Charter Against Abuse
Charter Against Abuse: Principles promoting good practice in Indian classical dance and music
Since the re-emergent #MeToo movement took off in 2017, Pulse has remained aware of the issue of abuse in educational and professional settings in the arts, particularly in Indian classical dance and music.
We have offered space on our public online platforms for victims-survivors to share their experiences anonymously. We have also felt humbled that other victims-survivors consider Pulse a trusted space where experiences can be shared in confidence.
We appreciate that victims-survivors might not feel able to make their experiences public for a variety of reasons, including legal action – exposure to defamation claims, for example. However, we stand by all victims-survivors of abuse, and understand that although not everyone will feel comfortable in sharing their experiences, this in no way invalidates them.
Power Structures and Types of Abuse
In any kind of educational and/or professional setting, be it nuclear or extensive, structures of power are inherent, whether they form organically or are implemented. The Guru-Shishya parampara is a relationship specific to Indian classical dance and music forms upon which the learning model and later professional relationships are typically based. This relationship can lead to significant enrichment and enlightenment for all parties, contributing progress to the art forms. However, shifts in the inherent power dynamic in favour of the guru as a source of knowledge, guidance and access to opportunities, can leave the shishya vulnerable to abuse and exploitation. It is therefore important to instil equity in the value of all who exist within such structures even if the weight of respective roles and responsibilities vary greatly. Through a conscious levelling of the value of all individuals involved, such environments are not only less likely to fall prey to abusive practices, but also more likely to encourage mutual respect and understanding.
There are several types of abuse, which can be categorised in different ways. Here is one example of a breakdown of the types which seem to be most prevalent in these contexts1:
- Emotional-psychological abuse
- Verbal abuse
- Grooming
- Physical abuse
- Sexual abuse
- Financial abuse
- Organisational abuse
- Bullying including cyberbullying
Charter Against Abuse: Principles promoting good practice in Indian classical dance and music
In our next step to empower and help protect students, participants, and professionals across the spectrum of relationships in educational and professional settings, Pulse presents this Charter. We hope that by specifying recommended practice and further safeguarding in these settings, the safety, health, and wellbeing of all will be better ensured.
In promoting this Charter, Pulse in no way endorses it as a replacement for any existing safeguarding policies or training which should be written-published and/or taken up by individuals, companies, and organisations operating in the dance and music sectors. The initiative to write this Charter has been taken in response to the systemic abuse in the Indian classical dance and music sectors globally, and only serves as supplementary guidance.
All those who sign this Charter do so to show their commitment to a safe environment, which nurtures learning, creativity and compassion; and to join a worldwide movement to end harassment, discrimination, violence and abuses of power.
The Charter
*respect (mentioned repeatedly below)
We believe that showing respect includes but is not limited to:
1. Not discriminating against, mistreating, or exploiting on the basis of any of the following: race (racism), skin colour (colourism), religion, sex, gender, sexual orientation, disability, socio-economic background, age or height and weight
2. Not abusing one’s position in relation to Participants and/or Colleagues which includes not engaging in any of the types of abuse listed above as well as the following:
2.1 Demonstrating democracy in the treatment of all
2.2 Not demonstrating preferential treatment towards any one individual or number of individuals to the psychological and emotional detriment of any other individual or number of individuals
3. Appreciating individual preferences and boundaries
4. Demonstrating kindness, patience, and empathy
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1. Teachers/Tutors/Activity Leaders (from now on referred to as Activity Leaders)
Note: Students and Participants will be referred to as Participants from now on
1.1 Activity Leaders should treat all Participants and Colleagues with respect* at all times during and outside of Classes/Activity Sessions
1.2 Activity Leaders should only teach material and distribute resources that are deemed age-appropriate during Classes/Activity Sessions
1.3. Any themes which may be triggering, including but not limited to, sexual abuse, emotional abuse, violence and trauma, homophobia, transphobia, and racism, in relation to the context or subtext of any materials and resources distributed should be flagged up in advance of all relevant Classes/Activity Sessions by email to all Participants or their Parents/Guardians if they under the age of 18 or a vulnerable adult
1.3.1 For Participants under the age of 18 or vulnerable adults, Parents/Guardians should be ask to review the potentially-triggering material and/or resources in advance of all relevant Classes/Activity Sessions so that there is time to opt out
1.4 The context or subtext of any material taught or resources distributed in Classes/Activity Sessions should not be edited, misconstrued or omitted to evade clauses 1.2 and 1.3
1.5. The context or subtext of any material taught or resources distributed in Classes/Activity Sessions should not be edited, misconstrued or omitted to evade clauses 1.2 and 1.3
1.5 Activity Leaders could also create a safe, voluntary space for Participants where they may express concerns and ask questions around any potentially-triggering material and/or resources and in return be offered insights into the material and/or resources based on the comfort levels of the Participant(s). Engagement with the material and/or resources in this safe space would not signal consent to engage with the material and/or resources in a different context. Participation in this space would need to be granted by a Parent/Guardian for Participants who are under the age of 18 or vulnerable adults.
1.6. On top of having Safeguarding and Child Protection Policies in place and undergoing vetting and barring checks before any work with children or vulnerable adults can commence, whether in a group or one-to-one setting, Activity Leaders should also write up a Code of Conduct to clearly set out appropriate behaviour, mitigate any safeguarding risks, and/or avoid misunderstandings or allegations around conduct during Classes/Activity Session. These Codes of Conduct should be read by all Participants and their Parents/Guardians if under the age of 18 or a vulnerable adult, as well as be signed by Parents/Guardians. It might also be helpful to write a separate Code of Conduct which would be followed by all Participants whether they are children or adults, vulnerable or not.
1.7. Activity Leaders should have written consent from Parents/Guardians of Participants who under the age of 18 or vulnerable adults before leading in any one-to-one Classes/Activity Sessions
1.8. Activity Leaders should present up to date Enhanced Disclosure and Barring Service Check Certificates, even if not requested, to Parents/Guardians of any Participants under the age of 18 or vulnerable adults before commencing any group teaching or one-to-one Class/Activity Session
1.9 Activity Leaders should not demand, or even expect, Participants to undertake favours or tasks during or outside of Classes/Activity Sessions which have no bearing on the advancement of the Participant’s learning or engagement
1.10 Any cause for disciplinary action of a Participant under the age of 18 or a vulnerable adult must be discussed and reviewed first with at least one Colleague, the Parent/Guardian of the Participant, and any other authority deemed suitable for the alleged cause
1.11 Activity Leaders should not demand, or even expect, Colleagues to undertake favours or tasks during or outside of Classes/Activity Sessions which have no bearing on the advancement of the Colleague’s work
1.12. Activity Leaders should not share any personal information of Colleagues with third parties prior to getting consent
2. Students and Participants (referred to as Participants)
2.1. Participants should treat other Participants with respect* at all times during and outside of Classes/Activity Sessions
2.2 Participants should never feel obliged to undertake favours or tasks during or outside of Classes/Activity Sessions with the promise of or in exchange for preferential treatment from Activity Leaders or other Participants
2.3. Participants who are under the age of 18 or vulnerable adults should have written consent from a Parent/Guardian to take part in any one-to-one Classes/Activity Sessions whether one-off or regular
2.4. Participants under the age of 16 or vulnerable adults should be accompanied to all one-to-one Classes/Activity Sessions by a Parent/Guardian who should be welcomed to wait at the venue of the Class/Activity Session for its duration
3. Choreographers/Composers/Conductors/Movement Directors/Producers (C/C/C/MD/P)
3.1. C/C/C/MD/P should treat all Participants and Colleagues with respect* at all times during and outside of Rehearsal/Creation/Performance Sessions
3.2 On top of having Safeguarding and Child Protection Policies in place and undergoing vetting and barring checks before any work can commence, whether in a group or one-to-one setting, C/C/C/MD/P should also write up a Code of Conduct to clearly set out appropriate behaviour, mitigate any safeguarding risks, and/or avoid misunderstandings or allegations around conduct during Rehearsal/Creation/Performance Sessions. These Codes of Conduct should be read by all Colleagues and Participants plus their Parents/Guardians if they are under the age of 18 or vulnerable adults, as well as be signed by Parents/Guardians.
3.3. C/C/C/MD/P should present up to date Enhanced Disclosure and Barring Service Check Certificates, even if not requested, before commencing any group or one-to-one Rehearsal/Creation/Performance Sessions to the Parents/Guardians of any Participants who are under the age of 18 or vulnerable adults
3.4. C/C/C/MD/P must not demand, or even expect, any Colleagues to undertake favours, tasks or work during or outside of Rehearsal/Creation/Performance Sessions, which have not been specified in contractually-agreed terms
3.5 Any themes surrounding any pieces of work, which may be triggering, including but not limited to, sexual abuse, emotional abuse, violence and trauma, homophobia, transphobia, and racism, in relation to the context or subtext of materials or resources should be flagged up in advance of all relevant Rehearsal/Creation/Performance Sessions
3.6 C/C/C/MD/P should not judge, mistreat or penalise Colleagues or Participants for not wanting to take part in Rehearsal/Creation/Performance Sessions as a result of potentially-triggering themes. Furthermore, if a Colleague is wanting to step down from engagement/employment as a result of not feeling comfortable with the material in any way, appropriate remuneration for any work completed up until that point should be honoured.
3.7. C/C/C/MD/P could also create a safe, voluntary space for Colleagues and Participants where they may express their concerns and ask questions around any potentially-triggering content and in return be offered insights into the content based on the comfort levels of the Colleagues and Participants. Engagement with the content in this safe space would not signal consent to engage with the content in a different context.
4. Temporarily engaged Professionals/Employees (from now on referred to as TEPE)
4.1. TEPE should never feel obliged to undertake favours, tasks or work, which have not been specified in contractually-agreed terms, during or outside of Rehearsal/Creation/Performance Sessions, in exchange for preferential treatment from any Colleagues
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Footnote:
1. Types of abuse: http://www.sabberkshirewest.co.uk/public/types-of-abuse/ and https://www.nspcc.org.uk/what-is-child-abuse/types-of-abuse/
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This Charter has been written by Parbati Chaudhury with the support of Pulse and feedback from various generous individuals. This initiative was inspired by another which can be found here: https://www.engagementarts.be/en/ It is a working document so feedback is welcome. Please do remember that this Charter is to supplement safeguarding and child protection measures so it does not encompass nor can it replace that branch of policy. It is hoped that dance and music schools, companies and organisations will embrace this Charter in revisiting their approaches to care and against abuse in Indian classical dance and music. Any updated versions will be distributed to those who sign it as soon as possible with consent for endorsement requested again.
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Useful links in the UK
NSPCC: Learning
https://learning.nspcc.org.uk/
National Bullying Helpline
https://www.nationalbullyinghelpline.co.uk/contact.html
Childline (for children up to age 19)
Reporting a crime or incident
https://www.police.uk/pu/contact-the-police/report-a-crime-incident/
Different ways to report a crime or incident
https://www.victimsupport.org.uk/crime-info/reporting-crime/
Help if you’re a victim of rape or another form of sexual assault
https://www.citizensadvice.org.uk/family/gender-violence/rape-and-sexual-assault/
Other resources
‘No one should have the privilege to walk away from behaving abusively, unscathed, by default, because they are an expert at what they do.’
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‘In a professional environment where there are few professional avenues to begin with, those of us who take the initiative to make our own opportunities, who treat their colleagues with consideration, and who demand respect for themselves are the ones who end up with truly fulfilling careers, personal and artistic integrity and uncompromising lives. A big part of me wishes that I had realized this earlier, that we would communally empower ourselves by more readily understanding this reality in practical terms. As uncomfortable as it may be to make the change, I profoundly believe that truth makes a better artist, that the effort is worth it in the end.’
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Code of Silence: A call to action to address and prevent abuse in dance communities
By Marie France Forcier
https://www.thedancecurrent.com/feature/code-silence
