots and context.

What inspires me to get up each morning and step into the studio with my students is my dedication to finding innovative ways for students to consider movement as a language. As pioneering choreographer; creator of her style and technique, whose foundation once stemmed from Balletic training, Martha Graham once said, “the body says what words cannot...Dance is the hidden language of the soul” (Graham, 1985, para. 27 & 28). Thus, one can consider, for a choreographer, one communicates through their bodies or the bodies of dancers. To share with their audience their stories, emotions, or histories. As a dance educator, I intend to create a space where students can develop meaningful bonds with their art-making experience as Barrett (2009) asks, “what [they envision] the work[/repertoire] means to [them]...?” so they may physically transform abstract concepts like music, movement, scenery, or costumery choices to illustrate their stories through movement (p.52). To look at dancing beyond steps but what they can say within their corporal expressions. That, perhaps, may be difficult to articulate with words. This objective stems from wanting my students to know I value their stories/ themes within their choreographies. When I aid students to refine their balletic technique, it allows them to form the most transparent ways to articulate their messages through movement. So, our class can share, learn, or connect with that experience.

During the 2020 Covid Pandemic rise, my state of California took health-compromising precautions by closing gyms, mandating cease of group activities, and limiting face-to-face contact with those non-members of a household. Necessary, these mandates changed the way the performing arts could conduct classes for practice and performance. Descriptively, the Balletic Arts, which I teach, is typically done within confident studio space for training, typically in groups. Studios are designed explicitly for dancers; they provide all of the historically used tools one would engage with, such as barres, specialized raised flooring with Marley or Wood, and mirrors. Often, costumery or garments are too supplemented as part of tuition to cover uniforms or for performances. Ceasing to engage in my practice redirected me to work from home, remotely online. During this time in the Spring of 2020, I took Dr. Joni Boyd Acuff’s course, Multicultural Art Education 25474, through Ohio State University. Where I reflected deeper on how “we have a responsibility as leaders in the field of education to change the cultures of schools [and other institutional realms of learning like studios.] So, culturally relevant teaching is not seen as radical or impossible but simply the norm” (Hyland, 2005, p. 458). Forever, the course and the listed authors, Bonnilla-Silva (2010), Travis and Krache (2018), and Hyland (2005), challenged my previous views of what equity meant.

As globally we transitioned Online, financial constraints did not impact me as they affected some students. As an outsider to the certainties how students practice stems from years of performing, which alienated me further from certain financial realities. Descriptively, this includes, for example, studio rental since professional dancers have extended practice time at no cost in a company or through discounted pro-rates for rental. Companies typically offer as well, costly garments like slippers, tights, or pointe shoes. Or, they are too pro-rated for purchase through dance catalog or stores. As a dance professional and educator, I have the luxury to have sufficient space in my residence, portable barres, and dance garments like some of my students. On the other hand, observing some students experience a less than effortless transition to dance without the tools studios typically use to engage grounded me to acknowledge how inequitable the Balletic Arts can be—reshaping my perspective to what diversity means. In turn, captivating me  to examine how teachers conduct an equitable Ballet class, socio-economic differences are part of this conversation, and why it must be for instructors to acknowledge this. 

References: 

Barrett, T. (2009). Stories. The International Journal of Arts Education, 41-54. 

Bonilla-Silva, E. (2010). Racism without Racists. Color-blind racism & racial inequality in contemporary America. 3rd Ed. Lanham, MD: Rowman and Littlefield. Chapters 1&2

Graham, M. (1985). Martha Graham Reflects on Her Art and Life in Dance. In The New York Times On the Web. Retrieved from: https://archive.nytimes.com/www.nytimes.com/library/arts/033185graham.html

Hyland, N. (2005). Being a good teacher of Black students? White teachers and unintentional racism. Curriculum Inquiry, 35 (4), 429-459.

Lee, N. (2012). Culturally responsive teaching for 21st-Century art education: Examining race in a studio art experience. Art Education: Journal of the National Art Education Association, 65 (5), p. 48-53 

Fooks, T. (2020). Ballet West Sheds Tradition, Dancers will wear Tights that Match Skin Color. KSL: News Radio. Retrieved from:https://kslnewsradio.com/1934473/ballet-west-sheds-tradition-dancers-will-wear-tights-that-match-their-skin-color/

Paechter, C. & Clark, S. (2007). Learning gender in primary school playgrounds: Findings from the Tomboy Identities Study. Pedagogy, Culture & Society, 15(3), 317-331.

Savage, S. (2015). The Visual rhetoric of innocence: Lolitas in popular culture. Visual Arts Research 37_2(1), 101- 112

Travis, S., Kraehe, A. M., Hood, E.J., Lewis, T. E. (2018). Pedagogies & the Flesh: Case Studies on the Embodiment of Sociocultural Differences in Education. pp. 1-214.