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	<title>Comments on: Dance Lessons: A Comparison of Precarity and Contingency in Contemporary U.S. Choreography and Ethnography</title>
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	<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/</link>
	<description>Notes and Queries in Anthropology</description>
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		<title>By: Layrel</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733432</link>
		<dc:creator><![CDATA[Layrel]]></dc:creator>
		<pubDate>Sat, 21 Jul 2012 06:45:27 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733432</guid>
		<description><![CDATA[Absolutely 100% agree about the differences in the how casualization of labor and the exploitation of labor manifest themselves differently in the domains of manual and/or service labor vs knowledge work. That is partly what I meant to allude to when I talked about the &quot;broad and deep processes of exploitation far beyond its boundaries.&quot; Guess I could&#039;ve been more explicit-- thanks for bringing the contextual aspects of &quot;flexploitation&quot; to the fore -- and thanks also for the cites!]]></description>
		<content:encoded><![CDATA[<p>Absolutely 100% agree about the differences in the how casualization of labor and the exploitation of labor manifest themselves differently in the domains of manual and/or service labor vs knowledge work. That is partly what I meant to allude to when I talked about the &#8220;broad and deep processes of exploitation far beyond its boundaries.&#8221; Guess I could&#8217;ve been more explicit&#8211; thanks for bringing the contextual aspects of &#8220;flexploitation&#8221; to the fore &#8212; and thanks also for the cites!</p>
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		<title>By: John McCreery</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733420</link>
		<dc:creator><![CDATA[John McCreery]]></dc:creator>
		<pubDate>Sat, 21 Jul 2012 00:50:20 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733420</guid>
		<description><![CDATA[&lt;i&gt;What resonated with me in Martin and Bourdieu’s discussions of flexibility was the ways in which this pervasive and positively-valued idea of flexibility can be a cover for really deep and broad exploitative processes that reach far beyond the realm of knowledge work.&lt;/i&gt;

For me, other critical sources in considering this problem include George Ritzer (1993) &lt;i&gt;The McDonaldization of Society&lt;/i&gt;, Robert Reich (1992) &lt;i&gt;The Work of Nations&lt;/i&gt;, and Daniel Pink (2005) &lt;i&gt;A Whole New Mind&lt;/i&gt;. To me, all three point to the need to examine flexibility in light of class differences and employer and employee perspectives. To be an unskilled worker in a large pool of unemployed confronting employers who are trying to minimize their obligations is not, I suggest, the same situation as that of a smart knowledge worker facing a situation in which opportunities along the dream career path are shrinking, but others are opening up along other (sometimes morally dubious) paths. The situations of someone young and single, starting a new family, or with kids in college, mortgages to pay and elderly parents to care for also differ in ways that strongly inflect the implications of flexibility, on both the employee and employer sides.]]></description>
		<content:encoded><![CDATA[<p><i>What resonated with me in Martin and Bourdieu’s discussions of flexibility was the ways in which this pervasive and positively-valued idea of flexibility can be a cover for really deep and broad exploitative processes that reach far beyond the realm of knowledge work.</i></p>
<p>For me, other critical sources in considering this problem include George Ritzer (1993) <i>The McDonaldization of Society</i>, Robert Reich (1992) <i>The Work of Nations</i>, and Daniel Pink (2005) <i>A Whole New Mind</i>. To me, all three point to the need to examine flexibility in light of class differences and employer and employee perspectives. To be an unskilled worker in a large pool of unemployed confronting employers who are trying to minimize their obligations is not, I suggest, the same situation as that of a smart knowledge worker facing a situation in which opportunities along the dream career path are shrinking, but others are opening up along other (sometimes morally dubious) paths. The situations of someone young and single, starting a new family, or with kids in college, mortgages to pay and elderly parents to care for also differ in ways that strongly inflect the implications of flexibility, on both the employee and employer sides.</p>
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		<title>By: Laurel George</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733400</link>
		<dc:creator><![CDATA[Laurel George]]></dc:creator>
		<pubDate>Fri, 20 Jul 2012 18:41:00 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733400</guid>
		<description><![CDATA[@Michael: About projects: I definitely think that the project-based model is pervasive (in business, academia, research, the arts, etc.).  It seems to me part of the casualization of labor across fields and sectors.  In business, it seems that within companies &quot;teams&quot; are drawn together to complete &quot;projects,&quot; whereas before perhaps before there would have been a more stable (or static) envisioning of work.  Part of my argument about the experimental dance world is that this project-based model which focuses on discrete time-bounded projects is not only a result of shifts in funding, but also reflects a fundamental shift in how we think about what goes into (and what comes out of) being an artist/creator.  Although excellent work can get produced under these conditions (and some artists or academics or managers) prefer to work this way, the problem with the project-based model as a default in creative and intellectual pursuits is that it can lead to a constricting instrumentalization of work (e.g., does this dance meet all the aims of the funder? does this ethnography deliver actionable &quot;learnings&quot;?).  I guess that&#039;s part of my questiton about what gets lost. Sometimes we need the structure, deadlines, and goals a project provides to be creative; sometimes, though, and sometimes we need a walk in the woods or 3 months in the studio or a sabbatical.  So I do think it&#039;s partly a question of funding and economics, but I think there is also an ideological dimension which both generates and helps to rationalize the economics.]]></description>
		<content:encoded><![CDATA[<p>@Michael: About projects: I definitely think that the project-based model is pervasive (in business, academia, research, the arts, etc.).  It seems to me part of the casualization of labor across fields and sectors.  In business, it seems that within companies &#8220;teams&#8221; are drawn together to complete &#8220;projects,&#8221; whereas before perhaps before there would have been a more stable (or static) envisioning of work.  Part of my argument about the experimental dance world is that this project-based model which focuses on discrete time-bounded projects is not only a result of shifts in funding, but also reflects a fundamental shift in how we think about what goes into (and what comes out of) being an artist/creator.  Although excellent work can get produced under these conditions (and some artists or academics or managers) prefer to work this way, the problem with the project-based model as a default in creative and intellectual pursuits is that it can lead to a constricting instrumentalization of work (e.g., does this dance meet all the aims of the funder? does this ethnography deliver actionable &#8220;learnings&#8221;?).  I guess that&#8217;s part of my questiton about what gets lost. Sometimes we need the structure, deadlines, and goals a project provides to be creative; sometimes, though, and sometimes we need a walk in the woods or 3 months in the studio or a sabbatical.  So I do think it&#8217;s partly a question of funding and economics, but I think there is also an ideological dimension which both generates and helps to rationalize the economics.</p>
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		<title>By: Laurel George</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733396</link>
		<dc:creator><![CDATA[Laurel George]]></dc:creator>
		<pubDate>Fri, 20 Jul 2012 17:53:15 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733396</guid>
		<description><![CDATA[@John: Your comments on dispensability and indispensability are well taken. To be sure, abject acquiescence to client needs would be a pretty horrible business model! It&#039;s been instructive to hear how you and your wife have built a business (and a life, really) outside of an academic context, but using your training and expertise to enhance your clients&#039; projects.  

What resonated with me in Martin and Bourdieu&#039;s discussions of flexibility was the ways in which this pervasive and positively-valued idea of flexibility can be a cover for really deep and broad exploitative processes that reach far beyond the realm of knowledge work. And what I found relevant to this series is the ways in which these new modes and locales of ethnographic practice can involve accommodative strategies (see Ben, Gottleib and Beth&#039;s comments on Nate&#039;s Week 2 post) that may be personally, ethically, or intellectually compromising. 
The question for me is, to continue the dance metaphor: &quot;In pursuing new professional opportunities for the practice of ethnography, how far can I bend before I break?&quot;  For me, these questions pertain both in how I imagine and shape professional and intellectual pursuits (projects, jobs) and also how I carry them out once there.]]></description>
		<content:encoded><![CDATA[<p>@John: Your comments on dispensability and indispensability are well taken. To be sure, abject acquiescence to client needs would be a pretty horrible business model! It&#8217;s been instructive to hear how you and your wife have built a business (and a life, really) outside of an academic context, but using your training and expertise to enhance your clients&#8217; projects.  </p>
<p>What resonated with me in Martin and Bourdieu&#8217;s discussions of flexibility was the ways in which this pervasive and positively-valued idea of flexibility can be a cover for really deep and broad exploitative processes that reach far beyond the realm of knowledge work. And what I found relevant to this series is the ways in which these new modes and locales of ethnographic practice can involve accommodative strategies (see Ben, Gottleib and Beth&#8217;s comments on Nate&#8217;s Week 2 post) that may be personally, ethically, or intellectually compromising.<br />
The question for me is, to continue the dance metaphor: &#8220;In pursuing new professional opportunities for the practice of ethnography, how far can I bend before I break?&#8221;  For me, these questions pertain both in how I imagine and shape professional and intellectual pursuits (projects, jobs) and also how I carry them out once there.</p>
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		<title>By: John McCreery</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733342</link>
		<dc:creator><![CDATA[John McCreery]]></dc:creator>
		<pubDate>Thu, 19 Jul 2012 23:24:18 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733342</guid>
		<description><![CDATA[Michael, thanks for moving this forward. At least for me, a critical source of what is going on these days has been labor economist James K. Galbraith&#039;s &lt;i&gt;Created Unequal: The Crisis in American Pay&lt;/i&gt; (1998). The point I remember most vividly from this book is Galbraith&#039;s observation that, while business people say they revere the free market, every single one of us wants to create a monopoly, to become the sole source of whatever our customers need and thus be in a position to command a high price for it. Why? The answer is simple. In a perfectly free market, margins are terrible. In the theoretically ideal case where supply exactly matches demand, nobody makes a profit. 

From an advertising perspective, what Galbraith is talking about is brand-building, described in one formulation as moving prospects from awareness to interest to serious consideration to to preference and, finally, the Holy Grail, can&#039;t live without it. From an employment perspective, this is why smart people no longer look for jobs; they think about ways to grow a reputation and build a career. 

The problem with jobs is that a job is fundamentally a task that can be performed by any number of people with similar skills, making the people in question easily replaceable. Thus, cynically speaking, getting and holding a single job is inherently deskilling. When all your time is taken up by doing the routines that you are paid to do, you aren&#039;t thinking, learning, looking ahead, searching for the next step to something you&#039;d rather be doing.

What is damned hard is finding yourself in a position where there are so many people wanting the same job you do that from an employer&#039;s perspective you become easily replaceable. In this respect, I imagine, the world of academia and the world of dance are now very similar. When hundreds audition for places in the chorus and the stories of those who make it from the chorus to star are mythic because they are rare, the competition is fierce and hierarchy (A-list, B-list, no-list) is given. Those who make it to the top may not be the smartest or most talented (though they are usually both smart and talented). What they are is totally dedicated and ruthless when necessary to achieve what they want and, yes, they usually start with a leg up, an unfair advantage of some sort, connections or other resources that others lack. 

So what can you do, if you are not one of these totally dedicated, ruthless, equipped with special advantages competitors who make it to the top of the heap? I only know of two possibilities. The history of unions shows what can be done when people band together and fight collectively for a fairer share of the pie. That&#039;s one way. The other is the one my life represents, finding a niche in which you can make yourself indispensable to enough regular customers that you are pretty well off, which, if my experience is any indication, involves a lot of knocking around, trying this and that,finding what you are good at, and acquiring unique expertise that&#039;s unique because very few others will have followed the same critical path and learned the same things that you have. The dancer who dreamed of Broadway earns a living as a personal trainer, a physical therapist, the proprietor of a ballet school or something totally different.

That&#039;s my take.]]></description>
		<content:encoded><![CDATA[<p>Michael, thanks for moving this forward. At least for me, a critical source of what is going on these days has been labor economist James K. Galbraith&#8217;s <i>Created Unequal: The Crisis in American Pay</i> (1998). The point I remember most vividly from this book is Galbraith&#8217;s observation that, while business people say they revere the free market, every single one of us wants to create a monopoly, to become the sole source of whatever our customers need and thus be in a position to command a high price for it. Why? The answer is simple. In a perfectly free market, margins are terrible. In the theoretically ideal case where supply exactly matches demand, nobody makes a profit. </p>
<p>From an advertising perspective, what Galbraith is talking about is brand-building, described in one formulation as moving prospects from awareness to interest to serious consideration to to preference and, finally, the Holy Grail, can&#8217;t live without it. From an employment perspective, this is why smart people no longer look for jobs; they think about ways to grow a reputation and build a career. </p>
<p>The problem with jobs is that a job is fundamentally a task that can be performed by any number of people with similar skills, making the people in question easily replaceable. Thus, cynically speaking, getting and holding a single job is inherently deskilling. When all your time is taken up by doing the routines that you are paid to do, you aren&#8217;t thinking, learning, looking ahead, searching for the next step to something you&#8217;d rather be doing.</p>
<p>What is damned hard is finding yourself in a position where there are so many people wanting the same job you do that from an employer&#8217;s perspective you become easily replaceable. In this respect, I imagine, the world of academia and the world of dance are now very similar. When hundreds audition for places in the chorus and the stories of those who make it from the chorus to star are mythic because they are rare, the competition is fierce and hierarchy (A-list, B-list, no-list) is given. Those who make it to the top may not be the smartest or most talented (though they are usually both smart and talented). What they are is totally dedicated and ruthless when necessary to achieve what they want and, yes, they usually start with a leg up, an unfair advantage of some sort, connections or other resources that others lack. </p>
<p>So what can you do, if you are not one of these totally dedicated, ruthless, equipped with special advantages competitors who make it to the top of the heap? I only know of two possibilities. The history of unions shows what can be done when people band together and fight collectively for a fairer share of the pie. That&#8217;s one way. The other is the one my life represents, finding a niche in which you can make yourself indispensable to enough regular customers that you are pretty well off, which, if my experience is any indication, involves a lot of knocking around, trying this and that,finding what you are good at, and acquiring unique expertise that&#8217;s unique because very few others will have followed the same critical path and learned the same things that you have. The dancer who dreamed of Broadway earns a living as a personal trainer, a physical therapist, the proprietor of a ballet school or something totally different.</p>
<p>That&#8217;s my take.</p>
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		<title>By: Michael Powell</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733324</link>
		<dc:creator><![CDATA[Michael Powell]]></dc:creator>
		<pubDate>Thu, 19 Jul 2012 16:32:26 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733324</guid>
		<description><![CDATA[To maybe build on John&#039;s point above, I wonder if &quot;becoming indispensable&quot; is a tactic within the larger shift that Laurel and E. Martin and others are describing? In other words, were dancers, choreographers, ethnographers and other intellectual and creative workers worried about indispensability in the same way, prior to the era of projects?

Also, I have often been struck by the rising prominence of projects in general. In many fields—especially but certainly not limited to anthropologists working outside of academia—knowing how to manage, envision and implement projects can often seem to take precedence over expertise or depth of knowledge. But Laurel, maybe you could clarify this: Do you think that people are thinking about, approaching, planning and working in the category of &quot;projects&quot; in a new way today, or is this just about funding? Or perhaps there is another dimension to this that I&#039;m missing?]]></description>
		<content:encoded><![CDATA[<p>To maybe build on John&#8217;s point above, I wonder if &#8220;becoming indispensable&#8221; is a tactic within the larger shift that Laurel and E. Martin and others are describing? In other words, were dancers, choreographers, ethnographers and other intellectual and creative workers worried about indispensability in the same way, prior to the era of projects?</p>
<p>Also, I have often been struck by the rising prominence of projects in general. In many fields—especially but certainly not limited to anthropologists working outside of academia—knowing how to manage, envision and implement projects can often seem to take precedence over expertise or depth of knowledge. But Laurel, maybe you could clarify this: Do you think that people are thinking about, approaching, planning and working in the category of &#8220;projects&#8221; in a new way today, or is this just about funding? Or perhaps there is another dimension to this that I&#8217;m missing?</p>
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		<title>By: John McCreery</title>
		<link>/2012/07/18/dance-lessons-a-comparison-of-precarity-and-contingency-in-contemporary-u-s-choreography-and-ethnography/comment-page-1/#comment-733298</link>
		<dc:creator><![CDATA[John McCreery]]></dc:creator>
		<pubDate>Thu, 19 Jul 2012 09:17:57 +0000</pubDate>
		<guid isPermaLink="false">/?p=8158#comment-733298</guid>
		<description><![CDATA[@Laurel

Most of what you write here is so apt and well-described. There is, however, one point at which my personal experience diverges from the model you present. I cannot agree with the statement taken from Emily Martin that &lt;i&gt;But if the flexible worker is adaptable, pliant, and quick, s/he is also necessarily more acquiesent, interchangable and disposable (Martin, pp. 143-158).&lt;/i&gt; An important part of the business of anyone dependent on project-based income is finding ways to become less acquiescent and, as far as possible, indispensable. What I&#039;m about to say may not work for dancers whom, I suspect, are like professional athletes and have a short period in which to succeed or fail before their bodies betray them. But in the line of work in which my wife and I have found ourselves, translation and copywriting, abject acquiescence is a terrible, dead-end strategy. The key to success is neither to accept or reject client complaints but, instead, to discuss the source of the complaint (which is often no more than a query) and be ready to offer an option that improves on whatever the client suggests. This &quot;third-way&quot; approach demonstrates professionalism and builds a reputation for adding value as well as being easy to work with. Proceeding in this way and adding a store of expertise on which regular clients come to depend is the way to achieve a stable and comfortable livelihood.]]></description>
		<content:encoded><![CDATA[<p>@Laurel</p>
<p>Most of what you write here is so apt and well-described. There is, however, one point at which my personal experience diverges from the model you present. I cannot agree with the statement taken from Emily Martin that <i>But if the flexible worker is adaptable, pliant, and quick, s/he is also necessarily more acquiesent, interchangable and disposable (Martin, pp. 143-158).</i> An important part of the business of anyone dependent on project-based income is finding ways to become less acquiescent and, as far as possible, indispensable. What I&#8217;m about to say may not work for dancers whom, I suspect, are like professional athletes and have a short period in which to succeed or fail before their bodies betray them. But in the line of work in which my wife and I have found ourselves, translation and copywriting, abject acquiescence is a terrible, dead-end strategy. The key to success is neither to accept or reject client complaints but, instead, to discuss the source of the complaint (which is often no more than a query) and be ready to offer an option that improves on whatever the client suggests. This &#8220;third-way&#8221; approach demonstrates professionalism and builds a reputation for adding value as well as being easy to work with. Proceeding in this way and adding a store of expertise on which regular clients come to depend is the way to achieve a stable and comfortable livelihood.</p>
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