Dance Education and Culture

Executive Summary In contemporary sociological usage, the term culture refers to the sum total of all knowledge, customs, beliefs, attitudes and values shared by a large group of individuals with other common linkages. Theories formulated by David Carr suggest that culture can also be described from an evaluative point of view as the things that are worthwhile to the humans (Carr 2003, p7).Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Carr goes ahead to suggest that it is a challenging fact for individuals to distinguish which of the various learning experiences they analyze in the various cultures is important for personal growth and development. Carr’s proposal has a definite application in dance education particularly because all the elements of the practice can be isolated using either the sociological or the evaluative criteria. This essay seeks to illus trate that the teaching experience particularly when it comes to dance is an amalgamation of the cultural elements manifesting through curricula and syllabi specifications. To this end various forms of literature shall be investigated to provide the background information necessary for the creation of a solid argument. Personal experience as a dance instructor shall also be drawn into the discussion and this shall be interwoven with theoretical frameworks proposed by different scholars in the field to offer even more credibility to the essay. Introduction Over the years dance studies have gained prominence all over the world. The knowledge and field requirements are under rapid evolution and both the practitioners and instructors in the field have to go through a specified amount of refresher training. Social and cultural shifts particularly in the student markets have necessitated the removal of the traditional boundaries between various academic disciplines. Teaching dance is beco ming more and more complex and in institutions of higher learning dance is crossing across all academic spheres with the introduction of such programs as dance medicine and dance philosophy. Dance education Syllabi There are three main syllabi that are well acceptable in the dance instruction field. These are named according to the institutions/personalities that established them and they are: Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More For each and every of the three well recognizable dance curricula, there are three primary levels for ranking student talent and abilities. These are bronze, silver and gold. However, each and every syllabus has its own primary focus that aims at strengthening a student’s skills and abilities as well as acting as the fou ndation for which more work can be based on. The foundational stages of all the three curricula are aimed at identifying students’ abilities and talents as well providing proper the theoretical information to guide the trainees in subsequent stages. Through discipline and commitment, students in senior levels of training work on already acquired techniques and they build on them, in the process perfecting their skills. In order to illustrate how both the evaluative and sociological definitions of culture can apply to the dance profession, a comparison of the practical elements of credible dance syllabi in educational facilities has to be provided. This will mainly focus on the presentation of the dance as it is the final product of the entire training process. For the purpose of this discussion, the analysis shall be based on bronze level performance of nine competitive dance routines. These three dance instruction syllabi are defined by the unique approaches they each take i n the performance of various dance routines. These differences are summarily detailed below. It is worth noting that this discussion has been restricted to the major competitive styles which are widely accepted as the common point of reference for all the dance teaching syllabi. The important elements under discussion for all the dance styles analyzed include, the progression, the uniqueness in steps and the relevance of the knowledge gained to the student. Smooth dance Waltz – The Arthur Murray has well distinguishable number of steps and aside from giving the dancer the option of variety it also goes ahead to use layering in developing a definite motion pattern across the dance floor. The USISTD also entertains the distinguishable steps as Arthur Murray but doesn’t leave room for variety. This therefore makes it only ideal for professional dancing at the expense of social dancing. DVIDA has provisions for variety but does not have elaborate movement styles until much later in the syllabus. It has however been fronted as the best curriculum to follow for the Waltz.Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Tango –DVIDA has a clear and fun scope of teaching the tango but tends to involve the trainees in skillful moves too early in the curriculum. This is particularly because it tends to demand a change in alignment regularly and also requires high levels of accuracy in orientation which in a way makes it very challenging to navigate. Arthur Murray has various variations in the first half of the curriculum and the remaining half comprises random movements. UISTD on its part lays emphasis on the primary usable movements and lets the trainees develop into the routine naturally. Viennese Waltz – It is very difficult to analyze this category as there are numerous approaches to the American Viennese. This makes it dif ficult to establish the genuine presentation format of the dance at the bronze level. Trainees who follow the DVIDA syllabus tend to approach this dance routine at a slow pace and then develop the drive as the training progresses. The primary Viennese movements are introduced almost midway through the curriculum and then the American patterns are introduced much later into the syllabus. Arthur Murray on the other hand tends to kick off with complex styles both in terms of speed and drive and then gradually move into slower aspects. The UISTD introduces the students to the core elements of Viennese and then integrate them with unique American aspects. As the syllabus progresses, the more complex American patterns are introduced and fused with the previous techniques that the trainees have picked up over the time. Rhythm Cha Cha – The UISTD starts with an almost conservative number of steps. DVIDA is almost similar to UISTD but it tends to be open enough to allow for slight inn ovation. Arthur Murray is entirely conservative and it does not give the performer enough credibility by the time that he/she is done with the training. Rumba – Arthur Murray’s Rumba tends to be dull from the outset and then incorporates a number of complex steps as the syllabus progresses. UISTD has unique technique descriptions and these develop in a compounding manner throughout the training period. DVIDA starts definite patterns but has limited fifth position endings.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More East Coast Swing – For this routine, DVIDA tends to omit a number of important steps such as the outside turns, points and kicks. It is therefore very difficult for a dancer who is well versed with this technique to gel well with a dancer from a different syllabus. It however has great technique description. UISTD starts on a triple which makes some steps such as the whips challenging. It also has great technique descriptions. Arthur Murray has solid steps and a great technique which makes it appropriate for both social and competitive dancing. Bolero – The USISTD bolero tends to be more like a rumba dance version. As a matter of fact, individuals can use steps from the latter in learning the bolero. Arthur Murray’s syllabus stipulates that individuals have to be at bronze level before they can start the dance. DVIDA has a number of definite steps with well written technique descriptions making it a fun to pursue syllabus. Mambo – The DVIDA mambo comprise s a wide array of steps but has some unpopular endings. Arthur Murray encourages proper timing and a great technique. It however lacks variety and this tends to make the syllabus lose its appeal. UISTD is slow from the outset but gradually morphs into a fun-filled second half. Foxtrot – DVIDA’s foxtrot tends to coerce the dancers into SSQQ timing and some of the steps in this technique at the bronze level appear awkward. Arthur Murray encourages alternate timings and encompasses great variations to make the dance even more interesting. UISTD generally tends to start with proper and progressive steps but the entire piece at the bronze level appears like a re-jig of the waltz. Movement and the historical/cultural aspects of dance The way a dance defines the movement explains the primary aspects of the style and the historical context of the dance. The techniques and skill of a dance routine are attributes which are conferred from one generation to another in a form of br oad cultural transference. However, individuals studying and performing dance from time to time tend to reinterpret traditional dance styles and present them is ways that make sense and are comfortable to them. The three dance syllabi analyzed above present students with the chance to gain comprehensive knowledge of dance. Students from each curriculum learn the different dances based on how the dances were presented by the founders of the syllabi. The students therefore base their techniques and skills on the historical and cultural significance of the adopted style. In this way, they can easily evaluate their work by comparing it with the established framework of the syllabus that they learn in. Irrespective of the chosen curriculum, there are five key gains that students of dance are expected to have made at the completion of the training period; these are: They must have gained sufficient knowledge of the elements of dance. The must clearly choreograph a dance in such a way tha t it reflects the elements of the syllabus they followed. They must be in a position to apply the skills gained in non-competitive (formal) presentations The must be able to evaluate both professional and non-professional dance practice. They must know how to elaborately communicate ideas through choreography. These five elements are based on the broad appreciation of dance as an art form that is primarily grounded on culture and tradition. In this regard, tutors and instructors should ensure that the items included in their syllabi are well planned and comprehensively cover each and every component of their primary targets. Curricula should be developed and implemented using various instructional routines which put students in better positions to go through varied experience. Bearing in mind that most students have different learning rates, tutors should ensure that all their students achieve the desired levels of performance based on the chosen syllabus. Based on a broad perspect ive of dance and dance education, the roots of dance can be traced back to the origins of human kind. Dance has been used as a way of expressing cultural values by giving individuals the opportunity to reconnect with the past and link it to the present and create visions of the future. In a way, every coming generation recreates culture through dance. By the students understanding the historical and cultural heritage of a number of dance routines exposes the students to understanding the functions of dance in different social settings. Proper curricula enable students utilize their critical thinking abilities to envisioning, describe, provide an analysis and evaluation of a given dance piece in a credible manner. Students are able to assess various techniques and styles based on the presentations they receive in class. This kind of understanding makes them better understand most of the elements in each and every sequence. Formal education and dance culture Dance had been traditional ly viewed from a narrow-angle perspective as a performance art with no real significance in the real world and therefore most individuals opted not to go through formal training (McCutchen 2006). However, through years of study and enhancement of professionalism in the field, it has been found out that the people who go for training acquire skills which are important in achievement in other areas of life not related to dance. These students tend to develop proper self-understanding and appreciation of human relationships and also tend to auger well with their external environments. Aside from this, they are able to enhance their critical thinking abilities as they are able to question the reasons for certain actions during the dance practice as well as properly defining meaning from choreographed pieces based on their respective curricula (Carr 2003). Formal education has changed over the years to accommodate fields that were previously regarded as unimportant to societal developmen t. These include the likes of dance and other performing arts and over the years there has been a cultural shift towards incorporating these fields into educational curricula with an aim of recognizing them as worthy professions. As much as individuals can easily attain their goals through setting up personal structures for reading and networking, practical fields such as dance tend to require the presence of tutor/instructor who will serve as the assessor for growth. These tutors are now under constant pressure to have gone through a formal educational system, and particularly have obtained college certification which will put them in a better position to evaluate the talents and needs of students. A tutor who has grown through a credible educational system will no doubt be in a position to determine the kind of information that is important to the personal development of his/her students and filter out from knowledge that has become obsolete and irrelevant (McCutchen 2006). Howeve r, it is definitely clear that exposure of students/trainees to a wide array of subjects will further broaden their competitive advantage in the real world. The students who have a varied knowledge system will be better placed to communicate with persons who engage in other elements of the professional dance field and they will also be in a position to understand how their roles as professional dancers interrelate with other professions in such a way that the jobs influence each other. There are two elements of education that tutors should have in mind when designing dance training programs. One is that formal education gives students an opportunity to expand their way of thinking. This means that individuals are expected to graduate out of particular training institution with knowledge that they can use to circumvent any challenge that may arise in their line of duty (McCutchen 2006). Secondly, the education is supposed to provide them with an entry ticket to professional recogniti on. This recognition, however, can only be sustained by the quality of their work and as long as the tutors focus on instilling the necessary ethic to their students it can easily be entrenched in their (the students’) career routines. One of the ways that can be used to ensure that this is attained is through ensuring that the students have extensive theoretical and practical knowledge of their area of specialization. This coupled with personal post-training experience will determine how successful an individual’s career life will be. It should be noted that there is a difference between getting a formal academic accreditation and getting an education. The real point of training is to offer the student the opportunity to learn how to think and feel deeply about a particular profession in such a way that they can not only make a living out of it, but also make a life through the knowledge gained. The importance of curricula in defining growth All of the recognizable da nce curricula particularly at trainer/college level introduce individuals to the process of research in order to isolate knowledge that they can relevantly use in coaching their students. College education also trains students on how to practically deliver everything they have picked from theoretical sessions and how to face challenges and seemingly mundane activities with honor. Most of the value picked from college dance education is a representation of how much a student was able to apply him/herself to the course and endurance of the difficulties encountered (Barker 2008). As dance educationists, we are under constant pressure to decide whether to extensively expose our students to theoretical knowledge or to concentrate on the practical application of the basic knowledge garnered. However, it is vastly acceptable that an individual with credible certification in any professional field must be in a position to practically display his/her ability as well as explain the theory beh ind the actions he/she partakes in (McCutchen 2006). It therefore becomes the responsibilities of the tutor to identify those individuals with reading disabilities and finding ways of ensuring that they pick up the critical theoretical elements of the dance practice, even if it means having to give them audio notes and oral tests. The various dance curricula have their own delivery and presentation styles and it therefore becomes challenging for tutors to establish a general format that will appear appropriate across the board. Even with this bottleneck, individuals-particularly educationists- should have it mind that the most important element of the knowledge that the students are getting is that it puts them in a better position to reevaluate themselves irrespective of the cultural elements of the society in which they were raised in. The commercial benefits of a career should not be viewed as the primary driving force of an individual who prides in having gone through proper edu cation and formal professional training (Barker 2008). Instead, students should be made well aware that if they fully apply themselves to their jobs and deliver everything with professionalism, they will be able to supersede societal/cultural pressures and lead fulfilling career lives (McCutchen 2006). As a matter of fact, college/tertiary education enables students learn how to enjoy their lives outside their jobs as well as giving them the opportunity to pursue perspectives based on their personal intrinsic values. Students who are made to clearly understand the importance of entertaining ideas and perspectives eventually end up happy in both their professional and personal lives. While it arguable that individuals can still learn this outside an academic institutions, it has been proven that individuals who choose to pursue this route tend to spend a lot of time on certain irrelevant things before it dawns on them that they need to move on to the next agenda. It is therefore appr opriate, particularly in practical fields such as dance, that individuals enjoy some level of liberal education alongside the formal elements that can only be provided by academia (Carr 2003). Research has it that most practical skills are better picked outside of academia which tends to concentrate on giving theoretical and general education. However, most people will not have the drive and motivation it takes to learn a trade using this route. It is therefore the responsibility of the instructors to establish curricula and syllabi which will give their students both the ideal general knowledge to survive in the competitive ‘outside’ world as well as horn their skills in attaining professional competence in their respective trade. Role of the instructor/trainer in defining dance culture The design and creation of a dance curriculum is a reflective process that requires the tutors and instructors to actively engage in a number of questions that will focus on the strengt hs of the delivery process. Teachers should clearly know that the main goal of the training process is to enable their students develop proper creative and expressive techniques as well as adequate dance knowledge to see their careers develop from strength to strength (Carr 2003). From personal teaching experience, I have been able to understand the delivery and presentation of dance concepts are two independent but related elements of the practice. Like other traditional academic delivery syllabi, dance syllabi also focus on delivering certain concepts and elements in isolation. However, being one of the few professions whose products are clearly noticeable, the entire learning process for dance is aimed at ensuring that all the knowledge obtained in the different classes is integrated in performance. It is of paramount importance that students understand how to create performances based on the basic elements of dance that they pick up in class. The instructor/tutor is charged with the responsibility of ensuring that the students fully understand all aspects of the instruction, because the weakness of one component dramatically reduces the quality of the entire performance. The students should be able to have a clear perception of dance as well as place the different elements in their cultural and historical position based on relevance. In this way, the students will be able to understand and view dance as a form of art through the development of an awareness of spontaneous movement and they categorically understand the underlying principles and elements of dance. Through creative expression, students who have been well tutored in the dance art form are able to combine their knowledge on body sciences and fitness with dance elements to come up with presentations that are both impressive and professional. All of the syllabi analyzed earlier follow similar frameworks where students first learn the basic and simple movements of a given dance before progressing t o more complex aspects. Role of the student/trainee in defining dance culture While trying to establish the relevance and importance of certain elements to students, it is worth noting that the primary factor that will dictate the reception of information is the students’ personal approach to the knowledge they are receiving. Some individuals just take to formal education in order to get the bare minimum that will get them noticed by field agencies (Carr 2003). This mindset significantly reduces the gains they make from the training and it therefore becomes even more challenging for the instructor to try and get them to pick up knowledge that could adequately contribute to their personal development. With the limited number of employment facilities for dancers, educationists should make it their responsibility to ensue that their students define their career goals not only by the broad/sociological aspects of culture but using the evaluative elements. The latter will prepare them to creatively use the information garnered in school in establishing themselves as marketable individuals. This also means that even if they don’t get hired to work for other people, they could easily set out on their own and still earn a decent livelihood out of it. In this sense, an average student who has the drive and determination can easily end up starting his/her own agency and hire all the brilliant and fast students they were in training together. Societal participation in defining formal dance culture Most individuals particularly those in culturally ‘respectable’ professions tend to regard dance as a trade that does not necessarily require an individual to have gone through formal education to make it (Carr 2003). This misconception has in recent times come to be dismissed as it has been established that individuals can easily gain the varied life experience required understand the needs of the profession through proper education. Even the basic g eneral knowledge that students detest while in school will come in handy at some point in their lives irrespective of the chosen career path. It is also manifest that just a few individuals have the ability to learn on their own but even these persons need to have the basic groundwork which can only be founded on formal training. With the constant demand for degrees and other notable certification by employers and recruitment agencies, colleges and other training facilities have been pushed to accommodate individuals who would otherwise never have qualified for such education (Barker 2008). This heavily impacts on delivery as the limited facilities are overstretched demanding the instructors and tutors to concentrate on offering theoretical lectures. Unfortunately, some programs such as dance require enough practical lessons as this is what the world will use in analyzing the skills of the professionals who graduate from such fields. It is therefore the prerogative of the trainers, instructors and tutors to establish the relevance of the content they are presenting to their students as far as personal and professional growth is concerned. Good educationists will ensure that the knowledge they give their students sets the tone and confers on them skills to cope with the challenges of the profession (Carr 2003). It is unfortunate that individuals graduate from training facilities without the basic idea on how to practically apply the information garnered while their counterparts who chose to follow the longer way of learning through practice can cope with any of the challenges thrown their way. While it is admirable for tutors to focus on helping their students develop useful skills it is clear that with the rapid changes in society, such skills may lose relevance in a very short time. It is therefore important that curricula and syllabi be focused on turning students into well rounded individuals who can easily adapt to professional, societal and cultural metam orphoses. Summary In an effort to illustrate both the broad and narrow definitions of culture as applies in the dance profession, this essay has raised a number of critical issues as summarized below. First, there are three primary dance curricula which are well recognized in competitive dancing. These are the Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray. All the three draw elements for their syllabi from how a given societal group used to present them. This goes in tandem with the sociological view that culture is a set of practices shared amongst a group of individuals with common characteristics and who end up defining how things shall be done within the group. As has been illustrated using an analysis of nine bronze level competitive dance styles some elements have been left out or added by each of the three curricula based on convenience and appropriateness to the performer. This supports th e evaluative view of culture in the sense that the teachers of particular syllabi have to establish which aspects are important to their students’ growth and which ones serve no definitive purpose. Coming to training accorded to dancers, it has in recent times come to the appreciation of individuals with diverse backgrounds that dance can be taken as a meaningful career. With this introduction of professional appreciation, diploma and degree programs have been set up to specifically offer proper training in dance. It is this kind of appreciation that has led individuals to seek academic certification and in the process learn which elements are necessary for their personal growth. While developing curricula for their students, teachers and other instructors are charged with the responsibility of ensuring that they determine which aspects of the training will be of relevance to each and every student in the class. As a result, they more or less dictate how the culture of their classes would be shaped as opposed to relying on hand down set ups. The training of dance professionals can be evaluated based on two elements. These are the delivery of the knowledge from tutor to students, and the presentation of the learned skills by the students. The latter is however entirely dependent on the former and it is with this knowledge in mind that instructors ensure that the syllabi and course outlines support elements that will put their students at a better place to learn. However, even with the tutors and instructors playing a critical role in how the information they present to the students will be received, the students themselves have to be willing to absorb the knowledge they are given. As a result, they also contribute greatly to how the skills they acquire become of relevance to them. In other words, the students are also responsible for how culture is defined within their places of learning. Society also has a critical role to play as far as the definition of culture and professional dance practice are concerned. This is primarily because most individuals tend to depend heavily on societal influences in establishing their career paths with most of them going against the desires of their hearts to join professions that they are not interested in. It is this desire to belong to a given cultural grouping that has for a long time caused performing arts such as dance to be seen as less important as compared to other careers. However it has been recently realize that the more society opens to change, the more people are comfortable going for professions that enhance their personal growth. Conclusion It is worth noting that culture is a constantly metamorphosing element of society. It undergoes changes from time to time and when it comes to professions such as dancing, the tutors and trainees end up dictating which aspects of the cultural practice are useful to them and which are not. This project has served to illustrate many key-note point s in regards to the importance of culture in dance training. The information obtained in the research has served to broaden personal knowledge on the profession particularly from an instructor’s point of view. This is the kind of knowledge that can be practically put to use whenever drafting syllabi and developing curricula. This paper has provided extensive data on the various aspects and elements of the dance profession and has illustrated how they ling to both the sociological and evaluative definitions of culture. Various elements of syllabi creation have been critically highlighted using data obtained from books and publications credited to various professionals in the field. This information has to some extent been broken down to such levels that individual who are non-professionals can easily pick out relevant bits of data from the essay and be in a position to relate them to their respective environments. The presentation has taken the form of a research process repor t by critically evaluating the topic of discussion with relevant explanations being given to evaluate concepts. The final product is a well laid out paper that if well reviewed can be used to provide background information to guide other professionals in their own projects on related topics. Reference List Barker, C. 2008. Cultural Studies: Theory and Practice. London: Sage. Carr, D., 2003. Making sense of education: an introduction to the philosophy and theory  of education and teaching. London: Routledge. McCutchen, P.B., 2006.Teaching dance as art in education. Illinois: Human kinetics This essay on Dance Education and Culture was written and submitted by user Lillianna Suarez to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Study Guide for Shakespeares Sonnet 29

Study Guide for Shakespeare's Sonnet 29 Shakespeare’s Sonnet 29 is noted as a favorite with Coleridge. It explores the notion that love can cure all ills and make us feel good about ourselves. It demonstrates the strong feelings that love can inspire in us, both good and bad. Sonnet 29: The Facts Sequence: Sonnet 29 is part of the Fair Youth SonnetsKey Themes: Self-pity, self-hatred, love overcoming feelings of self-deprecation.Style: Sonnet 29 is written in iambic pentameter and follows the traditional sonnet form Sonnet 29: A Translation The poet writes that when his reputation is in trouble and he is failing financially; he sits alone and feels sorry for himself. When no one, including God, will listen to his prayers, he curses his fate and feels hopeless. The poet envies what others have achieved and wishes he could be like them or have what they have: Desiring this man’s heart and that man’s scope However, when in the depths of his despair, if he thinks of his love, his spirits are lifted: Haply I think on thee, and then my state,Like to the lark at break of day arising When he thinks of his love his mood is elevated to the heavens: he feels rich and wouldn’t change places, even with kings: For thy sweet love remembered such wealth bringsThat I scorn to change my state with kings. Sonnet 29: Analysis The poet feels awful and wretched and then thinks about his love and feels better. The sonnet is considered by many to be one of Shakespeare’s greatest. However, the poem has also been scorned for its lack of gloss and its transparency. Don Paterson author of Reading Shakespeare’s Sonnets refers to the sonnet as a duffer or fluff. He derides Shakespeare’s use of weak metaphors: â€Å"Like to the lark at break of day arising/ From sullen earth...† pointing out that the earth is only sullen to Shakespeare, not to the lark, and therefore the metaphor is a poor one. Paterson also points out that the poem does not explain why the poet is so miserable. It is up to the reader to decide whether this is important or not. We can all identify with feelings of self-pity and someone or something bringing us out of this state. As a poem, it holds its own. The poet demonstrates his passion, mainly for his own self-loathing. This may  be the poet internalizing his conflicting feelings towards the fair youth and projecting or crediting any feelings of self-worth and self-confidence onto him, attributing the fair youth with the ability to affect his image of himself.

My First Day In College Essay Example | Topics and Well Written Essays - 500 words

My First Day In College - Essay Example The essay "My First Day In College" talks about the experience we can get from our first day in college. The author by his example tells what good experience the college gives a person to be successful in his life. I gladly anticipated the day because of the social title that I would gain for joining the university because most of my peers derived little pleasure from academic achievements and rarely qualified for and attained university education. I would be one of the few youths in the locality to join the university, the highest recognized academic institution. My feelings were however mixed with the anxiety of freedom from parental control and separation from my friends, people that had become very close to my life and with whom I had shared my weakness for social support. My younger sister, then in elementary school, particularly noted my unstable state and teased me for behaving like a little child. It was finally my reporting day and I had to take the step into my new life. I had packed all my belongings the previous night and was ready to bid my family goodbye. Leaving home was, however, a painful experience and I broke into tears, of pain and isolation, for fear of never seeing my family again. Even my mother’s consolation that they would occasionally visit me or that I was free to visit them over the weekends would not ease my overwhelming pain. She then drove me to college, in her favorite car, and I could feel the transition in my life as we passed the city center into the college’s main campus.

Trade Unions in Britain Essay Example | Topics and Well Written Essays - 1750 words

Trade Unions in Britain - Essay Example The trade unions in Britain traditionally had a system in which the bargaining was based on industries. This gave the trade unions a sense of institutional security in their operations within the private sector. By 1950, approximately 60% of the workers in the private sector were under collective agreements that had their origins outside their firm of employment. Several events and developments however combined to cause the decline of the trade unions and their influence (Fernie & Metcalf 202). The decline of the trade unions in Britain began in the years since 1979. This was after the election of Margaret Thatcher’s government that had conservative policies that were aimed at weakening the trade unions (Wrigley 2002, p40). This decline followed a period of rapid growth and increase in membership and influence in the 1950s. The collapse of the trade unions could therefore be anticipated following the decline experienced. There were several factors that contributed to the decli ne and the eventual collapse of the trade unions. ... The decline in the unions was also seen in the collective bargaining influence which was said to have declined from 70% to 40% in the years between 1980 and 1998 (Brown et al. 2003, p199). The future of the trade unions in Britain has largely been discussed. The discussion in based on the impact that the trade unions are expected to have in the future, and whether the trade unions are expected to grow or face a decline. The purpose that the trade unions serve has also come under scrutiny. It is however important to understand the role that the trade unions are expected to play so that one can understand the impact that they are likely to have in the country. It is also important to understand the crucial role that is played by the trade union and their function in the country. The 1999 Employment Relations Act in Britain was a significant step in marking the recovery of the political influence held by the trade unions. This came after many years of exclusion from the process of polic y making. The act has also been important in that it has stimulated the increase in the organization of unions, and helped the trade unions in getting recognition from the employers. The act has also paved way for the trade unions to adopt policies that are aimed at increasing their membership across all sectors of the economy. There are however many limitations to the influence that trade unions wield on the Labor government in Britain. While the trade unions have an opportunity to engage the government in dialogue over various labor policies, the government often ignores many of the ideas and representations of the trade unions. The trade unions also find it

Performance Management Activities

Performance Management Activities PERFORMANCE MANAGEMENT SYSTEM Performance management includes activities to ensure that goals are consistently being met in an effective and efficient manner. Performance management can focus on performance of the organization, a department, processes to build a product or service, employees, etc. Information in this topic will give you some sense of the overall activities involved in performance management. Then you might enhance your understanding by reviewing closely related library topics referenced from the sidebar. IMPORTANCE OF PERFORMANCE MANGEMENT SYSTEM Setting up a good performance management system doesnt happen overnight or by accident. You need to consider its design and carefully plan how it will work before managers begin using it to evaluate employees. Benefits Managing employee or system performance facilitates the effective delivery of strategic and operational goals. There is a clear and immediate correlation between using performance management programs or software and improved business and organizational results. A performance management system should provide employees with these four basic benefits: A clear understanding of job expectations Regular feedback about performance Advice and steps for improving performance Rewards for good performance 4 Key Benefits of Performance Management system 1. PM focuses on results, rather than behaviors and activities A common misconception among supervisors is that behaviors and activities are the same as results. Thus, an employee may appear extremely busy, but not be contributing at all toward the goals of the organization. An example is the employee who manually reviews completion of every form and procedure, rather than supporting automation of the review. The supervisor may conclude the employee is very committed to the organization and works very hard, thus, deserving a very high performance rating. 2. Aligns organizational activities and processes to the goals of the organization PM identifies organizational goals, results needed to achieve those goals, measures of effectiveness or efficiency (outcomes) toward the goals, and means (drivers) to achieve the goals. This chain of measurements is examined to ensure alignment with overall results of the organization. 3. Cultivates a system-wide, long-term view of the organization. Richard A. Swanson, inPerformance Improvement Theory and Practice(Advances in Developing Human Resources, 1, 1999), explains an effective performance improvement process must follow a systems-based approach while looking at outcomes and drivers. Otherwise, the effort produces a flawed picture. For example, laying off people will likely produce short-term profits. However, the organization may eventually experience reduced productivity, resulting in long-term profit loss. 4. Produces meaningful measurements These measurements have a wide variety of useful applications. They are useful in benchmarking, or setting standards for comparison with best practices in other organizations. They provide consistent basis for comparison during internal change efforts. They indicate results during improvement efforts, such as employee training, management development, quality programs, etc. They help ensure equitable and fair treatment to employees based on performance PERFORMANCE MANAGEMENT SYSTEM A Performance Management System enables a business to sustain profitability and performance by linking the employees pay to competency and contribution. It provides opportunities for concerted personal development and career growth. It brings all the employees under a single strategic umbrella. Most importantly, it gives supervisors and subordinates an equal opportunity to express themselves under structured conditions. Managing this process effectively isnt easy. It calls for a high level of co-ordination, channeled information flow, and timely review. Whether employees are at a single place, or spread across multiple locations, the use of technology can help simplify the complete process for more effective information management. Customize Performance Management to Fit Global Cultures Experts say companies often impose an American style of performance management on employees based in other countries, even when such a system conflicts with local cultural norms. A better approach, they say, is to adapt the system to fit the culture. U.S. firms pick up their existing performance management program philosophy, intent, forms, everything and try to force-fit them into non-U.S. cultures, forgetting that the nature of the employer/employee relationship varies widely from place to place, But this is a mistake. What works in Dallas might not work so well in Dalian or Dubrovnik. In some cultures you simply cannot transpose culturally offensive management styles. The 360-degree approach is a good example of this. It requires a fundamentally egalitarian mindset and value system in order to be effective. Its a rather Western concept to evaluate performance management scientifically and with a process that is valid and reliable and rational company. The management and assessment of performance has always been done [around the world], but its been done more intuitively and organically, and not in a rational, organized process. In the West that people will say things clearly, that are problems, and thats not the case in many other cultures around the world. However, because the American business model is accepted and admired, many companies outside the United States will simply accept the American way of doing business rather than expecting to have practices adapted to fit their culture, said A good performance appraisal process is an integral part of the performance management system and it works seamlessly with the other components. This article takes a holistic approach to performance management and gives an overview of the components. A performance management system has the following components and interfaces: goal-setting, regular reviews, annual appraisal, development process and linkages to other systems. Goal-setting This process is the foundation for a good performance management system. It brings in the clarity required to deliver the required results. The organizations expectations are set in the form of â€Å"key result areas† (KRAs), along with strong indicators of the required standards (also termed â€Å"measures of performance†). The benefits of giving clear directions are many. It helps increase productivity by enabling people to focus on the requirement; it minimizes frustration and enables employee satisfaction. Regular reviews Reviews are a critical component of the system. Reviews give timely feedback to the individual. It is important to schedule formal reviews during the course of the year. These can be half-yearly or quarterly depending on the need. Structured mid-term reviews enable the organisation to take stock of the performance during the given period. It gives the individual an opportunity to discuss his/her achievements during the given period and to look at areas of improvement. In a dynamic environment, it is important to keep abreast of market situations. Reviews can be utilised to make midcourse correction in the KRAs. It is possible that the macro environment has changed and that some of the objectives have to be reviewed. For example, certain sectors in the economy may be doing extremely well and the organisation may see a need to review sales numbers based on these indicators. Reviews need to be structured on a regular basis to ensure that there are no surprises in the annual appraisal. Regular and structured reviews are a critical component of the performance management system and this is essential to ensure that the performance management system is not the same as the annual performance appraisal. As a part of this sub-system, we have processes such as coaching, mentoring, performance improvement plans, etc. Annual appraisal A typical appraisal system could be designed on one of the following Confidential report: The report is written by the supervisor and is, typically, not shown to the individual. Decisions, such as promotions and changes in compensation are made, based on this report. Report by supervisor that is shown/given to the individual and discussed. Self-appraisal by the individual, value-added comments by the supervisor and a discussion: In this system, the individual writes a self-appraisal vis-à  -vis KRAs set at the start of the year. The manager adds his or her comments. Organisations follow one of the following methods of ratings-(a) rating given by the manager or (b) the individual and the manager give ratings and the organisation has a mechanism to deal with differences between the two. There is an opportunity for the individual and the manager to discuss the contents of the appraisal. People working in the software industry or in a project environment may raise a question about the relevance of the annual appraisal. Then there are also professionals who work with different project teams during the course of the year. In this case we could have reviews signed-off at the end of each project. These could be collated at the end of the year to look at overall performance and linkages to other systems. Development plan This pertains to the training and development sub-system. A part of the development plan stems out of the annual appraisal. This is the result of the areas of improvement that emerge from the appraisal and competencies required for new roles, if relevant. A good training and development process will also take the necessary inputs from the organisations business plan. This is required if the organisation is investing into new business or entering new markets. Linkage to rewards system Linkages to processes such as compensation, rewards, progression and successionplanning-the performance appraisal system, in many organisations, has a link to the rewards system. Individuals judge the performance management system and the culture of the organisation based on the message sent by the rewards system. If the rewards system recognises individual contribution and ignores contributions made to team objectives, the people in the organisation start focusing on individual tasks. Therefore, linkage to many of these systems need to be contemplated upon, articulated to the people and implemented with consistency. MEANING OF PERFORMANCE APPARISAL Performance appraisal system has been defined in many ways. The simplest way to Understand the meaning of performance appraisal is as follows: â€Å"A regular and continuous evaluation of the quality, quantity and style of the Performance along with the assessment of the factors influencing the Performance and behavior of an individual is called as performance Appraisal.† Performance appraisal also means an appraisal of the growth potential of an Employee, with a view to providing information to the organization leading to positive Action and enabling feed-back to the individual aimed at his performance Improvement, personal growth and job-satisfaction. In short, we can say that Performance appraisal is expected to result in an assessment of: Growth potential of the employees; Corresponding training needs for the employees; Capabilities for their placement in higher posts, Conduct and discipline of the employees; and The need of the organization to evolve a control mechanism OBJECTIVES OF PERFORMANCE APPRAISAL The main objective of the system of performance appraisal is to reward those who are Working efficiently and honestly in the organization. At the same time, it also aims at eliminating those who are inefficient and unfit to carry out their responsibilities. It has to be done almost continuously, so that no injustice is done to a deserving individual. It is, therefore, necessary to clearly define the organizational objectives, targets and priorities. It is further necessary to define clearly the rote and responsibilities of the persons involved in the functioning of the organisation. Performance appraisal also aims at helping the management in carrying out their tasks more effectively. A sound system of performance appraisal results in framing: A sound selection ?policy. An effective promotion and placement policy; An improved system of career and manpower planning; A realistic training programme; A good reward and punishment system; and An effective system of control and discipline in the organization. These elements are essential for any modern management system. No country can neglect them for long. We can thus say that the main objectives of performance appraisal are as follows: To carry out a fair and impartial assessment of the quality, quantity and stvle 01 the work performance of the individuals working in the organisation. To assess the extent of the various factors which influence the performance of the individuals. To reward the capable and efficient employees. To provide opportunity for improvement of their potentialities to those who are less capable and efficient. To make optimum utilisation of the available human resources for the fulfilment of the organisational goals. To help management in evolving and framing sound policies and programmes relating to selection, placement, promotion, training, discipline, control and man Global Trends in Performance Appraisal Program The performance appraisal process has become the heart of the human resource management systemin the organizations. Performance appraisal defines and measures the performance of the employees and the organization as a whole. It is a tool for accessing the performance of the organization. The important issues and points concerning performance appraisal in the present world are: The focus of theperformance appraisalsis turning towards career development relying on the dialogues and discussions with the superiors. Performance measuring, rating and review systems have become more detailed, structured and person specific than before. Performance related pay is being incorporated in the strategies used by the organizations. Trend towards a360-degree feedbacksystem The problems in the implementation of the performance appraisal processes are being anticipated and efforts are being made to overcome them. In India, the performance appraisal processes are faced with a lot of obstacles, the most prominent being the lack of quantifiable indicators of the performance. GLOBAL TRENDS The emergence of following concepts and the following trends related toappraisal can be seen in the global scenario: 360 Degree Appraisal 360 degree feedback, also known as ‘multi-rater feedback, is the most comprehensive appraisal where the feedback about the employees performance comes from all the sources that come in contact with the employee on his job. Organisations are increasingly using feedback from various sources such as peer input, customer feedback, and input from superiors. Different forms with different formats are being used to obtain the information regarding the employee performance. Team Performance Appraisal According to a wall street journal headline, â€Å"Teams have become commonplace in U.S. Companies†. Most of theperformance appraisal techniquesare formulated with individuals in mind i.e. to measure and rate the performance of the individual employee. Therefore, with the number of teams increasing in the organizations, it becomes difficult to measure and appraise the performance of the team. The question is how to separate the performance of the team from theperformance of the employees. A solution to this problem that is being adopted by the companies is to measure both the individual and the team performance. Sometimes, team based objectives are also included in the individual performance plans. Rank and Yank Strategy Also known as theâ€Å"Up or out policy†, the rank and yank strategy refers to the performance appraisal model in which best-to-worst ranking methods are used to identify and separate the poor performers from the good performers. Then the action plans and the improvement opportunities of the poor performers are discussed and they are given to improve their performance in a given time period, after which the appropriate HR decisions are taken. Some of the organisations following this strategy are Ford, Microsoft and Sun Microsystems. Global Variations In the United States it is common for each employees performance over the previous six months or year to be documented and followed by a one-on-one meeting between the employee and their supervisor, at which time the employee will receive their rating and discuss expectations for the next rating cycle. In some cases employees are expected to complete a self-appraisal, which might be factored into their review, while in other cases feedback from peers and customers might be included as part of a 360-degree assessment of an individuals performance. Though far from perfect, and often dreaded, the American performance appraisal process suits the American culture, which is regarded as highly individualistic and egalitarian. For example, in the Unites States the performance rating is often used to determine pay. The basic belief in the acceptability, the rightness, the virtue of pay for performance. â€Å"Those who contribute the most should get the greatest rewards.† In the U.S. employees tend to rate themselves and others very highly, such as a 4 or a 5 on a 5-point scale-using an â€Å"everyone gets a prize†. In many European cultures the highest rating might be a 3, and in Asian cultures they wouldnt rate themselves. A pay-for-performance system is inappropriate in cultures that focus on interpersonal relations and collectivism. In Japan compensation is not based on performance. In fact, its hard to identify the individual performance, because the focus is the team. â€Å"If an individual were identified as performing so well that they got compensation in return for it, it would be anathema to the groups collaborative ethos.† In some countries, such as Korea and Germany, use performance management processes that closely parallel those used in the United States. The same is true for France, though he noted that there is less of a connection between performance and pay in that nation. However, the Japanese and American processes have â€Å"diverged significantly† over the years. The Japanese system is frequently, and even intentionally and openly, used as a means of discriminating against ‘undesirable employees, a practice that is prohibited under U.S. civil rights laws. And although the performance appraisal process involves filling out the appraisal form and discussing it with the employee, In Japan the appraisal process often involves only the completion of the form without the discussion between boss and subordinate of the results of assessment. Those who work in the U.S. often put a great deal of value on the information that comes from 360- degree feedback, according to. But in a country like India-which tends to be more collective than individualistic and which embraces a high-power distance, or inequality of power, there is less value placed on the opinions of others and it would be seen as inappropriate culturally to ask employees to fill out a questionnaire on their boss. Similarly it would be difficult to implement a system that includes self-appraisal in cultures that are defined as collaborative, consultative and consensus oriented. People simply dont speak in the capital I and are very uncomfortable doing so. â€Å"In a culture like China or Japan, asking a person to speak about themselves in a way that is honest and direct and that will be appraised by their superiors is a waste of time.† And in some cultures, a face-to-face performance meeting never takes place. In severely hierarchical cultures where the boss is expected to just tell you what they think, there may not be a direct conversation. â€Å"They may communicate through a mediator to help save face.† Filipino managers engage in a practice called â€Å"smooth interpersonal relations.† If a boss has a problem with one of his subordinates, he wont talk directly to the subordinate about it, hell instead tell his wife because he knows his wifes cousins hairdresser is related to the problem employee. In other cultures, managers and employees go out for a drink periodically and chat informally about problems at work. The end result is that the manager knows and has a good sense of the performance of the individual, but if you ask them to assess the employee on a scale of one to 10 they cant do so. â€Å"There is a dependent relationship in Asian cultures. Employees depend on leaders to help them solve work-related problems. â€Å"Thats at odds with Western cultures where staff members solve things on their own.† In some cultures the relationship between the manager and subordinate is so close and ongoing that its sort of like a parent/child relationship. Managers know how employees are performing and give them feedback on a regular basis. A Look at India The business culture in India varies depending on whether it is a family-held business, an Indian company or a Western or American multinational organization, and that affects the nature of the performance management process, according to Nirmala Menon of Interweave Consulting Pvt. Ltd., a diversity consulting firm in Bangalore, India. â€Å"As most Indians are socialized to be hierarchy oriented, this often tends to spill over into the workplace,† Menon told SHRM Online. â€Å"In family-owned or the more traditionally-run organizations, the boss or manager often takes the position of the father in the family.† Organizations rely heavily on informal feedback from the senior person, which might be given indirectly and which is absorbed by the one for whom it is meant and others, Menon added. Menon says this means that the employees career growth is the bosss responsibility. â€Å"The expectation then is that â€Å"Father knows best† and what is conveyed is accepted even if they are in disagreement,† she said. â€Å"Evaluations are therefore often influenced in such situations by the deference shown to the boss and the level of loyalty exhibited; compliance more important than performance.† But Menon said that modern Indian organizations and multinational corporations, particularly IT and telecommunications firms, generally adapt to the global value systems of their companies. As a result, evaluations tend to be more structured and include face-to-face meetings, she said, followed by a written document signed by employee and manager and which typically incorporates input from peers and customers to substantiate the rating. â€Å"While indirect feedback also exists in these organizations, given the heightened awareness of a fair and professional environment, there is more acceptance and expectation of a documented communication, keeping in mind the objectives for the period under review,† Menon added. Annual Performance Appraisal and Evaluation in Indonesia Early in the 20th century, the biggest job as a managers is to teach a newly hired employee to fail intelligently to experiment over and over again and to keep on trying and failing until learns what will work. As we begin 2004, many companies are struggling with the issue of employee appraisal and evaluation. While generally adopted in most western-based business cultures, such employee review and appraisal in Indonesia can be fraught with misunderstandings as to purpose and methodology, be filled with accusations of impartiality, and be slowed by hesitation to formally criticize a subordinate. This issue comes up in easily 95 percent of my cross-cultural training programs. American companies normally wish to establish some sort of review procedure but once they begin addressing how to actually institute the process and decide what direct benefits they wish to see, they often become bogged down. The threshold question then is whether a foreign company should even try to implement such a system. There are several cultural barriers to such a system here. Among them is the difficulty with direct communication with employees and also the ‘saving up of problem areas until a later time. Direct communication is difficult for most Indonesians. Indonesians generally adopt an indirect approach to problem solving to avoid the possibility of confrontation and the disruption of office harmony. The preservation of such office harmony being a prime Indonesian business value, of course, and one often having priority over work performance. Also in Indonesia an erring employee or other problem situation is addressed as soon as possible, albeit in an indirect and non-blame pointing way, and then forgotten. To bring the subject up again at some review several months later is going to be considered inappropriate. For these two reasons, individual performance appraisals tend to have the following pattern: An employee comes in to the meeting with some misunderstandings or perhaps anxiety about what will be discussed and how it will affect their career. The supervisor can go over the ‘good qualities of the employee without difficulty. However, when the supervisor begins discussing areas that ‘may need improvement there is normally an attitude change on the part of the employee with him or her becoming either defensive or submissive. In other words, the employee may either disagree with the supervisors assessment or else may ask something like â€Å"Why are you doing this to me? I thought that we had a good working relationship. I did not realize that I was letting you down so badly. Do you want me to resign?† The supervisor then is in the position once again of explaining the purpose and objective of the assessment process. In general, annual performance evaluations and reviews tend to be disruptive to the Indonesian office. In my opinion, companies should focus on immediate feedback and reprimand, if needed, and not use the annual approach. Another difficulty is the cultural reluctance for some Indonesian managers to formally and in writing criticize their own subordinates. I often hear the example of the expatriate manager who has had one of his direct reports complain often about the performance of his own subordinates. However, when it comes time for the annual review, the direct report submits an outstanding report on that same subordinate. The decision to have annual performance evaluations and reviews may not be up to the Indonesian subsidiary of a multi-national company. Home office may dictate such a policy and the local companys only choice is how to implement. There seem to be three basic approaches to this situation. First is to just go through the motions, telling your employees that ‘this is a Western thing. It will not affect your salary or career, which basically voids the process. Second, you can use the information to provide training and education of the employees turning the evaluation process into a kind of reward system. Third and most difficult, is the attempt to fully implement and effectively use this Western evaluation tool. It can and has been successfully implemented by a number of American companies operating in Indonesia, but it does need the directed will of the top management along with allocated resources and training to be successful. At the very least, there must be a significant training period to help your employees understand what the process is and, more importantly, how it will affect them. Year one should involve a formal introduction to the process with written, quantifiable criteria for the evaluation. Year two should include mock appraisals that do not have any effect on the career of the employee. Year three could see the first recorded appraisals. Once the process is institutionalized, new employees will be told by their colleagues about this strange and foreign system and what to expect. It then becomes part of your ‘third corporate culture. Any attempts to speed up the process are often seen as arbitrary and unfair. Further, you should definitely expect such accusations of being arbitrary and unfair if you take the next step after the evaluation process and tie the appraisal into bonuses or salary increases. Such performance-based bonuses or salary increases are pretty much in direct opposition to the Indonesian business values of the group working together and maintaining office harmony. Traditionally, the ideal Indonesian employee is one who is loyal to the boss for a long time. In other words, loyalty and seniority are the prime attributes, and by loyalty, I mean personal allegiance to the boss, not to the corporate entity. Pointing out a specific employee and emphasizing the fact that he is superior to and a better employee than those he or she works with on a daily basis is going to be disruptive to the office and embarrassing to the individual. For instance, if you have an annual office party or awards dinner for your staff and you say something like: â€Å"Now here is Budi who outperformed everyone else in our office and we are giving him a new TV.† The polite clapping of his co-workers is going to be overshadowed by thoughts of ‘traitor and plots for revenge against the award winner. If you bring up another employee and say ‘Now here is Bambang who has worked for our company for 10 years and we are giving him a new TV, Bambang will bask in the limelight and his co-workers will no doubt truly admire his accomplishment. The difference being that Bambang was rewarded for seniority, while Budi was rewarded for violating basic Indonesian business values. One should not expect the same confidentiality of salary information in Indonesia that one might expect in the home country. We joke that on the day performance bonuses are given, the employees exchange pay stubs in the canteen. Even if the situation is not that extreme, you can be sure that most people in your office know what each other has received, and those employees with more seniority may soon be in your office asking for a bigger bonus or larger salary increase. You may then once again be explaining the companys policy on performance appraisals and evaluation but this time be met with defensive and even hostile disagreement as to whom was the better worker. Allegations that the companys criteria for awarding bonuses or salary increases is unfair and arbitrary and lacks understanding of the situation in Indonesia may be made. Employees have certainly used the conflict resolution strategy of ‘appeal to authority to resolve these disagreements going to the country manager complaining that their supervisor is acting improperly. There have also been cases of employees going to Indonesian government departments like Manpower or Immigration complaining about their expatriate supervisor. With the current priorities in these departments, such complains have resulted in the early repatriation of expatriate supervisors. The process of annual performance appraisal and evaluation of Indonesian employees is not one that foreign companies should enter into lightly. The implementation of this very Western-based management tool should be well thought out and supported by top management. Alternatives exist that may be better suited to your companys long-term success in Indonesia. Encouraging employee performance and addressing areas of weakness remain a good m

A Proposal to End Alcoholism Essay -- Alcohol Addiction Alcoholism Ess

A Proposal to End Alcoholism   Ã‚  Ã‚  Ã‚  Ã‚  In today's day and age, people are beginning to have more and more problems with things that barely even impacted on our world many years ago. Sometimes, however, people don?t even realize that they have a problem and are disturbing not only other people, but also themselves. Alcoholic beverages have slowly wedged themselves into today's society as something that is causing many people problems and drama in their lives. A problem like alcoholism is something that should, and can be, stopped and controlled. With today's modernization and rapid increase of knowledge of medicine and the human body, I have created an idea that could possibly stop the problem of drinking, and the addiction that it creates.   Ã‚  Ã‚  Ã‚  Ã‚  Alcohol is considered a drug for multiple reasons. People, when under the influence, can get either very angry, or are all-around happy people. However, it usually unfolds in the event that when they become happy drunks, they become very grumpy and mean people when they are sober, usually looking for getting more alcohol. Alcohol also ruins people?s bodies, especially their liver. It can impact their body so much that it sometimes brings them to death. People also make very un-educated decisions when they are drinking, and sometimes even when they are sober. When people are under the influence of alcohol, they make bad decisions like driving, even though they can?t see straight, becoming loud, and sometimes even too rowdy. However, ev...

Lady Gaga: Gender in “Love Game”

Justine Burke Professor Adigweme Rhetoric 10:03:145 9/24/10 Lady Gaga: Gender in â€Å"Love Game† Many artists today are always trying to be somebody they are not. Their costumes are getting bigger and crazier than ever. One artist that exceptionally stands out in the crowd of performing artists is Lady Gaga. Every costume she wears, every move she makes becomes more epic every time she is seen. Most of the costumes she wears hide her identity and it is unknown who she is really trying to be.In â€Å"Love Game,† Lady Gaga’s gender is being questioned by the lyrics and image of the frame, by the subjectiveness in the video, by tweaking others’ work into hers, how the clothing and lighting give symbols to her gender, and who she is ultimately trying to be. Gender is a huge question in the text of this song. According to the lyrics and image of this frame, Lady Gaga is playing her love game with her candidates. They are in a dirty subway station with the ligh ts of two trains behind them illuminating the frame.Gaga is clearly the center of attention where everyone wants to win her over. She wants to know if the â€Å"subject† who could be male or female, will actually like her for her, or if the subject just wants the fame. When it is said â€Å"Let’s have some fun, this beat is sick,† the energized dancing and the careless crotch grabbing in the choreography shows that Lady Gaga and her subjects are simply having fun dancing to the beat.With the words â€Å"I wanna take a ride on your disco stick,† would normatively be seen as a woman’s line, but if Lady Gaga is playing the gender game in her video, like she is in the middle of the video by kissing both a male and a female, then she could ultimately be a male speaking that line to another male. Gaga indicates her subject to be a male with the line â€Å"guess he wants to play. † She doesn’t want to get too emotionally close with this man because she’s still not sure if he’s going for her love or with her game of touching and kissing and sex for the fame. No matter what Gaga’s subjects are searching for, whether it is love or fame, they are dancing very subjective towards her. They all want to win her over as she is letting them dance on and around her anyway they want. The men are suggestive towards her by grinding on her, giving her suggestive looks, and by chasing her. Lady Gaga shows this by wearing very little clothing, twirling her hair around, and letting the men dance and grind on her. A lot of the main choreography symbolizes Michael Jackson’s work. * Lady Gaga seems to symbolize others’ work a lot.Such as Grace Jones’ work. Grace Jones is a model, actress, and a singer/performing artist. When comparing the outfits she used to wear to the outfits Lady Gaga wears today, she clearly seems to be copying Grace Jones. Jones said, â€Å"I’ve seen some things sheâ⠂¬â„¢s worn that I’ve worn, and that does kind of piss me off. † (Hattenstone). Lady Gaga also follows in the footsteps and appears to be copying actresses such as: Brigette Helm, Beyonce, and Madonna by wearing an outfit that symbolizes the Maschinenmensch in her video â€Å"Telephone. * Even though Gaga is always being accused of copying others’ work we have to respect her for what she does as music lovers. Lady Gaga is not copying older artists, she is being unique, tweaking great ideas that have not been touched in years, putting her swag on them, and making old idea’s into new and improved ideas. Lady Gaga says, â€Å"I eat, sleep, breathe, and bleed every inch of my work† (Vicks). This is clearly what Gaga does and proves that she loves every aspect of what she does and that is the kind of dedication one must have in order to be a performing artist.She clearly could not be working any harder at this point in her life as she is continuously ma king number one hits such as: â€Å"Alejandro,† â€Å"Love Game,† â€Å"Bad Romance,† â€Å"Paparazzi,† â€Å"Poker Face,† and â€Å"Telephone. † * One aspect in her hit â€Å"Love Game,† in this frame Lady Gaga is wearing a different color top than everyone around her and is in the center of the formation. This indicates from the text that it is her game and everyone else wants to win her over hoping to play the game with her. All of her performers are wearing dark clothes though.This indicates dirtiness and impurity. Another costume effect is that one of Gaga’s dancers and herself are wearing a small symbol of an SS Soldier uniform within their outfits. Often in video’s, performers act to be someone they are not. They personally do not have any connections with the Nazi’s, but they are indicating and symbolizing that they are trying to be someone they are not. For instance, Lady Gaga makes us question her gender in this video. Not knowing this information shows that her gender s unknown. * If something is unknown it is put in the dark, like a mystery. The low lighting in the frame symbolizes the mystery of Lady Gaga’s gender and who she is trying to be in this video. The darkness also symbolizes the dirty and impure subway. Now that it is the end of the video and she has been through the subway she is impure and the darkness symbolizes this. These men are druggie type of men whom are stereotypically looking for specific things, like women and drugs, all for their pleasure.There are many different types of subjects in the world and this is where Gaga chooses to look for her subject. The light that is shining through is simply used to illuminate the dancers. Or, it also symbolizes more trains coming for the game to start all over again. * Subways are dark places at night and there can be isolated groups of people in them. Lady Gaga and her subjects are the only ones at the subway stat ion and there is no one else around, like their own little group. This is a perfect opportunity for Gaga to choose her sexuality and the person she wants all to herself.Since there are so many different types of subjects and groups of people found at a subway station, Gaga could ultimately choose to be just like one of those people she may see. She can be whoever she wants. She chooses to be a male with the dance move she is performing. * There are so many different kinds of people in the world, especially in one of the biggest cities in America, New York City. This is where many subway stations are located that people hear about and have never used that aren’t from NYC.There are any type of persons and groups there such as: male, female, straight, queer, bisexual, performer, dancer, gang member, business man, student, etc. There are many different things in life that can veer someone to become any person they want to be and to choose their identity by. The norm at a place li ke this is to be different, unlike in a smaller city. It is a perfect place for the film to be shot. Even if this video was not shot in New York City, it still represents a place like it and all the identities that are found there.This is where the ultimate question falls. Who is Lady Gaga trying to be and who is she supposed to be? * Lady Gaga’s gender in this frame at the end of the video has turned into an impure male symbol. This identity is becoming more of a norm in society today, that is, homosexuality. This is what she is representing. Gaga is trying to make what isn’t normal in society, what isn’t safe, what isn’t in people’s comfort zone, what is completely outside of the box, and wants to make it the norm. She wants to make it all okay things to be and she is the one doing it.With this said Lady Gaga is one of the main artists that definitely stands out in the crowd. This makes her be able to do whatever she wants and not care how much s he gets judged. There was uncertainty about her identity in â€Å"Love Game,† but now it is analyzed who she is. * * * * * * * * *Works Cited * Hattenstone, Simon â€Å"Grace Jones: ‘God I’m scary. I’m scaring myself’† The Guardian (2010) * Vicks, Meghan â€Å"The Icon and the Monster: Lady Gaga is a Trickster of American Pop Culture† Gaga Stigma: Critical Writings and Art About Lady Gaga (2010)