How to Approach Issues Appropriately

Why do dancers remain quiet about most issues? (Photo: Bill Hebert)

While we all hope that the leadership of every job we take has the best interest of their dancers and their well-being in mind, this is unfortunately not always the case. In my history, there have been a few occasions where I have felt the need to directly address an issue with a director, staff, or choreographer. But when I do have to speak up, I try to think of it as a delicate art that requires timing, tact, lack of emotion, reason, and a predetermined (yet malleable) solution.

Spending three years as Pacific Northwest Ballet's union delegate taught me a great deal about addressing reasonable issues with a person that holds career power over you. As freelancers, we don't have the luxury of asking somebody else to take care of problems that arise while we are at work. For this reason, independent contractors need to learn how to take care of issues on their own.

The first thing that a dancer needs to do before approaching an issue is to determine whether or not it is valid enough to bring up. We must all acknowledge that there are many, many pieces that make up a dance company. An individual dancer, while valuable and important, is often only one small piece of a larger puzzle. For example, if somebody hurt your feelings in how they spoke to you in rehearsal, it may be better to approach that person directly, instead of calling upon the director to mediate. The director probably has more important things on their plate than dealing with every day interactions between employees.

While a handful of situations do not require the need to bring an employer into a conversation, a handful of items may need more serious discussion. While many situations feel like they need to be addressed immediately, that is rarely the case. As with most things, timing is everything. It is often best to wait for emotion to settle before entering into a potentially stressful conversation. I have overlooked and been involved in multiple discussions where emotions were still high. And unfortunately, a person seems less reasonable and logical when they are emotional in the moment, no matter how valid their argument may be. If a dancer would like to discuss casting or something that upset them, it is best to wait a few days to cool down before moving forward with any necessary discussion. This will make you appear more rational and help to avoid awkward unprofessional actions, like tears or yelling.

If you have waited a few days and still feel that an item deserves attention, I suggest that you do one of two things. Either ask for a meeting or email the person with whom you would like to speak a brief note. If you are planning on starting with a face-to-face meeting, make sure that you are prepared to state exactly what you want to say as quickly and clearly as possible. Know that there will likely need to be compromise on the table, but don't feel that you have to be completely submissive to keep a positive working relationship. Dancers are taught to submit. I have seen artist friends that are determined to finally stand up for themselves leave important meetings with their tails between their legs and zero resolution because they simply agreed with everything that was spoken to them in their meeting. The second that the boss starts speaking, they become timid and fearful to disagree. Be prepared for discomfort. Don't push too hard, but don't allow somebody to walk all over you. Especially, when it is something that means a lot to you or could be detrimental to your well-being.

I always prefer to send a preliminary email to address my concerns and follow up with a meeting. This allows me to state my case without the distraction of my nervous, spontaneous reaction to an uncomfortable conversation. This can be a tricky task due to the fact that once an email is sent, it can't be retracted. You want to make sure that you say exactly what you mean and want to say. It is important to keep in mind that an email can be used as evidence against you if you are not wise about your word choice and the information that you put into writing. When I need to bring something up, I like to draft my initial email and let it sit for awhile. This usually allows my emotions to settle and gives me a chance to edit with a more rational mind. I also try to ask somebody that has no stake in the circumstance to review what I write before sending it out.

Emails that I have had to write tend to start with a greeting, followed by an address of my concern/distress, actual examples of the issue, and a request to meet in order to resolve the problem. These correspondences are always very matter-of-fact, lack any direct accusations, lack any emotional or angry tone, and, if possible, offer a resolution. I find that a simple email can resolve most issues without even having a one-on-one discussion in person.

If an issue is not fixed through one of these channels, a dancer really only has three other options; deal with it, continue addressing the problem, or quit. The most disappointing fact to me is that such a high percentage of dancers just deal with issues of safety, conditions, schedule, etc. Of course, this is the easiest and most agreeable option, but I am an advocate of the importance for dancers to stand up for their quality of work, state of health, and free time outside of the workplace. Dancers are superior athletes that too often get treated and paid like slave labor. Respect and care should be expected, not a wish or hope. Of course, this is all within a realm of reason. In the end, though, the more that dancers stick up for themselves, the more this behavior will become the norm. For this reason, I think that continuing to address an issue is the most practical and important option of the three. If a request to speak with management is ignored, wait a few days and try again. If a dancer finds that they were talked out of addressing an issue during a meeting, they should approach the issue again to make sure that it is eventually resolved.  The last option on my list is extreme and an absolute last resort. In the dozens of jobs I have worked as an independent contractor, I have only considered quitting a gig once and this was due to a multitude of factors that were verbally addressed, but continued to be an issue after resolution had already seemed to be met.

Sometimes, you have to approach management a few times (Me & Abby Relic before Cinderella)

Working as a dance artist is a unique profession with a unique culture and even more unique expectations. While most dancers want to work in this field because they are wholly passionate about what they do, this fact does not mean that a dancer can be abused because an employer knows dancers will follow through no matter what. Often with masochistic excitement that they survived an unsafe or overwhelming feat. When it comes to safety, emotional abuse, injury, lack of respect for free time, requirements to perform non-dancer duties, or general happiness, a dancer should learn how to have an adult conversation with their employers to make sure that the organization's vision stays in line with a dancers physical and emotional prosperity. It is rare that management isn't interested in these items. It is only that they often have too much on their plate to be aware of certain issues. This is why it is the dancer's responsibility, especially freelance dancers, to find appropriate ways to approach issues. When this happens, dancers are not only happier, they are healthier and bring more value to a company.

The Fine Line Between Submissive and Aggressive

As a student of dance, you are taught to be as submissive as possible. You know nothing and the teacher holds the key to all of the possibilities of your future. Of course, there are good teachers and bad teachers and you submissively hope that each teacher is going to give you all of the correct tools for success. Whether you get proper training or not, if you make it as a professional, it is likely that you lucked out on a great teacher or moved along to find a new, better teacher to show you the way. Once you become a professional, you are hired to follow the lead of a director and their artistic staff. Essentially, show up, take class, come to rehearsal, do your job, and go home. Don't question authority, corrections, or advice. As a pro, your role as dancer changes to a degree and you have a bit more say in how you approach your work. But for the most part you must still remain subservient, even as a fully grown adult. At what point does this mindset help one's career and when does it begin to hinder your pathway to success?

When I am teaching a class, I fully expect my students to hang on every word I say. I've been through rigorous training at world-class schools, I have danced on many great stages, and I have had lasting power that has allowed me to continue dancing for 10 years and counting. My students are more than welcome to ask questions. But when it comes to questioning my approach, knowledge, and corrections, I am not open to holding a debate about my reasoning with a student in class. What it comes down to is this. A student is somewhere between a blank canvas and an uncolored outline of a beautiful picture. They still need the tools to determine what colors to paint the picture, what brush to use, and the appropriate technique to combine these things into a piece of art. Very rarely does a student have a natural knack to complete the image without any instruction. For the most part, a student needs articulate guidance to help them along their path to success. This idea of blind following is a necessary aspect of a student's training.

Because many dancers begin their career at a young age, the concept of blind following tends to bleed over in the transition from high-level student to professional dancer. As a pro, it is assumed that you will be that blank canvas I mentioned above. The expectation of a dancer is to walk into a studio, have previous choreography/new work transferred to their body, and then to go onstage and do exactly what they have been told to do in rehearsal. For the most part, the dancer is performing under great influence of those that they are submissive towards. Typically, the only influence dancers have in the choreography comes from their personality and individual nuance. It is not common for a dancer to be given liberty to make largely personal choices in the studio or onstage.

Dancing "Gold" in "Sleeping Beauty" - SAB workshop '03

I often ask myself whether adult-professional dancer submission is due to the nature of the work or the nature of the training. There was great controversy back in 2009, when New York City Ballet's Ballet-Master-in-Chief, Peter Martins, was called out by a dancer that had been laid off and felt the need to speak about certain aspects of dancing for America's largest dance company. In this article, former dancer, Sophie Flack, stated "we’re referred to as kids by the administration. Some of the people they’re referring to are 35-year-old women with children." I often question why this happens. For many dancers, especially within New York City Ballet, they are hired as teenagers that have come through the School of American Ballet. Peter Martins often taught at the school when I attended in 2002-2003. When students come through training programs as teenagers and transition to professionals at a young age, the leadership still has the memory of the dancers as students. I feel it can be difficult to make the mental transition, on the artistic staff's side, from aspiring child to working adult. This is not always the case, as many dancers move on to dance with companies that didn't see this progression. But the idea that most dancers don't have a transition in the most common sense, like going from high school student to college student to intern to working professional, blurs the line between submissive, child-like attitudes and more aggressive, adult-like independent thinking.

It is quite difficult to work as a freelance dancer because of the submissive nature that is instilled in dancers at an early point in their training. At times, one can feel like they are fighting against their very own being. When a dancer chooses to freelance, they are finding their own work, promoting oneself, and looking out for their own needs. Much of this requires an aggressive streak. Dancers that remain submissive will find that they have trouble convincing employers that they are the right person for the job. The act of negotiating a contract is also an activity that requires the dancer to act more aggressively to have their needs met. Following these more aggressive behaviors, a dancer arrives in the studio and is expected to be completely submissive. To add to the confusion, if an issue, whether relating to comfort or safety, needs to be handled, it is the freelancers necessity to speak up for themselves. It can be quite confusing and cause problems if one can't determine when it is appropriate to be submissive or aggressive.

What I find works best for me is to get my most important needs written directly into a contract. This prevents any question if an uncomfortable situation arises and I need to address it. Responding aggressively to an action that is in opposition to expectations seems less aggressive if it is put down in writing prior to the issue. I find that it is easier to remain submissive in a studio if you respect the people you are working for and if they provide an atmosphere that is comfortable and safe. As it is often said, respect breeds respect.

To be completely honest, I find myself happiest in a studio where I feel that I can remain submissive. When I feel the need to step into a more aggressive role, it is usually because I feel disrespected or endangered. Moving away from my place of submission makes me horribly uncomfortable. Certain situations do arise that can push the boundaries of a dancers' reaction. For instance, if an employer makes last second changes to a rehearsal schedule, how is one supposed to react? What if rehearsals continue longer than they are supposed to? Or if the warm-up class is not what is expected or appropriate? What if there is a last minute costume change that could be potentially dangerous without any time to adjust? When is it appropriate to speak up (an aggressive act) and when is it time to let it slide (a submissive act)?

As I have already said, I am happiest in rehearsals where I can remain submissive. Unfortunately, working as a freelance artist, there will be times when one must stand up for themselves. This has been a challenge more than I would like to admit during my tenure as a freelancer. Dancing with an AGMA company, the dancers had a 40-something page contract that clarified every detail of expected conditions and terms listed. In the freelance world, there is no such thing. For the most part, you are at the will of whatever the employer asks you to do. If you don't feel safe and you choose to act submissively, you may be jeopardizing your own well-being. But if you respond aggressively, you may be upsetting the management and creating an insubordinate image. Essentially, it takes great judgement on the freelancers part to decide when it is appropriate to let something slide and when to speak up for oneself.

In the end, due to the nature of expected dancer submission, if one chooses to vocalize their concerns, they may risk souring the director's view of them and destroying potential for future work together. Whether the issue is small or large, an aggressive discussion (whether mild or severe) to resolve conflicts of interest can end in resolution or disaster. Unfortunately, I am not in a place to give advice on what is right and what is wrong. It is as personal as it gets. The only advice I can give would be to judge your relationship with the person you are bringing an issue up with, think about how important the problem is and how much it is affecting your well-being, and avoid entering into a discussion with anger and resentment. Keeping these things in mind, it will be easier to have a civil conversation. Essentially, be aggressive with a hint of submission. And if you see that the opposite party isn't responding well, have an exit plan. If the item is important, stand your ground. If it is anything less than important, consider taking a step back or compromising.

Many engagements come and go smoothly with both parties pleased with the work done. There are times that things don't go as planned. Working as a freelancer often means that an employer can request a dancer to do anything beyond the scope of their contract, which is often short and limited in language beyond pay, status, and expectation. Any dancer should be aware that they are expected to act submissively on most occasions. But as a freelancer, one can't be afraid to have aggressive moments. Work aggressively to find work and protect your comfort and needs, but keep a close gauge on managements responses and reactions to help maintain a good working relationship. In the end, if conditions are bad enough that you feel the need to play the aggressive card too often, it is likely that you won't be returning to dance for that employer again in the future.

Submissive dancers in the front - Aggressive dancer in the back