Tricky Moments address issues of boundary violating remarks and acts during situations of teaching and learning. Reading through them can therefore have a (re-)traumatizing effect on people who have encountered violence and discrimination before (racism, sexism, ableism, etc.). The following Tricky Moment depicts a fictional situation inspired by actual experiences.
I want you to crawl on the floor like an animal!
This is about:
Describing the situation
Artistic one-to-one lessons on a studio stage. In their first year, students present their artistic skills in an audition that is open for members of their department. A male professor and a female student are working on her dramatic performance for this important event. At the beginning of the semester, the professor had told the student that her role “would not portray the intellectual type” but rather sell “sexy, young and vamp” and that this would be the type of role with which she would fit into “the market.”
Having reached the end of the academic year, the female student feels a great degree of nervousness in this final lesson before the audition. During her first attempt at performing what she had rehearsed the professor interrupts her: “You are too tight. Why don’t you try something else entirely? How about trying to move like an animal and crawling on the floor on all fours. Yes… very good. And now find the matching sounds, use your breath, how does an animal sound? Yes, perfect. And now we try to include the audience – I want you to move towards me on all fours and to continue with the sounds while establishing contact.”
What happened here?
Viewing/regarding the situation from different perspectives
The professor and the student find themselves in unequal as well as hierarchized positions. Their relationship has to be regarded against this backdrop. The student depends on the teacher not only concerning development of style and role preparation but also in relation to the teacher’s willingness to provide recommendations, performance opportunities and access to networks.
Due to his position, the professor has authority over lesson design and over the repertoire to be rehearsed. Establishing a trusting collaborative relationship with the student characterized by trust falls largely into his responsibility.
Not only a highly esteemed member of the university but also very successful in his personal artistic career, the professor has been teaching for many years. He is well known for wanting to push students to their limits. At the same time, he champions students’ future careers with the help of his influential network. He enjoys unconventional methods in order to test boundaries – especially when working with first-year students.
The student feels extremely pressured in the situation. She wants to comply by all means and to prepare for her performance in the best way possible. The fact that she has been assigned to the professor is of great value to here, therefore, she feels a strong obligation towards him. Simultaneously, however, she experiences the exercise as unsettling, demeaning, boundary-violating and distressing. She feels uncomfortable and self-conscious, questioning the intention behind the exercise.
Teaching and learning setting
Individual artistic tuition
One-to-One settings represent a special form of teaching with great potential for focusing on a student’s individual artistic performance/development. At the same time, teacher and student find themselves in positions of asymmetric power relations. It is for this reason that these settings can enable boundary violating actions which remain unseen: for students, one-to-one classes can turn into very unsafe and inhibiting spaces. However, exercises in which participants are expected to imitate animals, crawl on the floor, experiment with expressions… of emotion are not in inherently demeaning. If the relationship between teacher and student is characterized by respect, imitation exercises can be perfectly fine – as long as their objective and purpose are adequately communicated and there is room for preparation. Depending on numerous variables, teaching situations in one-to-one settings can vary considerably as can the space they provide for becoming active.
In these settings, therefore, communication that is characterized by respect and transparency and the possibility of saying stop are crucial.
Becoming active, doing what and how?
How can my actions actively contribute to successful situations of teaching and learning?
Links
for further reading and exploration
- FC Gloria | Frauen Vernetzung Film [available in German only]
- Gendergerechte Kulturarbeit | IG kultur [available in German only]
- KILL the TRAUERspiel | Initiative für Geschlechtergerechtigkeit und Diversität auf und hinter der Bühne [available in German only]
- vera – Vertrauensstelle gegen Belästigung und Gewalt in Kunst, Kultur und Sport [available in German only]
Have you experienced a similar situation?
You are not alone. Here you can forward your experiences with discrimination directly to the Working Group on Equal Opportunities (AKG) or ask for possible courses of action. Your information will be treated confidentially.