A Dance with Many Secrets: The Experience of Emotional Harm from the Perspective of Past Professional Female Ballet Dancers in Canada

Originating in the Italian and French courts, ballet is an age-old art that fuses aesthetics and athleticism (Wulff, 2008). Despite changing times, ballet masters and mistresses tenaciously hold on to a sense of deep traditionalism. However, some scholars suggest that unwavering devotion to the art may conceal troubled embodied relations and oppressive practices (Gvion, 2008). In this study, we drew on the phenomenological research tradition in an effort to further examine the power relations that play out on the body in the world of Canadian professional ballet (Papaefstathiou, Rhind, & Brakenridge, 2013). Twenty past professional female ballet dancers from across Canada participated in this study. Our dedicated dancers were relentless. They sacrificed body and mind in the pursuit of excellence in a broader cultural context that expected nothing less. The dancers normalized harmful emotional experiences, inappropriate sexual transgressions, and chronic injury (Gvion, 2008). They also described experiences of neglect—and feeling replaceable—after the onset of injury. We have attempted to theorize our findings within the context of embodiment literature and the work of gender theorists. Emboldened by our dancers’ voices, we have shed light—and broken secrets—regarding some of the harmful practices that still characterize professional ballet in Canada. We hope that our work might further continue efforts to democratize power imbalances in professional ballet and ultimately enhance holistic dancer development and health.     

Autonomy support enhances performance expectancies,positive affect,and motor learning

ObjectivesAccording to the OPTIMAL theory of motor learning (Wulf & Lewthwaite, 2016), autonomy support contributes to successful performance and learning in part by enhancing learners' expectancies. The present study was designed to test expectancy-related predictions. Specifically, we examined the effects of practice with autonomy support on learners’ self-efficacy, positive affect, and thoughts during practice.DesignExperimental study with two groups. Movement form was assessed in two different experimental phases, supplemented by questionnaire data.MethodTen-year old children were shown a sequence of 5 ballet positions they were asked to learn: Preparatory position, demi plié, tendu with arms and legs in second position, passé with arms in first position, and elevé with feet in first position. In the autonomy-support (AS) group, participants were able to choose video demonstrations throughout practice, while control (C) group participants were provided with demonstrations based on their yoked counterparts’ choices. One day after practice, participants performed in a retention test.ResultsThe AS group demonstrated greater improvements in movement form during practice and enhanced learning relative to the C group. Furthermore, AS participants had higher self-efficacy and greater positive affect than the C group. Also, AS participants reported having more positive thoughts during practice relative to C group participants, who reported more negative and self-related thoughts.ConclusionsThe present findings are in line with OPTIMAL theory predictions. They highlight the motivational underpinnings of the learning benefits that are seen when learners are given choices.     

Perceiving subjectivity in bodily movement: The case of dancers

This paper is about one of the puzzles of bodily self-consciousness: can an experience be both and at the same time an experience of one′s physicality and of one′s subjectivity? We will answer this question positively by determining a form of experience where the body′s physicality is experienced in a non-reifying manner. We will consider a form of experience of oneself as bodily which is different from both “prenoetic embodiment” and “pre-reflective bodily consciousness” and rather corresponds to a form of reflective access to subjectivity at the bodily level. In particular, we argue that subjectivity is bodily expressed, thereby allowing the experience of the body′s subjectivity directly during perceptual experiences of the body. We use an interweaving of phenomenological explorations and ethnographical methods which allows validating this proposal by considering the experience of body experts (dancers).