Shall we dance? The story of The Radiance Dance Project · The session is part of The Radiance...
Transcript of Shall we dance? The story of The Radiance Dance Project · The session is part of The Radiance...
Australian Journal of Adult Learning Volume 50, Number 2, July 2010
Shall we dance? The story of The Radiance Dance Project
Lisa Catherine EhrichFaculty of Education
Queensland University of Technology
Community workers are often described as unsung heroes who work for, with and alongside others in order to make qualitative differences to the communities they serve. This paper reports on the story of a community-based arts educator, Morgan Jai-Morincome, winner of the ACT Adult Learners Week Award for an outstanding program in 2007. This program, referred to as The Radiance Dance Project, is an inclusive performance project open to women with and without disabilities that culminates in a yearly performance. Via an interview with Morgan, observations of a workshop she provided for the women in her 2009 program, and a viewing of a DVD of the 2008 dance performance, this case study provides an illustration of the power of arts-based educative processes for breaking down barriers between people with and without disabilities. It draws upon constructs from ethical leadership theory and empowerment theory to interpret her ideas and practices.
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Introduction
IwouldonlybelieveinaGodwhoknewhowtodance(Nietzsche).
Nietzsche’sprovocativewordsresonateinmyheadasIobserve23womenwithandwithoutdisabilitiesengageinseriesofcreativemovementactivitiesduringtheirweeklysessionfacilitatedbyMorganJai-Morincome,acommunity-basedartseducatorinCanberra.ThesessionispartofTheRadianceDanceProject,a40-weekprogramofferedfreetowomeninCanberra.Morganisassistedbyherco-facilitatorwhohasworkedwithhersincetheprojectwasfoundedandamature-ageduniversitystudentwhojoinedthematthebeginningoftheyeartoconductaresearchprojectonRadiance.Intheclass,therearevaryingbodyshapes,agesandabilities.Onewomanisinawheelchairandcanmoveonlyherhead.Manywomenareatveryyoungdevelopmentalages,andsomeofthesewomenhavecometothesessionwiththeirsupportworkerswhoareengagingfullyintheactivitiesalongsidethem.Amongthegroupareafewwomenwithprofessionaldanceexperience.Mostoftheparticipantshavehadverylittleexperienceinorexposuretoperformingarts.Thegroupin2009ismadeupofabouthalfofthewomenwithoutanyofficialdisability.Allbodiescandance.
ThispapertellsthestoryofMorgan,thefounderofTheRadianceDanceProject,andtheuniquewayshehasuseddanceasameansofbreakingdownthebarriersbetweenpeoplewithandwithoutdisabilities.IfeltcompelledtowritethispaperafterhavinghadtheprivilegeofattendingaworkshopsheprovidedattheAdultLearningAustraliaConferencein2008whereshespokeofherprogramandtheprinciplesgoverningitsoperation.Thepaperbeginsbyreferringtosomeoftheimportantliteratureinthefield.Itconsidersthepotentialofthecreativeartsasameansofmobilisinglearningandgrowthforpeoplewithdisabilities,discussesthreecentralconstructspertainingtoethicalleadershiptheory,anddrawsuponsomeinsights
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fromempowermenttheory.ThesetheoreticalinsightsarerevisitedlaterinthepaperasameansofinterpretingMorgan’slifeandwork.
Creative arts
Forsomeyearsnow,thevalueandplaceofthecreativeartshasemergedinavarietyofprofessionalareassuchashealth,educationandbusinessasawayofenhancingandenrichinglearning.Forinstance,healthprofessionalshaveexploredthevalueofdanceandmovementasatypeofhealingandtherapy(Leavy2008).Varioustypesofarts-basededucationarebeingusedtodevelopleadersandmanagersinbusiness,premisedonthebeliefthatartcancreateadifferenttypeofspacefordealingwithproblemsandconnectingtoissuesonadeeperlevel(Kerr&Darso2008a).Inthefieldofdisability,creativearts,dramaandmovementhavebeenusedwithdisabledpeopletohelpthemdevelopphysically,sociallyandcognitively.Forexample,Fuller,Jongsma,Milne,VenutiandWilliams(2008)maintainthatdanceandphysicalmovementallowpeoplewithimpairmentstodevelopaheightenedawarenessoftheirbody’sstructureandtheirstrengths.Danceandmovementhavealsobeenseenasawayofpromotinggrowthandchange(James1996)aswellasincreasingself-esteemandimprovedskillsinsocialisationandcommunication(Lynch&Chosa1996,citedinFulleret al.2008).
Traditionally,performance-baseddancesuchasballetandotherclassicaldancestyleswaspursuedbypersonswith‘perfectbodies’(Freire2001:74).However,inmorerecenttimes,aspateofprofessionaldanceandtheatrecompaniesinAustraliaandoverseashasemergedthatuseperformerswithandwithoutphysicaldisabilities.SomeofthesebetterknowncompaniesincludeDancingWheels,Axis,JointForcesandCandoCo(Male2005).Manyofthedisableddancersinthesecompanieswereatonetimeprofessionaldancersorsportspersonsbutwhothroughaccidentsorillnessesfoundthemselvesdisabled.CompanieslikeAxischallengesociety’s
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beliefsaboutdisabilityand‘blurtheboundaries’(Milner2001)aboutwhatconstitutesdanceandcreativemovement.Notsurprisingly,Axishasbeendescribedasagroupofartistswho‘challengenotionsofnormalcyandchampionsocialinclusiveness’(Felciano2002:59).BasedonanexplorationoffourcontemporaryAmericanartists/companies(ofwhichAxisisone),Davies(2003:Abstract)arguesthat‘theactualityofdisabledperformersindisabilitydanceandtheatreforcesustorethinktheboundariesofhumanexperiencetoexpandournotionsofwhatispossibleonthestage’.Commontotheseprofessionaldancecompaniesistheirdesiretoreframethewaysinwhichdisabledbodiescanbeunderstoodandconstrued(Hickey-Moody2006).Incontrasttotheprofessionaldancegroupsmentionedabove,therearenocriteriaregardingwhocanorcannotparticipateinTheRadianceDanceProject.Itisopentoanywoman,ofanyability,whowishestoengageinandbecommittedtotheyear-longprogram.Furthermore,andunlikemanyoftheaforementionedcompanies,Radianceisinclusiveofwomenlivingwithanydisabilitytype.Itdrawsuponprinciplesofcommunityculturaldevelopmentandsocialinclusion.
An ethical framework—care, justice and critique
Animportantframeworkthatisusedinthispapertounderstandthevaluesandpedagogicalpracticesofthearts-basedcommunityworkerwhoseworkandprogramareitsfocuswasdevelopedbyStarratt(1996).Theframeworkcomprisesthreeinter-relatedethics:anethicofcare,justiceandcritique.Althoughhisworkwasdevelopedforschoolleadership,ithasapplicabilitytocommunityleadershipandcommunitydevelopmentandhasbeenusedtointerprettheworkofcommunityleaders(seeCreyton&Ehrich2009,Ehrich&Creyton2008).Eachisnowdiscussed.
Anethicofcarerefersto‘astandpointofabsoluteregard’(Starratt1996)forthedignityandworthofindividuals.Thus,itprizesrelationshipswithothersandthesebecomepivotaltothefunctioning
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ofpeople.AccordingtoFromm(1957:25),careisthe‘activeconcernforlifeandthegrowthofthatwhichwelove’.Whetherwewishtousethewordloveorcare,Starrattandlike-mindedwritersmaintainthatleaderswhooperatewithinanethicalframeworkaregenuinelyconcernedforandcareforothers.
Anethicofjustice,accordingtoStarratt(1996),involvesbeingfairandequitableindealingwithpeople.Forleaders,itisaboutcreatingtheconditionsofasociallyjustworkenvironment.Buildingasenseofcommunityliesattheheartofthisethic.Acommunityisdescribedasacollectionofindividualswhoarebondedtogetherbynaturalwillandboundtoasetofvaluesandideals(Sergiovanni1994).Acommunityexistswhenpeoplefeelasenseofbelongingandinterconnectednesswithothers.Sharedanddemocraticleadershipwhereeveryonecanmakeacontributionconstitutetheoperationsofthistypeofcommunity.Sharedleadership,followingPearceandConger’s(2003)definition,isviewedasaninteractiveprocessamongindividualsingroupsthatachieveparticulargoals.Theirdefinitionimpliesthatleadershipisdynamic,relationalandutilisedforthepurposesoftheachievementofgoals.Italsoassumesthatleadershipismulti-directionalandmaycomefromanyindividual.
Relatedtotheethicofjusticeisaconcernforagreatergoalormission.Starratt(1996)usestheterm,‘transcendence’toexplain‘turn[ing]ourlifetowardsomeoneortowardsomethinggreaterthanorbeyondourselves’(p.158).Hegivestheexampleofpeoplewhohaveastrongbeliefinimprovingtheenvironmentorpoliticalfreedomandthisidealleadsthemtocollectiveaction.
AccordingtoStarratt(1996),thethirdethic,anethicofcritique,hasbeeninfluencedbycriticaltheory,aneo-marxistperspectivethatemergedinitiallyinthe1920sbytheFrankfurtschoolofphilosophersandotherphilosopherssympathetictoaMarxistperspective.Anethicofcritiqueisonethatmaintainsthatinequalityandinjusticeexistinsociallife(thatis,insocialrelationships,laws,institutions,social
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practices)andcriticalanalystsaskquestionssuchas‘whoseinterestsarebeingserved’?inanattempttoredresssuchinjustices.Starratt(1996)arguesthattheethicalchallengeisto
makethesesocialarrangementsmoreresponsivetothehumanandsocialrightsofallcitizens,toenablethoseaffectedbysocialarrangementstohaveavoiceinevaluatingtheconsequencesandinalteringthemintheinterestsofthecommongoodandoffullerparticipationandjusticeforindividuals.(p.161)
Asindicatedabove,centraltoanethicofcritiqueisalsotheneedfordemocraticandparticipatoryformsofleadershipthatencouragecitizenstoquestiontheunderlyingbasesofpower,hegemonyandcontrolwithinsociety.Itisarguedherethatthesethreeethicsareinterconnectedsinceeachrequirestheothertoformanethicalframework.FollowingStarratt’s(1996)lead,ethicalleadersarethosepersonswhoconnectwithothers,careforandworkcloselywiththemandbuildmoreequitablestructures.
Empowerment as a key construct
Relatedtoanethicofcare,justiceandcritiqueisthenotionofempowerment.Itisaconceptthathasbeenusedwidelyinavarietyofdisciplinessuchaseducation,feministstudiesanddisability.ItsoriginshavebeentracedtoPauloFreire(1971)andhisseminalworkpromotingtheemancipationoftheoppressed(MannHyungHur2006).Empowermentcanbeseenasbothaprocessandaproductthatisexpressedinattitudes,behaviourandknowledge(Dempsey&Foreman1997).Ithasbeendescribedalsoasoccurringatanindividual,groupandcommunitylevel,anddescribedasa‘socialprocess’(MannHyungHur2006)becauseitoccursinrelationtoothers.Feministtheorieshaveconceptualizedempowermentas‘powerto’wheretheindividualisabletoinfluencehisorherenvironmentand‘powerwith’wherepeopleworktogetherinequalpartnership(Neath&Schriner1998,inBlock,Balcazar&
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Keys2001:24).‘Powerwith’hasalsobeendescribedas‘powerinconnection,relationalpowerandmutualpower’(Fennell1999:27).
Inthedisabilityliterature,empowermenthasbeenidentifiedasanecessityforpersonswithdisabilitiestohelpbecomeself-determining(Sprague&Hayes2000)andabletoregaincontrolovertheirlives(Rappaport,inSprague&Hayes2000:679).Indeedempowermenthasbeenputforwardasatheoryofchangeforpeoplenotonlywithdisabilitiesbutalsofromavarietyofmarginalisedgroups(Blocket al.2001).
SpragueandHayes(2000)supportwhattheydescribeasafeministstandpointanalysisofempowermentas‘acharacteristicofasocialrelationship,onethatfacilitatesthedevelopmentofsomeone’sself’(p.671).Theyidentifyparticulartypesofrelationshipsthatareempoweringfordisabledpeopleasthosedrawingonsupportgroups,consciousnessraisinggroups,andself-advocacygroups.Regardingthelatter,theauthorsstatethatpeopleneedtheopportunitytoexperienceachievementandreflectontheirskillsandexperiences.Thissortofrelationshipisreciprocalasitenablesdisabledpeopletocontributetoaswellasbenefitfromrelationships.Theymaintainthatempoweringrelationshipscanalsobecreatedwhentherearedifferencesinabilitybetweenthevariousparties.Heretheyarereferringtotherelationshipbetweencare-takersandpersonswithdisability.Thetermusedtoexplainthisis‘co-empowerment’(Bond&Keys,inSprague&Hayes2000:685).
SpragueandHayes’(2000)viewofempowermenthasconnectionstothenotionof‘collectiveempowerment’(MannHyungHur2006)sincethisreferstoindividualswhojointogethertolearnanddevelopskillsforcollectiveaction.Synthesisingwritinginthefieldofcollectiveempowerment,MannHyungHur(2006)referstoitskeycomponentsas‘communitybuilding’—whichreferstocreatingasenseofcommunityamongpeople;‘communitybelonging’wherepeopleareabletoidentifywithsimilarothers;‘involvementinthe
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community’wherepeopleparticipateincommunityactivitiesandeventsthatcouldleadtosocialchange;and‘controloverorganization’thatreferstogroupsupportandadvocacy.
Insummary,empowermentasaconstructisconnectedtoanethicofcaresinceitvaluesrelationshipswithothersandseesindividualsasuniquepersonswhocangiveandreceive.Itisconnectedtoanethicofjusticeasitmaintainsthatpeoplecanworktogetherinequalpartnershipandbemembersofacommunitywheretheycontributefullyandbelong.Moreover,withinthiscommunitythereisaspacetohaveavoice.Finally,itisconnectedtoanethicofcritiqueasitrefersto‘powerwith’wherepeoplecanacttogethertobringaboutchange.
Methodology
Aqualitative,interpretivecasestudywasusedtocapturethearts-basedcommunityworker’sstory.Acasestudywaschosenbecauseitisaneffectivewayofpresentingrichnarrativesonindividualcases(Maykut&Morehouse1994).Itisalsousefulasitenablestheuseofmultiplesourcesofdata(Cavana,Delahaye&Sekaran2001).Threemaindatasourceswereusedinthisstudy.Theseincludedanin-depthsemi-structuredinterview,aseriesofunstructuredobservations,andtwodocumentswrittenbythecommunityeducatorabouttheprogram.Firstly,aninterviewwasusedasitenablesaparticipanttoreflectuponandmakesenseofhisorherexperience(Siedman1991).Asetofkeyquestionsoutlinedinaninterviewguidewasmadeavailabletotheparticipantpriortotheinterviewprocess(Minichiello,Aroni,Timewell&Alexander1990).Theparticipantgrantedtheresearcherpermissiontotaperecordtheinterview.Thequestionsfocusedonherbackground,thedanceprogramsheintroducedandfacilitates,thecentralvaluesunderpinningherworkasacommunity-basedartseducator,herleadershipapproachandstrategiesandthechallengesfacingpeopleinherfieldofwork.
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Secondly,anobservationoftheparticipantfacilitatingatwo-hoursessionwiththewomenintheprogramwastheseconddatasource.Thisobservationwasofan‘unstructured’variety(Cavanaet al.2001)andtheresearcherobservedandtooknotesonallaspectsofthesession.Thiswasfollowedbytheresearcherlisteningtoaone-hourdebriefingsessionfacilitatedbytheparticipantwithherco-facilitatorandstudentregardingtheworkshopthatday.ThefinalobservationincludedthewatchingofaDVDthatcapturedtheperformanceofthecohortfrom2008.Thirdly,documentanalysiswasused(Maykut&Morehouse1994)wheretheparticipantmadeavailabletotheresearchertwodocumentspertainingtoTheRadianceDanceProject.Bothofthesewereinformationhandoutsabouttheprogram.
Aftertheinterviewwascompleted,atranscriptwassenttotheparticipantforcheckingandendorsement.Theanalysisofthetranscript,inlargepart,wasguidedbytheproceduresoutlinedbyMarton(1988).Forexample,commentswerebroughttogetherintocategoriesonthebasisoftheirsimilaritiesandcategoriesbeingdifferentiatedfromoneanotherintermsoftheirvariances.Datafromtheobservationsanddocumentswereintegratedwiththethemes.Theoreticalconstructsalludedtoearlierinthediscussionwereusedtoassistintheinterpretationofthethemesthatemergedfromtheanalysis.Adraftofthispaperwasgiventothecommunityartsworkerforhercommentsandendorsementthatitpresentedanauthenticaccountofherworkandideas.Thenextpartofthediscussionisbasedaroundthreemainthemes:theperson,theprogram,andtheinterpretation.
The person
Morganwasbornin1972,thefirstoftwochildren.Sheattendedanalternativehighschoolthathadachild-centredcurriculumandphilosophy.Theschoolwasidealasitenabledhertopursueher‘love of performing arts and the creative process in general’.Becauseof
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hergreatinterestintheartsshecompletedadegreeineducationaltheatreatuniversityfollowedbyagraduatediplomaineducation.Between1998–2000sheworkedasaneducationofficerforOxfamCommunityAidAbroadonTheWorldNeighboursEducationProject.Itinvolvedraisingawarenessofsocialjusticeissuesthroughtheperformingartsforyouthinschools.Thejobinvolvedmanagingandadministeringpresentersandcreatingnewworks.DuringthistimeMorgansecuredfunding(forOxfam)todeviseanddeveloparoleplaybasedonrefugees.Sheandherhusband(whohadexperienceworkingasarecreationofficerwithchildren)performedthisparticularpieceforschoolsintheACTforayear.ShesaidworkingatOxfamwasa‘turning point’asitgaveheradeeperunderstandingofsocialjusticeissuesrelatedtopeopleexperiencingdisadvantageandenabledhertointegrateherloveoftheartswithherstrongcommitmenttosocialjustice.
MorgandecidedtoleaveOxfamonceshefellpregnantwithherfirstchild.SinceleavingOxfamshehasbeenself-employedasacommunityartsworkerwhereshehasworkedforarangeofcommunityorganisationsandwithpeopleofallagesandabilities.Overthenextcoupleofyearsshecompletedamastersofartsincommunication(culturalperformance),hadanotherchild,andworkedpart-timeasabellydancingteacher,skillsshelearnedwhilstatuniversity.Throughafriend,shewasaskedtotakeabellydancingclassforagroupofwomenwithdisabilitiesandsherealizedhowmuchsheenjoyedworkingwithpeoplewithdiverseabilities.Atthistimeshedecidedifshewantedtocontinuewiththistypeofworkandtobeabletoofferaprogramthatwasaffordableforwomenwithdisabilities,shewouldneedtoseekfunding.UsingskillsgainedwhileatOxfam,shewassuccessfulinsecuringaninnovationsgrantthroughtheACTgovernment.Thefirstprogramwasofferedin2005andrunbyMorganandherfriendwhohasworkedwithherasco-facilitatorsincethattime.Morganpromotedtheprogramthroughthecommunitysectoranditgrewfromsevenpeople(onthe
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firstdayofthefirstprogram)to25bytheendoftheyear.Ofthe25participants,23hadsomeconnectionwithdisabilities.Theprogramisnowinitsfifthyear.Morganstatedthatofthe27womenenrolledinthisyear’sprogram,abouthalfhavedisabilities,whiletheotherhalfhavenoconnectionwithdisability.Shereflectedthat,‘to me [that] marks a big part of the evolution of the group in terms of how willing people are to get involved with something that’s inclusive in the broader community’. Likesomanycommunityprogramsthatrelyonsecuringfundingfortheirongoingoperation,Morganhashadtoapplyforfundingeveryyeartopayforthedirectcostsinvolvedinrunningacommunity-basedartsprogram.
The program: The Radiance Dance Project
Radiance has grown out of the lack of opportunities for people with disabilities to access and participate in ongoing dance/movement classes, programs or projects and a need for opportunities for people with and without disabilities to dance, create, explore, collaborate and perform together. It has grown into a project that sees all humans as having diverse abilities and offering a space where individuals can express their unique selves in connection and collaboration with others. (Jai-Morincome2009)
Asindicatedbythequote,theprogramisbasedonanumberofassumptionsandmanyoftheserelatetotheimportanceofvaluingdifferenceanddiversity,integratinglearningandcreativeopportunitiesforpeoplewithandwithoutdisabilities,andtheabilitythateveryonehastoexpressthemselves.Asanintegratedprogram,Radianceis‘open to and actively promotes dance that involves people with and without disabilities’(Jai-Morincome2009).Inthisway,itprovidesopportunitiesforpeopletoexperienceandtoappreciateeachother’sdiverseability.Allbodiesareseenasbeingabletodanceandeveryonehastheabilitytoexpressthemselvescreativelyandartisticallythroughperformance.Thus,Radianceisbasedontheassumptionthattherearenorightorwrongwaysin
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moving.Forthisreason,participantsareencouragedtomovesafelyyetextendtheirrangeofmovementvocabularyandexplorenewwaysofcommunicatingandmoving.Hence,thedegreeofphysicalityisdependentonwhateachpersonisabletodoandcontribute.Activeparticipationispromotedwhereeachpersonisencouragedandsupportedtoparticipateasbesttheycan.Infact,supportworkers/carers(eitherpaidorunpaid)areexpectedtobeactiveparticipantsintheprogramandtocontributeinthesamewayasotherparticipants.Co-activeassistanceisencouragedwhereparticipantsexpressthemselvesintheirownwayandthefacilitatorsavoidofferingmovesorexamplesunlessthesearepartoftheactivity.Thefinalassumptionunderpinningtheprogramistheimportanceofacultureofkindnesstooperatesothatparticipantscanworktogetherinasupportedandsupportiveenvironment.AsstatedbyJai-Morincome(2009),‘we approach each other with openness and kindness [in] a loving, supportive and respectful environment’. Itisthiscultureofsupportandinclusivitythatenablestheparticipantstofeelateaseandtoimmersethemselvesinthecreativeexperience.
AuniquefeatureofRadianceisitisofferedtowomenonlyandthemainreasonforthisishistorical.AsMorganindicated,whatisnowknownasTheRadianceDanceProjectgrewoutofapilotprojectwithanexistingwomen’sgrouprunbyalocalserviceprovider.Astheprojectevolved,itremainedawomen’sonlygroupdueinlargeparttothepositiveresponsesoftheparticipantswhoappreciateditssinglegenderfocusanditsabilitytoenablethemtofeelsafe,supportedandfreetobethemselves.RadianceistheonlysinglegenderprogramthatMorganprovides;herotherprogramscaterformixedgenders.
Radiancespans40weeksintheyearcommencinginFebruaryandendinginDecember.Onceaweek,participantsmeetforovertwohours,includingabreakformorningtea.Eachweekbuildsonfromthepreviousweeksoparticipantsareencouragedtoattendweeklyandmakeafirmcommitmenttoremainintheprogramuntiltheend
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oftheyear.Thefirst10weeksoftheyeararedevotedtoexploratorywork.MorganexplainedthatmuchofherideasaboutmovementandimprovisationhavecomefromtheseminalworkofRudolfLaban(1988),teacherandchoreographer,whoseinfluencehasbeenfeltinfieldssuchaseducation,danceandthearts.
Thenext10weeksoftheprogramaredevotedtofurtheringskilldevelopmentinmovementanddancemakingaswellasgeneratingpotentialperformancematerial.Bytheendofterm2,ideasbegintobeworkshoppedtoseewhichoneshavethepotentialtobeusedintheperformance.Participantsareencouragedtocontributeandexploretheirideasbyengaginginimprovisedactivitiesinsmallandlargegroupsinclass.Asawayofensuringthatparticipants’ideasand‘voice’areaccuratelyrecordedandthereforeabletobebuiltupon,Morganand/orherco-facilitatortakephotographsandvideoasmanysessionsastheycan.Theseideasarethenexploredinfollow-upclasses.Duringtheirdebriefingsessionfollowingtheclass,Morganandherco-facilitatordiscusswhatissuesemerged,whatworkedwell,andwhattodointhenextsession.Anotherimportantsourceoffeedbackisthetwice-yearlyevaluation(conductedinthemiddleandendoftheyear),whenparticipantsareaskedtosharetheirperceptionsandreflectionsabouttheprogram.Thoseparticipantswhocanwriteareaskedtorecordtheirresponses,whilephotographs,videomaterialandartmaterialsareusedforthosepeoplewhoareunabletospeaktocapturetheirreactions.Supportworkerswhoaccompanythewomenwithdisabilitiesarealsoaskedtoarticulatetheirperceptionsofhowtheprojectisgoingforthemselvesandforthewomantheyaresupporting.
Interms3and4,participantsworkshopandrehearsethevariouspiecestowhichtheyarecommittedandwishtoperform.Performancepiecesareusuallysemi-improvised(mostlyun-choreographed).AsMorganstated,itisaparticipant’s‘way of moving [that] inspires what direction the pieces take’.Foreachperformance,thereareseveralpiecesthatareperformedandsomeoftheseinvolveasmall
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numberofparticipants,whileotherpiecesinvolveallparticipants.BothMorganandherco-facilitatorperforminmanyofthepieces.Morganexplainedtheperformanceisnotavarietyshowbutaseriesofsegmentsthatareconnectedlooselytoathemeandthatthethemeusuallyemergesaseachpiecedevelops.Thecumulativeeffectofthe40-weeksessionsisaperformanceofferedtothepublicontwodaysinDecembereachyear.In2008,over200peopleinthelocalcommunityinCanberraattendedtheperformances.
The interpretation
Dance as a vehicle of empowerment
Dancehasbeendescribedasthemost‘ephemeral’oftheartssinceitcannotbecapturedinwrittenorrecordedform(Borstel2006:66).Itisavisualspectaclethatinvolvescreativemovementandexpression.Movementandtheatre,forMorgan,arethecreativevehiclesthroughwhichsheenactsherworkasanindependentcommunityartsworker.AttheheartofTheRadianceDanceProjectistheinvitationalspaceshegivesparticipantstobecomeempoweredindividuallyandcollectively.Individualempowermentisdemonstratedbyparticipants’emergingandgrowingawarenessoftheirbodiesandthedevelopmentandexpansionoftheirskillsofmovement(James1996).Collectiveempowermentisvisibleviathewayparticipantsareencouragedtoimprovetheircommunicativeandrelationalskillswithothersinthegroup(Fulleret al.2008).Itisthroughparticipants’relationshipsandinteractionsthattheylearn,developandcreate(Sprague&Hayes2000).
Thenotionsof‘powerto’and‘powerwith’,bothrelevanttofeministtheoriesofpoweranddisability(Blocket al.2001,Fennell1999),wereapparentintheactionsofparticipantsduringtheclassthatwasobserved.‘Power to’ wasevidentwhereparticipantswereengagedinactivities,interactingwiththeenvironmentandparticipatinginawaythatsuitedthematthatmoment.‘Power with’wasevidentnotonlyin
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howMorgandescribedherwayofworkingwithparticipants,butalsodemonstratedthroughtheopportunitiessheprovidedforparticipantsinsessionwhentheytookownershipofthevariousactivities,sharedtheirideaswithothersandrespondedindividuallyandcollectively.
Ethic of care
AnimportantoperatingprincipleofTheRadianceDanceProjectisaclimateofopennessandkindnessinaloving,supportiveandrespectfulenvironment.Caringforindividualsasuniquepersonsandacceptanceoftheiruniquegiftsandabilities(Fromm1957,Starratt1996)arecentraltoMorgan’svaluesasacommunityartsworkerandevidentinherpracticesandrelationshipswithparticipantsandherco-facilitators.
AnimportantfeatureofRadiance,asdistinctfromotherprogramsdesignedtosupportgroupsofpeoplewhohavedifferenttypesofdisability,isitsintegratedandinclusivefocus.Morgansaidthat,throughtheapproachthatsheandherco-facilitatortake,theexercisestheyuse,andtheprinciplesthatguidetheprogram,shebelievesshehasbeensuccessfulincreatingacaringenvironmentwherebarriersbetweengroupsofpeoplearenotanissue.Asshesays,the
groupbecomesverycloseveryquicklybecause[of]…workingtogetherthroughmovement,notreliantonwords,whenyou’reactuallymovingtogether,isaveryintimateact.Soweareclosewitheachother,we’reclosephysicallyandthatreallydevelopsabondbetweenpeople.
KerrandDarso(2008b)concurwhentheystatethat‘[a]rtcaneducateus…thatweareabletoenterintoconversationonadeeperlevelthanwenormallydo,andtheartisticexperiencecreatesstrongrelationshipsandafeelingofconnectedness’(p.591).SpragueandHayes(2000:687–688)maintainthatpeople,regardlessoftheirabilitiesordisabilities,seektobeinrelationshipsthatare
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empoweringyettherealityformanypeoplewithdisabilitiesisthattheyare‘severelyconstrainedbyinterpersonalandsocialstructuralrelationshipsthatinonewayoranotherdefinethemas“other”,asobjectratherthansubject’.Itistheseconstraintsandthenotionof‘theother’thatMorganandherco-facilitatorhaveworkedhardtodiminish.
Ethic of justice
AccordingtoStarratt(1996)anethicofjusticeisconcernedwithfairandequitabletreatmentofothersinaninclusiveclimate.Morganstatedthatsheisacutelyawareofthedifficultiesthatpersonswithdisabilitiesfaceregardingaccesstoarts-basedprograms.Forexample,manypeoplewithdisabilitiesareunemployedoronlowfixedincomes.Inrecognitionofthisissue,theprojectisfullysubsidisedandparticipantsdonotpaytoattend.
Anotherillustrationofjustpracticeistheinclusiveclimatethatiscreatedthatenablesdemocratic/sharedleadershipapproachestooperate.Agoodexampletohighlightthisistheimportantexpectationthatcarersorsupportworkerswhoaccompanypeoplewithdisabilitiestotheprogramareexpectedtobeactivelyinvolvedinthedancesessionsandperformances.Asitstatesintheinformationsheet,‘[s]upportworkers/carersareconsideredfull,activeandequalparticipantsintheprogram’(Morincome2008:1).Therationaleunderpinningthisexpectationcanbeexplainedbyreferringtotheconceptsof‘co-empowerment’(Bond&Keys,inSprague&Hayes2000)and‘collectiveempowerment’throughcommunitybuilding(MannHyungHur2006).Co-empowermentisanotionstemmingfromafeministstandpointanalysisthatmaintainsrelationshipsdevelopedbetweenpersonswithdisabilitiesandthosewithoutdisabilitiescanbeempoweringasbothcanlearnanddevelopfromtheconnectionandinteractionwithothers(Sprague&Hayes2000).Byhavingsupportworkersinvolvedintheprogram,aswellaspeoplewithoutofficialdisabilities,Morganandherco-facilitator
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areendeavouringtocreateopportunitiesformutuallyrespectfulandinterdependentrelationshipstobeforgedandwhereleadershipismulti-directionalandcancomefromanyoftheparticipants(Pearce&Conger2003).
FollowingMannHyungHur’s(2006)work,collectiveempowermentissaidtorefertobuildingasenseofcommunityamongpeopleaswellasenablingpeopletofeelasthoughtheybelongtoacommunity.Thereisalsotherecognitionthattheroadtoempowermentislikelytobedifferentfordifferentpeople(Sprague&Hayes2000).Forthisreason,Morganencouragesallparticipantstoexpressthemselvesindividuallyandcollectivelywithinacommunityoflike-mindedothers.Itisthebuildingofthecommunitythatprovidesaspaceforexpression,newwaysofrelatingtopeople,andthepromotionofkeyvaluessuchassharingandtrust(Jazzar&Algozzine2006).
Ethic of critique
Anethicofcritiqueisonethatsupportshumanrightsofallcitizensandprovidesthemwithavoice.Itquestionshowpowerisusedinsocietyandaimstoredressinjusticesandinequalities(Starratt1996).Morgan’sstrongbeliefsaboutsocialinclusionrevealhowshesubscribestothisethic.Shesays:‘I have a commitment to social inclusion and I have a belief that that is the right way to go and that it’s our society that needs to change in order to accommodate difference, not people who are perceived as different’. MorgandescribedRadianceasa‘statement against segregation; it’s a statement for inclusion’.TheworkofRadianceis‘a form of activism and we do that through performance. We do it through the weekly sessions; … it’s a political act just for the fact that adults with and without disabilities are coming together when in most areas of life we are separate’.ItisthroughdancethatMorganisabletoprovideanarenaforparticipantstobecollectivelyempowered(MannHyungHur2006)bybelongingtoacommunity,byidentifyingwithothersinthecommunity,andbyparticipatinginactivitiesthatcanleadto
256 Lisa Catherine Ehrich
socialchange(MannHyungHur2006).AsClover(2007)argues,creativityisanintegralpartofsocialactivism.
Indescribingintegrateddance,Hickey-Moody(2006)saysthatit‘possess[es]acapacitytoreframethewaysinwhichbodieswithintellectualdisability[orotherdisabilityforthatmatter]canbethought’(p.89)since‘differentbodiesandabilitiesmapoutnewpossibilities’(Davies2003:Abstract).AsDavies(2003)indicates,watchingdifferentbodiesdancehelpsustoreconsiderandreframewhatispossibleonstageandwhatispossibleinlife.Morganhassimilarsentimentswhenshesays,‘I see how it could be and I want to take people on that journey to how it could be, how it could be different, how it could be more empowering, more connective for communities’.
Conclusion
Thiscasestudyhasendeavouredtocapturesomeofthevaluableinsightsandpracticesofacommunityarts-basededucatorinAustralia.Herstorywastoldbecauseitisaninspirationalone.Itisinspirationalforitscreativity,itsvisionandenactmentofsocialinclusion,itsresponsivenesstodifference,anditspoliticalcontentandintent.Itisinspirationalforits‘hope,celebrationandoptimismforthefuture’—threekeynotionsthatarecentraltofeministcommunitybasedprojects(Clover2007:520).Itisinspirationalforthespaceitprovidesforpeopletousewhateverlanguagetheyhaveavailabletothemtosharetheirideasandcreativeresponses.Itisinspirationalbecauseitexistsinasectorthathasbeenmarginalisedbyinstrumentalistthinkingandincreasingfundingcuts.
Acknowledgement
MysincerethanksgotoMorganforallowingmetheopportunitytolearnmoreaboutherinnovativeandcreativedanceproject.
Shall we dance? The story of The Radiance Dance Project 257
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About the author
Lisa Catherine Ehrich is an Associate Professor in the School of Learning and Professional Studies at Queensland University of Technology. Her substantive research interests include leadership and management, professional development of teachers and professionals, and mentoring.
Contact details
School of Learning & Professional Studies, Faculty of Education, Queensland University of Technology, Victoria Park Road, Kelvin Grove, Queensland 4059
Tel: (07) 3138 3038 Fax: (07) 3138 8265 Email: [email protected]