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Getting to “The Pointe”

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Getting to “The Pointe” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes. Tables providing examples of how both the light and dark dimensions of leadership attributes manifest in the ballet industry are presented. iii Running head: GETTING TO “THE POINTE” Dedication To the Chaucer who inspired my pilgrimage; to the Wife of Bath who kept me motivated with, “It is about the process, not the product”; and to the Knight who repeated, “Trust the process”: this has been my favourite tale-telling contest yet. iv Running head: GETTING TO “THE POINTE” Table of Contents Chapter 1. Introduction A. Research Topic and Background………………………………………..……..1 B. Statement of the Problem…………………………………………..…………..2 C. Purpose of the Study………………………………………………………..….4 D. Theoretical Framework……………………………………………………..….7 E. Research Questions…………………………………………………………...12 F. Methodology………………………………………………………………..…13 G. Definition of Terminology…………………………………………………....18 H. Assumptions…………………………………………………………………..20 I. Limitations…………………………………………………………………..…20 J. Delimitations…………………………………………………………………..21 K. Significance of the Study…………………………………………………..…22 L. Organization of the Study……………………………………………………..24 Chapter 2. Literature Review A. Introduction…………………………………………………………………...25 B. Trait Leadership Theory Synopsis………………………………………..…..28 C. Bright and Dark Leadership Characteristics……………………………..…...29 1. Separate entities…………………………………………………..…...29 2. Flip side of the same coin: extreme levels………………………..…...31 3. Bright and dark leadership dimensions of the Big Five…………….....32 4. Bright and dark leadership dimensions beyond the Big Five………....36 5. Bright and dark dimensions of dark traits…………………………..…37 6. Cultural context………….………..................………………………...40 E. The Ballerina’s Body of Literature…………………………………………....45 1. Body and anorexia………………………………………………….....47 2. Injury…………………………………………………………………..50 3. Aging and retirement………………………………………………….53 F. Leadership Emergence in Ballet Culture……………………………………...55 Chapter 3. Research Methodology A. Introduction…………………………………………………………………...59 B. Research Questions…………………………………………………………...62 C. Research Design………………………………………………………………62 1. Study participants and setting…………………………………………62 2. Key Informants………………………………………………………..64 3. Role of researcher and subjectivity……………………………………65 3. Media Bias………………………………………………………….....67 D. Instrumentation and data sources……………………………………………..69 1.Observations………………………………………………………...…69 2. Interviews……………………………………………………………...71 E. Data Analysis…………………………………………………………….…....74 F. Validity and Reliability Issues……………………………………………..….78 G. Ethical Consideration…………………………………………………………80 v Running head: GETTING TO “THE POINTE” H. Summary………………………………………………………………..…….80 Chapter 4. Presentation and Analysis of Data A. Introduction…………………………………………………………………...82 B. Demographic Description of Participants…………………………………….83 1. Observations…………………………………………………………..83 2. Interviews……………………………………………………………..83 C. Profiles of Organizations……………………………………………………...94 1. Rocky Mountain Ballet Company…………………………………….95 2. Midwestern Ballet Company………………………………………...101 3. Pacific Northwestern Ballet Company ………………………………106 E. Ballet Industry Cultural Themes…………………………………………….110 1. Structure of the day…………………………………………………..111 2. Collaboration…………………………………………………………113 3. Artistic and executive administration………………………………..116 4. The Ideal……………………………………………………………..124 5. Body image…………………………………………………………..128 6. Mirror………………………………………………………………...131 7. Company class……………………………………………………….132 8. Injury…………………………………………………………………136 9. Culture of leadership........................................................................... 138 F. Leadership Dimensions……………………………………………..……….151 1. Attributes…………………………………………………………….151 2. Behaviors…………………………………………………………….157 3. Attitudes……………………………………………………………...163 G. Light and Dark Dimensionality……………………………………………...167 1. Flexibility…………………………………………………………….169 2. Perfectionism………………………………………………………...171 3. Independence………………………………………………………...172 4. Artistry……………………………………………………………….174 5. Intelligence…………………………………………………………...175 6. Dedication……………………………………………………………176 7. Communication………………………………………………………177 8. Detail-oriented……………………………………………………….178 9. Individuality………………………………………………………….179 10. Longevity…………………………………………………………...181 11. Appreciation………………………………………………………,,,181 12. Competition…………………………………………………………183 13. Fearlessness…………………………………………………………184 14. Confidence………………………………………………………….185 Chapter 5. Summary, Discussion, and Conclusions A. Introduction………………………………………..………………………...188 B. Summary of the Study…………………………………………..…………...189 C. Interpretations………………………………………………………..………190 D. Contributions and Implications……………………………………………...202 vi Running head: GETTING TO “THE POINTE” E. Limitations…………………………………………………………...............204 F. Recommendations for Further Study………………………………………...205 References………………………………………………………………………..……..209 APPENDIX A…………………………………………………………………...……...225 APPENDIX B…………………………………………………………...……………...226 APPENDIX C…………………………………………………………………………..227 APPENDIX D……………………………………………………………….………….228 APPENDIX E…………………………………………………………………………..229 APPENDIX F…………………………………………………………………………..230 vii Running head: GETTING TO “THE POINTE” List of Tables Table 1. Strong and Weak Dimensions of Kaiser’s Eleven Dark Attributes ………..….39 Table 2. Light and Dark Leadership Attribute Dimensionality Table…………………...77 Table 3. Stratified sampling breakdown interview participants in the Rocky Mountain Ballet Company………………………………………………………………...85 Table 4. Stratified sampling breakdown of the principal and soloist category dancers in the Rocky Mountain ballet company………………………………………...86 Table 5. Stratified sampling breakdown of interview participants in the Midwestern ballet Company………………………………………………………………………..88 Table 6. Stratified sampling breakdown of interview participants in the Pacific Northwestern ballet company…………………………………………………..89 Table 7. Stratified sampling breakdown of interviewees across all three ballet companies participating in the study………………………………………………………..91 Table 8. Gender breakdown of all three ballet companies in the qualitative study…..….93 Table 9. Light and Dark Dimensionality of Leadership Attributes Values in the Ballet Culture………………………………………………………………………....168 Table 10. Definitions of Attributes Valued in Leadership in Ballet Culture Leadership........................................................................................................192 Table 11. Light (Positive) Dimensions of Leadership Attributes Valued in Ballet Culture with Examples………………………………………………………………..194 Table 12. Dark (Negative) Dimensions of Leadership Attributes Valued in Ballet Culture with Examples………………………………………………………………..197 viii Running head: GETTING TO “THE POINTE” CHAPTER 1 Overview of the Study Research Topic and Background Colorful tutus and satin pointe shoes beckon young girls into the ballet. They dream of one day becoming a prima ballerina, resplendent on stage in elaborate beads and tulle, mesmerizing audiences with their pirouettes (full turn on the front of one foot) and sissonnes (jumping from two feet and splitting their legs in the air like scissors). A girl can transform herself into a dazzling firebird, a sugarplum fairy, or a graceful swan. She can truly get her prince, being literally carried away in the arms of her love by playing the roles of Cinderella, Snow White, Sleeping Beauty, or Juliet. Ballet is the magical world where these dreams can come true. Young girls and women can be [. .] characters that symbolize femininity in a society that teaches young girls to be and want everything pretty in pink. (Kelso, 2003, p. 1) “The ballerina
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