PDF Summary:Don't Think, Dear, by Alice Robb

Don't Think, Dear by Alice Robb examines the complex world of ballet and its impact on performers, especially young female dancers. Robb delves into the hierarchical and often sexist power structures within ballet institutions, exploring how male dominance, reverence for figures like George Balanchine, and the tolerance of mistreatment have shaped the ballet culture.

The book also explores the paradoxical experiences of young ballerinas, where ballet becomes an escape from tumult and trauma, yet subjects them to intense physical and psychological demands, objectification, and distorted self-perceptions. Robb sheds light on the lasting effects of ballet training, including difficulties in relationships, boundary-setting, and detaching from the art form despite its potential harms.

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Context

• Figures like Misty Copeland serve as inspirational role models, showing how dedication to ballet can lead to personal transformation and success, motivating young dancers to pursue their goals despite personal hardships.
• The process of mastering difficult steps can boost self-esteem and provide a sense of accomplishment, which can counteract feelings of helplessness or lack of control in other areas of life.

Ballet Lets Dancers Lose Themselves Through Storytelling

Robb explores how participating in ballets, particularly those with strong narratives like The Nutcracker, allows young dancers to escape into fantasy worlds and embody different characters. She emphasizes how such experiences offer feelings of empowerment and a stronger bond with their craft.

For Meiying, classical ballets like The Nutcracker, with their fantastical stories and elaborate costumes, offered a temporary escape from the anxieties of post-9/11 New York. Immersing herself in playing Marie, she experienced a feeling of control and purpose. Similarly, Misty Copeland found fulfillment and confidence in performing as Clara in a regional production of Tchaikovsky's well-known holiday ballet.

Robb notes that, while dancing ballet is incredibly demanding, the enjoyment of storytelling and the transformative power of performance are strong motivators for many youthful dancers.

Context

• Participating in a well-known production can foster a sense of community and belonging among dancers, as they work together to bring a shared vision to life.
• Taking on different characters allows dancers to explore various aspects of identity and personality, which can be both liberating and enlightening, contributing to a deeper connection with their craft.
• Classical ballets like The Nutcracker have been performed for over a century, becoming a staple of holiday traditions worldwide. This familiarity can provide comfort and a sense of continuity, especially during uncertain times.
• The discipline and dedication required to embody a character can lead to personal growth, teaching resilience and perseverance.
• Ballet allows dancers to express complex emotions through movement, which can be particularly appealing to young dancers who might find verbal expression challenging.

Intense Physical and Psychological Demands of Ballet Training

This section examines the demanding physical and psychological aspects of training for ballet, focusing on how these demands shape dancers' self-perceptions and relationships with their bodies. Robb discusses the heightened body awareness and stoicism that ballet performers develop, and the potentially harmful consequences of these adaptations.

Dancers' Development of Heightened Body Awareness and Proprioception

Robb delves into how performers develop exceptional body awareness and refined proprioception—a heightened sense of their position in space. Through rigorous training and constant self-correction, dancers develop a unique connection with their physical selves.

Robb cites the work of anthropologist Caroline Potter who, after training at a London dance academy, found her perception shifted away from the traditional five senses towards a "fluid perception of continually moving through dimensions." This heightened sense includes proprioception, which performers hone through precise actions and the need to regulate even involuntary muscles. Robb references a study demonstrating dancers' superior proprioceptive accuracy compared to non-dancers.

Further highlighting this phenomenon, she shares the inspiring story of Alicia Alonso, a renowned Cuban dancer who kept dancing and directing despite losing her sight. Alonso developed a remarkable ability to maintain balance and spatial awareness, relying on auditory cues and her refined proprioception to navigate the stage.

Context

• Continuous feedback from instructors and mirrors allows dancers to make immediate corrections, reinforcing neural pathways associated with body awareness.
• Techniques like Alexander Technique or Feldenkrais Method are often used by dancers to enhance body awareness, focusing on efficient movement patterns and reducing unnecessary tension.
• The term "fluid perception" suggests a dynamic and continuous awareness of movement and space, rather than a static or segmented understanding. This concept may relate to how dancers experience their bodies as constantly adapting and interacting with their environment.
• Non-dancers typically have less developed proprioceptive skills because they do not engage in the same level of focused, repetitive movement training.
• Enhanced proprioception is beneficial in various fields, including sports, rehabilitation, and everyday activities, as it improves coordination and reduces the risk of injury.
• In the absence of visual input, Alonso relied heavily on music and other sounds to orient herself on stage. This included listening to the rhythm and timing of the music, as well as cues from fellow dancers and the audience.

Fetishizing Dancer Suffering as Dedication and Artistry Markers

Robb examines the disturbing trend of fetishizing dancer suffering as a marker of commitment and artistic authenticity. She argues that this glorification of pain contributes to an environment that normalizes unhealthy practices and disregards dancers' well-being.

Robb describes how dancers are trained from childhood to suppress their pain and maintain a stoic facade. They learn to view their suffering as a mark of distinction, evidence of their commitment and hard work, rather than a warning sign. The author provides the chilling example of Anna Pavlova, whose legacy is built as much on her willingness to dance through pain and injury as on her artistic skill.

Robb further provides examples like the anecdote of Tamara Rojo, who continued to perform in The Nutcracker after suffering a burst appendix, highlighting the pressure dancers face to prioritize performance over their health. The author argues that this culture creates a dangerous environment where pain is normalized and serious injuries often go unaddressed.

Context

• Training programs may perpetuate this culture by not adequately addressing the importance of health and self-care, focusing instead on technical skill and endurance.
• In many dance cultures, especially classical ballet, there is a strong emphasis on perfection and aesthetic beauty, which often leads to prioritizing performance quality over personal health. This cultural expectation can pressure dancers to ignore pain to meet high artistic standards.
• Anna Pavlova was a Russian prima ballerina in the late 19th and early 20th centuries, a time when ballet was becoming increasingly popular worldwide. Her dedication to her craft was seen as emblematic of the era's artistic values.
• Performing with a burst appendix poses significant health risks, including severe infection and complications. It underscores the extreme physical demands placed on dancers and the potential consequences of ignoring medical needs.

The Infantilization and Dehumanization of Female Dancers

Robb explores how the dance world often infantilizes and dehumanizes female dancers, treating them as objects to be admired and manipulated rather than as individuals with agency and complex needs. She reveals how this objectification shapes dancers' self-perceptions and their interactions with men.

Dismissive Attitudes Toward Dancers' Intellectual and Psychological Needs

Robb examines the dismissive and infantilizing attitudes towards female dancers' intellectual and emotional needs often prevalent in ballet culture. By prioritizing physical perfection and obedience, these institutions often disregard the broader development of adolescent women.

This dismissive attitude is illustrated through anecdotes about Balanchine discouraging intellectual pursuits and praising those who struggled financially. Robb emphasizes the lack of encouragement for ballet performers to pursue education or build financial independence, perpetuating their reliance on men for support and guidance.

The author further points out how ballet, steeped in tradition and hierarchical structure, often stifles independent thought and critical inquiry. This environment, coupled with Balanchine's rule against thinking, fosters a culture of unquestioning obedience where girls are discouraged from voicing opinions or questioning those in power.

Other Perspectives

• Praising financial struggles might have been intended to highlight the value of sacrifice for art, suggesting a commitment to ballet over material wealth.
• Some ballet companies and schools have mentorship and support programs designed to help dancers manage their finances and plan for the future, which contradicts the notion of a systemic lack of encouragement for financial independence.
• Some may argue that the rigorous training and structure in ballet are necessary to achieve the high levels of performance expected in professional dance, and that this does not inherently conflict with the development of critical thinking skills outside the studio.
• The emphasis on not thinking could be interpreted as a strategy to help dancers achieve a state of flow, where they are fully immersed in the movement and the moment, which is a valued aspect of artistic performance.

Dancers' Bodies as Instruments, Objects, and Commodities

Robb argues that the bodies of female dancers are often treated as instruments, objects of beauty, and even commodities, rather than as integral parts of their selves. She highlights how this objectification can contribute to distorted body image, unhealthy relationships, and a distorted self-image.

Robb highlights the inherent objectification of dancers' bodies, which are often treated as tools to bring to life the creator's vision. She points to the pervasive "fat talks," where people in the dance world are constantly criticized for how much they weigh and pressured to maintain unrealistic thinness, further objectifying their bodies. The author uses Rachel, Emily, and Michelle's experiences, where they faced relentless criticism for their bodies, to show the psychological toll of this objectification.

This objectification extends beyond dance spaces, with the media often portraying dancers' physiques as aspirational, even fetishizing their pain and suffering. Robb argues that this portrayal reinforces the view of performers as physical specimens, contributing to the normalization of unhealthy practices like starvation.

Context

• Within dance communities, there is often a culture of comparison, where dancers measure themselves against peers. This can exacerbate feelings of inadequacy and lead to unhealthy competition and self-criticism.

Other Perspectives

• The focus on the body in dance can be seen as an appreciation of the physical form and its capabilities, rather than purely objectification.
• "Fat talks" may be seen as a form of peer support and motivation within the dance community, where dancers encourage each other to maintain a certain level of fitness that is required for their profession.
• The responsibility for unhealthy practices may not lie solely with media portrayal but also with the broader cultural and systemic issues within the dance industry that need to be addressed, such as lack of support for mental health and the pressure to conform to certain aesthetic standards.

Repressing Women's Desires, Prioritizing External Expectations, and Fetishizing Dancer Suffering

This section examines how ballet's demanding environment affects female dancers' personal lives and relationships. Robb investigates how the suppression of sexuality, the prioritization of external expectations, and the fetishization of the suffering of dancers contribute to unhealthy patterns and psychological scars.

Dancers' Challenges in Pursuing Goals and Being Feminine

Robb explores the challenges encountered by women in dance in balancing their career ambitions with societal expectations of femininity. The author argues that the emphasis on physical perfection and obedience within dance, coupled with societal pressures, can lead to a suppression of desires and a distorted self-image.

Suppressing Sexuality and Desire For Art

Robb examines the suppression of sexuality and romantic desire among young female dancers, arguing that ballet's culture often encourages the prioritization of artistic ambition over personal fulfillment. She uses several anecdotes to demonstrate how these ingrained attitudes can lead to unhealthy relationship patterns.

Robb argues that the dance community actively discourages romantic relationships, viewing them as a distraction from artistic pursuits. Dancers often receive instructions to prioritize their careers, leading them to suppress their desires and delay crucial developmental milestones. This suppression is evident in the experiences of Rachel and Alexandra Ansanelli, who reached adulthood with limited romantic experience and had difficulty navigating relationships outside the ballet community.

This suppression of desire extends to sexuality, with many dancers feeling pressured to avoid expressing their sexuality or engaging in intimate relationships. Robb suggests that this forced sublimation of desires can contribute to unhealthy relationship patterns later in life, as performers grapple with reconciling their ingrained beliefs with their evolving identities.

Practical Tips

• Reflect on your personal goals and values by journaling for 10 minutes each day, focusing on how they align with your daily activities. This practice helps you identify areas where you might be prioritizing external ambitions over personal fulfillment. For example, if you're a dancer, write about the joy dance brings you versus the pressure to achieve artistic perfection.
• Develop a support network of peers who share your commitment to prioritizing art over romance. Reach out to fellow artists or join online forums and groups where you can discuss the challenges and successes of maintaining this balance. By sharing strategies and holding each other accountable, you can reinforce your dedication to your art and create a community that understands and supports your personal policy.
• Establish "Milestone Meetups" with friends or peers where you discuss non-career achievements. Organize regular gatherings, perhaps monthly, where the focus is on sharing personal development milestones such as relationship goals, hobbies, or educational pursuits. This creates a supportive environment that values personal growth alongside professional success and can help you recognize and celebrate your own non-career achievements.
• Explore new social circles outside your primary interest or profession to diversify your experiences and meet potential romantic partners. For instance, if you're deeply involved in a particular field like ballet, joining a book club, cooking class, or a hiking group can introduce you to people with different backgrounds and interests, which can enrich your personal life and potentially lead to romantic connections.
• Develop a personal code of conduct that outlines how you want to handle sexuality and intimacy as a dancer. This self-created guideline can serve as a personal compass, helping you make decisions that align with your values and comfort levels while respecting the dynamics of the dance environment.
• Engage in role-reversal exercises during moments of conflict or tension in a relationship. Actively imagine and articulate the other person's perspective, including any desires they might be sublimating. This can help you develop empathy and may reveal underlying issues that contribute to unhealthy relationship dynamics.

Transition Challenges to Life and Relationships Post-Ballet Retirement

Robb examines the challenging transition dancers often face when retiring from their careers, particularly the struggle to form healthy relationships and develop a new sense of identity. The author explores how ingrained attitudes and habits formed during their time as dancers can continue to influence their lives.

Robb uses the poignant story of Lily to illustrate the challenges of navigating life post-ballet. After dedicating her entire adolescence to achieving her goal of being accepted into NYCB, Lily's rejection at age 21 left her feeling "lost" and stripped of her identity. She continued to struggle with body image issues and unhealthy eating habits despite not needing to conform to ballet's demanding standards anymore.

The author emphasizes how the hierarchical and competitive ballet environment can leave dancers unprepared for the complicated dynamics of "normal" relationships. This is evident in Rachel's struggles to recognize romantic cues and establish boundaries, as she navigates a world where physical touch is no longer desexualized and controlled by teachers and directors.

Context

• The demanding nature of ballet can limit social interactions outside the dance community. Retired dancers might struggle with building and maintaining relationships outside this familiar network, leading to feelings of isolation.
• For many dancers, their identity is closely tied to their career. The intense dedication required often means sacrificing other aspects of life, making rejection particularly impactful.
• Access to mental health resources specifically tailored to address the unique challenges faced by retired dancers can be limited, making recovery from body image issues more difficult.
• The pursuit of perfection in ballet can lead to unrealistic expectations in personal relationships, where imperfections and compromises are natural and necessary.
• Dancers are trained to view physical contact as a professional necessity. Touch is a tool for achieving artistic goals, such as perfecting lifts or partnering, rather than a personal or intimate gesture.

The Glamorization and Fetishization of Suffering Among Dancers

This section investigates the widespread glamorization and fetishization of the suffering of dance artists in the media and popular culture. Robb argues that this tendency to romanticize pain and sacrifice reinforces unhealthy expectations and obscures the true artistic beauty of ballet.

The Media Frames Dancers' Trauma as Inspiring or Titillating

Robb critiques the media's tendency to emphasize the inherent trauma and suffering in ballet training, often portraying it as either a source of inspiration or a titillating spectacle. She argues that this focus reinforces harmful stereotypes and overlooks the nuanced experiences of people in the dance community.

Robb cites examples like the movie Black Swan, which sensationalizes the mental and physical anguish of a ballerina striving for perfection, and the television shows Flesh & Bone and Tiny Pretty Things, which graphically depict the self-destructive tendencies and cutthroat competition in ballet. The author argues that these portrayals reinforce the misconception that suffering and self-destructive behaviors are inherent prerequisites for artistic achievement.

Robb argues that a more holistic approach acknowledging the discipline, dedication, and artistry involved in ballet is needed. She emphasizes the importance of highlighting the joy and beauty of ballet, rather than simply focusing on the grueling aspects of training and the sacrifices dancers make.

Context

• These portrayals can shape public perception, leading audiences to view ballet through a narrow lens that emphasizes drama and conflict rather than appreciating the skill and creativity involved.
• Based on the novel by Sona Charaipotra and Dhonielle Clayton, this series combines elements of mystery and drama, set in an elite ballet academy. It showcases the intense rivalry and personal struggles of young dancers, often emphasizing dramatic and sensational elements.
• Other art forms, such as music or writing, also grapple with similar stereotypes, where the myth of the "tortured genius" persists despite evidence of successful artists who thrive without undue suffering.

Masochism in Ballet Training & the "Cult of Balanchine"

This section delves into the pervasive masochistic tendencies in the training process for ballet, connecting these tendencies to the "cult of Balanchine" and the hierarchical power structures within ballet institutions. Robb explores how these intertwined forces contribute to the glorification of suffering and the erasure of individuality.

Robb cites the writings of former dancers like Toni Bentley and Leigh Cowart, who explicitly connect their ballet education to their later exploration of masochism. Bentley, famous for her book about a sexual act involving the anus, explicitly compares the submissive dynamic between her and her lover to that between her and Balanchine. Cowart, who identifies as a "high-sensation seeking masochist," connects her lifelong fascination with pain to her early experiences on pointe.

Robb links this tendency toward masochism to the "cult of Balanchine," arguing that his demanding methods and controlling personality fostered a culture that prioritized sacrifice and obedience over personal well-being. She further argues that the hierarchical nature of ballet institutions, where dancers had to submit to authority without question, reinforces this culture of self-denial.

Context

• Masochism, in a psychological context, involves deriving pleasure from one's own pain or humiliation, which can be metaphorically linked to the experiences of dancers who find fulfillment in overcoming the physical and mental challenges of ballet.
• In psychological terms, a submissive relationship involves one party yielding to the authority or control of another. In the context of ballet, this can manifest in dancers feeling compelled to meet the often rigorous and demanding expectations set by their instructors or choreographers.
• Dancing on pointe involves performing on the tips of the toes using specially designed shoes. This technique is physically demanding and can cause significant pain and injury, especially for young dancers whose bodies are still developing.
• Balanchine's methods emerged during a time when authoritarian teaching styles were more common in the arts, reflecting broader societal norms about discipline and authority.
• Ballet has a long history of strict discipline and hierarchical structures, often modeled after military organizations, where authority is centralized, and obedience is expected.

Lasting Psychological and Identity Impact of Ballet Training

This section focuses on the long-term psychological and identity-related impacts of ballet training. Robb reveals how the ingrained habits and self-perceptions developed during dancers' formative years can continue to influence their lives well beyond retirement.

Dancers' Difficulty Establishing Boundaries and Asserting Their Needs

Robb explores the difficulties many dancers face in establishing boundaries and asserting their needs, both within and outside ballet. The author argues that because of their training in obedience and self-sacrifice, dancers often struggle to prioritize their own well-being and communicate their feelings effectively.

Robb highlights the absence of individual limits ingrained in ballet training, where dancers are constantly touched and physically manipulated by teachers and partners. She uses Rachel as an example, who, even as a thirty-something, struggles to define her own physical boundaries and recognize when those have been violated.

The author suggests that this difficulty in establishing boundaries carries over to other aspects of dancers' lives, as they find it challenging to speak up for themselves or assert their needs in relationships and social situations. They may find it easier to acquiesce to others' demands rather than risk conflict or confrontation.

Practical Tips

• Develop a 'needs assertion' journal where you record daily instances where you assert your needs. This could be as simple as asking for a break during a long session or requesting specific feedback on your performance. The act of writing it down reinforces the behavior and helps you track your progress in becoming more assertive.
• Develop a "Communication Cue Card" for difficult conversations. Write down phrases that help you articulate your needs and feelings respectfully and clearly. Keep this card with you during rehearsals or classes, and use it as a reference when you need to voice concerns about your well-being or workload.
• Develop a feedback system with your ballet teacher or partner that respects personal boundaries. After each session, have a brief discussion where you can express how you felt about the physical manipulation during practice. This could involve using a simple scale to rate comfort levels or a safe word to signal when an adjustment is needed in real-time.
• Practice saying "no" in low-stakes situations to build your assertiveness muscle. Start with situations where the consequences of refusal are minimal, like declining a free sample at a store or opting out of an email list. This will help you get comfortable with asserting your boundaries in more significant situations.
• Use role-playing exercises with a trusted friend or family member to simulate challenging conversations. Take turns being the person setting a boundary and the one responding to it. This practice can help you anticipate reactions and refine your approach to setting boundaries in real-life situations.

Remaining Connected to Ballet Despite Its Harms

Robb explores the paradoxical and often ambivalent relationship former dancers have with ballet. Despite the physical and psychological challenges, many remain deeply attached to the art form, seeking ways to keep dance in their lives while they grapple with its lasting impact.

Robb uses the example of author Sigrid Nunez, who despite achieving literary success, still feels the sting of her childhood dream of becoming a dancer: "Although you move forward, you never totally get past it. That loss permanently becomes a part of your identity and your life."

This lingering attachment often manifests through ongoing participation in ballet as teachers, coaches, or avid spectators. Robb herself admits to continuing to take ballet lessons, and feeling the pull of the familiar routines and movements. This enduring connection, despite the challenges and potential harms, speaks to the powerful and multifaceted impact of ballet, which can shape dancers' bodies, minds, and identities long after they leave the stage.

Context

• Sigrid Nunez is an acclaimed author known for her novels and essays. Her literary achievements include winning the National Book Award for her novel "The Friend."
• The dream of becoming a professional dancer is often nurtured over many years, and not achieving it can feel like a personal failure or unfulfilled aspiration.
• The intense physical demands can result in chronic injuries or conditions, such as joint problems or stress fractures, which may persist and require ongoing management.