Before I embarked on this task I decided to look back at Task 2d from the first module. Although the topic I was researching at the time (visualisation) did interest me, I recently discovered something else that I feel more passionate about.
Towards the end of my training in college, I injured the ligament in my right foot, this was called a “Lisfrancs” injury which can be very difficult to treat. I went through months of intensive physio treatment until I finally went for an x-ray which led to an MRI scan, and it was here that the injury was discovered to its full extent. By this point, it was so severe that I was persuaded to go into a plaster cast for 2 weeks and then an air cast boot for 4 weeks. This interfered with my training and therefore made me re-think my future plans. I always knew I wanted to become a teacher, but because I had to go through an intense recovery program once the air boot was removed, I decided to stay closer to home as I needed extra help and plenty of encouragement from friends and family. I was lucky enough to be offered two teaching jobs in my hometown area at different schools, and since then I have been offered another job at another theatre school and I’ve become more than settled in this area and with my line of work. At the time, the injury made me extremely depressed and out of sync with everyone around me, however, where I am now in my life, now I can see it was the best thing that could of happened to me as I am now the happiest I have ever been.
This has made me question the idea, that if we find ourselves injured or with a disability, does this stop us in continuing with our chosen profession?
In my case, no it did not, teaching is still linked directly to my chosen profession and I find it a very fulfilling job. I believe this can only stop us in our tracks if we mentally aren’t prepared to continue to try another path. Every person I know who has been injured and had to re-think their future plans has still decided to stay within their chosen profession. I have decided that I will conduct interviews with these people to gain an insight into their lives, their choices and the events that have re-shaped their lives.
Does the past experience of having a serious injury put you off having to inform others about it?
When applying for jobs, in the application form there will be a section where you are to fill in if you have had to have any time off work due to an illness/ injury, etc. Depending on the circumstances, that piece of information could affect your chances of being offered that position. Whilst I was researching, i came across one woman called Lauren Warnecke. She had a very serious injury where she tore her ligament and dislocated her toe. She went through years of agony and pain, and earlier on in the stages of her injury, she was actually asked to leave the company she was dancing with. In this situation, the injury was ongoing, she was constantly off dance, and the company directors had no choice. However, a situation like this, would prevent you from wanting to tell future companies about your injury at the risk of past events repeating itself.
Are there any support programs for those who find themselves in this situation?
I decided to take out an internet search for support programs for injured dancers, I found many websites all connected to this, here are a list of the selected following:
Are the opportunities limited drastically once in a situation such as this?
I came across this website whilst I was looking for support groups, this website shows a detailed list of all the opportunities there are in this profession, besides performing. I decided to include this as proof of all the other opportunities there are for people. There are not just two options, dance or don’t dance, but there are many.
Artistic Career
The Artistic Director sets the artistic vision and direction for a dance company. Often in a modern dance company, the artistic director is also the primary choreographer.
The Choreographer creates and in some cases performs the dance pieces. Also, he/she teaches the movement style or repertory of the company.
The Rehearsal Director helps the choreographer run and schedule rehearsals and also gives the choreographer artistic feedback or criticism.
The Dancer learns and performs the works. The dancer may have a lot or a little creative input when the dance is being made. Also, the dancer may teach the dance style or repertory.
The Composer/Musician creates music to accompany the dance. The composer may collaborate with the choreographer on a new work or may have already written the score before the choreographer started making the dance.
The Set Designer works with the choreographer to design set pieces. The sets provide a more specific atmosphere for the works and are often tools that enhance the movement itself.
The Lighting Designer works with the choreographer to create an atmosphere of light. The lighting designer can create effects like colour wash, silhouette, making the stage look outside, or inside, night, day or dusk.
The Costume Designer works with the choreographer to design then construct clothes for the dancers to wear. This can add important elements of setting, or atmospheric texture and colour.
The Make-up Artist designs and applies make-up to the dancers. They can make a person look young or old, human or otherworldly.
The Wig/Hairstylist designs and creates wigs or hairstyles for the performer.
The Dance Teacher teaches the technique of dancing. The technique may be specific like Vaganova ballet, Graham, or Cunningham or the technique may be a conglomeration of the teacher’s own style and others.
Therapeutic Support Careers
A Dance Therapist uses movement as a means of therapy for people with mental or emotional difficulties. Dance therapy can help people express themselves or release energy
The Physical Therapist rehabilitates injured dancers. They may use a wide variety of techniques for example physical therapy, acupuncture, or massage.
The Masseuse / Masseur massages the members of the dance company. A massage is great for both preventing injury and rehabilitating one. A masseuse\masseur can work for and travel with the company or work independent of the company.
Administrative Careers
The Administrator organizes performance tours and outreach programs. Also, the administrator is responsible for overall financial, business and legal issues.
The Fund Raiser generates income for a dance company by writing grant applications to corporations and foundations, encouraging individual donations and organizing special events like benefit parties and auctions.
A Researcher seeks out information about a variety of topics including grant requirements, performance venues and marketing ideas.
Public Relation personnel are responsible for promotion of the company. They do this either through marketing like making posters, flyers and websites or through media like newspapers, television and magazines.
Documentary Careers
The Videographer films the dance both in performance and rehearsal. The video is used for documentation or promotional purposes.
The Photographer takes pictures of the company during the performance or dress rehearsal or in a studio. Usually the purpose for the pictures is for documentation, promotion, and in some cases personal, or office use.
The Dance Notator records the dances on paper much like music notation. The two main forms of dance notation are Laban and Benesh. These records are very useful when reconstructing older works.
The Critic watches the dance performances then writes reviews for a newspaper or magazine describing and\or giving an opinion about the company or individual pieces.
Technical Careers
The Production Manager coordinates the different aspects of the theatrical (as opposed to business) side of dance, such as lighting, set, costume and sound design. They can work for either the theatre or the dance company.
The Stage Manager calls the lighting and sound cues during the show, communicates between the performers, the technicians and the front of house staff and sometimes recommends adjustments to the staging.
Stage Hands raise the curtain, arrange the props and execute any technical elements required prior to and during the performance.
The Electrician hangs and focuses the lights in the theatre. The electrician also deals with the various sound and light wires and cables. And in some cases helps with the sets and/or curtains.
The Carpenter builds sets (not necessarily made of wood) for the dancers to dance in, on or around. This helps the dances have more specific settings or atmosphere.
Public Service Careers
The Ticket Seller is responsible for the front of house. They make reservations, sell tickets, and handle complementary tickets. They also are responsible for arranging standing room for or turning away people if a house is full.
The Usher takes the tickets of the audience members and directs them to their seats. Many theatres will give the ushers free tickets to the performance.
No matter how much pain it may cause emotionally, over time, does everything happen for a reason?
Although I felt for me that the whole injury process was seen as a good thing in the long run, I decided to research other dancers who had been injured to find out how they felt about the whole process.
One woman I found called Rachel Whiting had been through a very long, painful and challenging injury process. However, here is a quote from the story she published onto the internet: “A friend told me that my hip surgery would make me a better teacher, and it has, especially to the extent it has helped me to become a more compassionate practitioner. I am more sensitive to what it means to be in pain, and how it conspires with physical limitations to manifest feelings of hopelessness, which can become overwhelming.”
I have included a link to her story, I would advise others to read it as it really is truly inspiring.
Hi Jess
ReplyDeleteyour question about telling employers about past injurys really hit home for me, As i have had a rather painfull back injury during my first year of dance training and it often still effects my dancing now. But i do know how to deal with it now. I asked my self would i? have i? or do i? ever tell employers about the injury. I came to the conclusion that no i dont. Even for normal jobs such as waitressing i'm asked about that sort of thing and i lie and say no ive never had time off work due to an injury because i know they would be dicouraged from giving me the job if they new i had.
I have a friend who had a very serious knee injury and had to have surgery on it and once offered a job on board a cruise, one of the questions asked was specifically about back and knee injurys. This was abviously because of the amount of strain that would be put on those specific areas due to the choreography. He answered no and got the job. I feel if he had answered yes theres no way he would have got the job.
So i feel sometimes it can be in the dancers best interest to lie especially this day and age when jobs are so hard to come by, as long as the dancer knows how to deal with injury and it wont effect their future career.