Inclusivity forms the bedrock of a thriving society, nurturing an environment where everyone is valued, respected, and empowered, irrespective of their background, identity, or circumstances (Delmouzou, 2002). It transcends simple tolerance, embodying the active embrace and celebration of diversity in all its facets. Inclusive societies champion equal opportunity, ensuring everyone has fair access to resources, rights, and opportunities to succeed, ultimately enriching our communities with diverse perspectives. Furthermore, inclusivity enhances social cohesion, bridging gaps and strengthening bonds among individuals and groups (Turner & Nolen, 2015). Within the performing arts, valuing and accepting one another is a crucial goal. It helps to ensure that every participant feels seen and empowered. While viewing your dance program and choreographic endeavors as communities, this discussion delves into strategies and tools to dismantle barriers and foster inclusivity in performance spaces through choreography.
Positioning Theory, introduced by Rom Harré and colleagues in the early 1990s, examines the dynamic nature of interpersonal interactions (Harré & van Langenhove, 1999; Harré & Moghaddam, 2003). The theory posits that individuals assign themselves and others specific roles or "positions" that entail certain rights, duties, and expected behaviors in any social interaction. These positions influence and are influenced by how individuals perceive and interact with each other. They are fluid and can shift quickly within a conversation based on what is said and how participants interpret it. Grasping these dynamics helps analyze how identities are continuously shaped and reshaped through dialogue, how power dynamics and social norms are maintained or challenged in everyday interactions, including those that occur in dance class, and how these principles can be applied in performance and dance education.
The Impact of Physical Positioning
Positioning Theory, while traditionally focusing on verbal interactions (Harré & van Langenhove, 1999; Harré & Moghaddam, 2003), also significantly informs our understanding of non-verbal communication and physical positioning in social contexts. Physical positioning, akin to verbal cues, communicates various social roles such as authority, openness, or aggression. For instance, standing directly in front of someone may signal dominance, whereas sitting might suggest a more relaxed or subordinate stance. In educational settings, the classroom arrangement with the teacher at the front inherently positions them as the authority figure. Similarly, in business, sitting at the head of the table during meetings is often associated with power. Body language is also integral to how people position themselves within social interactions. Gestures, facial expressions, and other body movements dynamically contribute to the positioning process, indicating agreement, confusion, or other responses that complement or contradict verbal roles. In a dance classroom, the movements individuals convey are crucial for teachers to note while focusing on the whole person as a learning being. Yet, it is also important for teachers to recognize the reverse is also true. Students interpret their positioning from the added body language of their instructors.
Choreography Meets Positioning Theory
Choreography and Positioning Theory (Harré & van Langenhove, 1999; Harré & Moghaddam, 2003) intersect intriguingly in dance and theater as choreography involves specifying motion and form in sequences, reflecting the visual and emotional impact intended by the choreographer. Meanwhile, Positioning Theory deals with the dynamic roles, rights, and duties individuals assume during interactions. This theory comes alive in performance as dancers use spatial positioning and body language to depict various narratives and relationships. For example, a choreographer's arrangement of performers on stage can visually narrate dominance, submission, or isolation, mirroring the psychological and emotional stances people take in real-life interactions. Movements in a dance piece serve as a form of communication analogous to verbal cues in conversations, where every gesture and step can convey different underlying messages. However, this is not the main point of this message.
Choreography is a powerful medium for inclusion, and the choreographer plays a pivotal role in this. Choreographers, as leaders, have the power to showcase diverse talents and perspectives, ensuring all performance-blocking spots and formations are incorporated and valued. The design of a piece, including the decision to highlight or not highlight an individual, can signal their worth in the classroom and the dance world overall. In Western dance culture, the front and center spot onstage is often seen as the most significant location. When dancers are not given the chance to occupy this space, it can feel disheartening if this is their goal. However, intentional design and thoughtful choreography can make even this space feel equitable. The choreographer holds the power to designate all spots in a choreographic work as important, contributing to a more inclusive and dynamic performance. Educators and choreographers can create environments where every dancer feels valued and empowered by integrating Positioning Theory into choreography and emphasizing inclusivity in performance. This approach fosters a more inclusive and vibrant dance community, enriching both the performers and the audience with diverse perspectives and talents. How does this apply to your own work?Â
To continue this conversation, please schedule a Zoom meeting with Emily Gray on The Dance Dotsâ„¢ website.
References
Delmouzou, E. (2002). Identity and Agency in Cultural Worlds.: Identity and Agency in Cultural
Worlds. Medical Anthropology Quarterly, 16(3), 383–384.
Harré, R., & Moghaddam, F. M. (Eds.). (2003). The self and others: Positioning individuals and
groups in personal, political, and cultural contexts. Praeger.
Harré, R., & van Langenhove, L. (Eds.). (1999). Positioning theory: Moral contexts of
Intentional action. Blackwell.
Turner, J. C., & Nolen, S. B. (2015). Introduction: The Relevance of the Situative Perspective in
Educational Psychology. Educational Psychologist, 50(3), 167–172.
Comments