a look at nursing leadership through the lens of a dancer

A Look at Nursing Leadership Through the Lens of a Dancer

Mary O’Connor, RN, MS, CHE

TOPIC. Using the world ofdance to describe

leadership dimensions.

PURPOSE. To explore the art of nursing

leadershipfiom the perspective of dance, a form of

artistry through movement.

SOURCES. Published literature and the author’s

own experience.

CONCLUSIONS. The metaphors of dance bring the

concept to life in a new way.

Search terms: Art of leadership, dance, nursing

leaders hip

Mary O‘Connor, RN, MS, CHE, is a doctoral student, George Mason University, Faiufax, VA.

There are so many dances. I want to know them all. To feel new rhythms, fresh moves, inventive steps. Animated movement. It is through this learning That I am joyous and full of spirit.

May O’Connor

I n 1997, the Center for Nursing Leadership (CNL) iden- tified nine dimensions of leadership (CNL, 1997). These dimensions serve to characterize nine qualities needed by nurse leaders today. In fact, the dimensions may be applied to leaders in a variety of roles and professions.

The CNL (1997) dimensions reveal characteristics or attributes that collectively compose a wholeness of leadership practice.

In some countries, dance is more than a leisure activ- ity. In Africa, dance defines who a person is and where he or she lives. No one asks, ”What is your identity, your culture, your society?” They ask instead, ”What do you dance?” (Lacy & Zucker, 2001). Leaders are described in terms of styles. In fact, many leaders will self-describe in terms of styles as a way to distinguish themselves from others. This, too, is a form of identity. This article uses metaphors from the world of dance (Table 1) to create an understanding of the relationship between the nine dimensions (CNL, 1997) and leadership practice (Table 2).

Holding the Truth

To a dancer, the most important truth is found in the beat of the music, which determines the timing of the movement. It is the only rule. The beat is held with respect; it is clean and decisive. For dancers it is more important to be able to recognize the beat through the feel

Nursing Forum Volume 38, No. 1, January-March, 2003 23


Table 1. Dance Metaphors

2. Balance 3. stretch 4. Passion 5. Variety 6. Leading and following 7. Movement 8. Connection

Table 2. Dimensions of Leadership

2. Intellectual and emotional self 3. Discovery of potential 4. Quest for the adventure toward knowing 5. Diversity as a vehicle to wholeness 6. Appreciation of ambiguity 7. Knowing something of life 8. Holding multiple perspectives without judgment

Source Center for Nursing Leadership (1997)

of the music rather than through hearing. It vibrates through the dancer’s organs and spills out from the heart, ricocheting from bone to bone until the whole body is surrounded. Whether the music is fast or slow, no matter the rhythm, the beat is constant, recognizable, and identifiable. Any type of beat, rhythm, or music may be recognized, even classified. Take, for example, the waltz, two-step, rap, Latin, or mambo.

The beat of the music is counted to fit the particular rhythm. 1-2-3 (pause) 4-5-6 is a waltz, while a cha-cha beat is 1-2-3 4 and 5 6-7 8 and 1 2-3, etc. In order to stay with the beat, it is necessary to dance according to the count of the music. Awareness and attention to this tim-

ing are key. To hold the truth of the music and keep its integrity, one must welcome and embrace the beat, syn- chronize the timing of the movement, and consciously hit the mark.

In leadership, an awareness of the beat is the first step. It requires great listening skill. It is through listening that the heart and sod of the staff or the people are revealed. It is through listening beyond their words or emotions for the whole story, for perhaps the truth that lies be- neath all the other instruments and voices.

“Timing is everything” is certainly true in leadership. It is both a skill and an art. It includes knowing when to approach a person or a subject, understanding dynamics and energy in a meeting room, and having patience for the window of opportunity to open.

Lastly, the attentiveness to the beat, a metaphor for the whole truth, urges the leader to stand with integrity through the sea of tough decision making. Examples in- clude fairness and ethical practices related to resource al- location, personnel issues, and conflict resolution. Lead- ing with integrity allows for authenticity to the basic, very core of the self. Even if it is the harder path, even if it is harder to be true to the self, it is far less painful than being out of step.

Intellectual and Emotional Self

A balance between the intellect and emotion is needed in dancing. When engaged in choreographed dancing, it takes effort to pay attention. Choreographed or patterned dancing, for example, is prescribed. There is a step or movement for each beat or even half-beat. Learning the dance is like Benner’s (1984) theory of skill acquisition (novice to expert). It takes much more concentration and effort in the beginning stages of learning the dance. The focus is on the technical aspects of each movement. This includes which foot holds the weight and each direction of the turn. Later, when the dance is learned, feelings emerge and the dance becomes your own. Doing the steps and the movement is the first part. Working in style and variation comes from the heart and the passion within.

24 Nursing Forum Volume 38, No. 1, January-March, 2003

Experienced leaders see beyond the task at hand to the creativity and vision of what can be. In The Way ofthe Owl, Frank Rivers (1996) encourages us to reach for this balance through integration of our priorities. He urges us to ”alternate periods of intense concentration with periods of relaxation and play” (p. 89).

Leadership requires a blend of technical, conceptual, and social skills. Attention to the qualities of emotional intelligence requires the leader to emphasize areas such as self-awareness, self-regulation, and empathy in order to communicate and relate more effectively to their co- workers and subordinates (Goleman, 1998). In fact, some would argue that these skills will be even more critical than technical ability in the 21st century (Strickland, 2000).

Discovery of Potential

One of the most exciting things about being in the dance world is the stretch. This does not mean the warm-up, but rather the push. The dancer is always yearning to learn the hottest, fastest, and hardest dances. Subsequently, the choreographers are constantly coming up with combinations of moves and steps of increasing difficulty, challenging the dancer to become skilled and more advanced.

As new moves are tried and learned, there is constant amazement at what the body can accomplish. Even though some cultures may have an easier time with some of the rhythm and movement, they can be learned through practice and commitment. There is no require- ment but desire. Even people without the ability to move or feel their legs dance in wheelchairs as part of a dance company. ”Dancing Wheels” (2002) is a professional, in- tegrated dance company comprised of dancers with and without disabilities. Founded in 1980 by Mary Verdi- Fletcher, the company’s innovative choreography accen- tuates the abilities rather than limitations of the dancers and works to dispel the myths as to what individuals with disabilities can achieve as artists.

As a leader, one of my most rewarding activities is mentoring new leaders. The mentoring association be-

gins with the recognition of a quality or characteristic in a person. If it is cultivated, it can bloom into a relationship of trust and respect. Opportunities to learn and develop are taken on word, even if at first there is fear or hesitation. The leader sees the potential long before the mentoree does.

The leader provides the stretch. The vision, which may look impossible at first, is realized over time, step by step. Each move is learned, refined, and honed and before you know it, there is masteiy The mastery is for student and teacher together, for each takes a turn as learner and trainer. Each role is rewarded through the discovery of what is possible.

Quest for the Adventure Toward Knowing

A passion for dancing is a lifelong commitment. The ad- venhm is in the learning-new moves, new dances, new rhythms. The old become the history, kept by the archivists and brought out occasionally for reminiscence. For the dancer craves the freshness of the new dance. Once the dance is mastered, the quest is to learn something new, go to move to the next level of experience. There is always a new dance to learn, always new styling to try. The dancer does not want to do the same old thing every time. This would only lead to staleness, apathy and atrophy.

Leadership also deserves a commitment to lifelong learning. This stands for the technical as well as conceptual aspects of any role or profession. Professional jour- nals, classes, and seminars help the leader with fresh perspective, the latest technological advances, and the best of the world’s great thinkers.

Further, the knowing is about the inner self. This work is the unspoken personal analysis of one’s own needs, motivation, passion, and ambition. This quest is the one of self-knowledge. The values and priorities of the person affect the achievements of the leader. This includes attention to personal growth and development. Leaders must develop a strategy for re- treat, reflection, and learning about the self. This as- pect of learning is as critical as technical competence. It is important to recognize sensitive subjects, paying



attention to our own emotions and energy shifts while in groups and developing techniques to handle each constructively.

Diversity as a Vehicle Toward Wholeness

There are so many dances. Just like the hundreds of different kinds of music and rhythms, each has its own qualities, personality, and characteristics. Everyone has a favorite. It starts with what is most familiar, what our friend thinks is cool, or maybe what he thinks is bad. What is it like, we may ask, to try something new? To step out of our comfortable specialty of line or swing or Latin and try some ballroom or country or hip-hop. How will I feel about the music, the costumes, the movement? Like many new things, there can be hesitancy or perhaps even an appeal and appreciation from a dis- tance. The appreciation for the art, the form, can help overcome all reluctance.

The dance floor claims an etiquette in which everyone has a place. There is room for everyone, a sharing of the space. Line dancers stay in the middle, with progressive (moving forward) dancers around the outside, and the swing and other stationary partner dancers finding room in the comers. There is an appreciation and accommoda- tion, no matter what the specialty. Everyone has one thing in common-it is all for the love of the dance.

It is not always easy to appreciate diversity. A new leader may want to surround him/herself with friends and colleagues of like mind. Later, the leader finds a need for a broad, enlightened perspective. Here, he or she must be surrounded by people who think differently. There can be remarkable creativity and problem solving that emerges from the tension of diverse ideas and opin- ions. It is with everyone’s input and everyone’s view- point that the “whole” can move forward.

Each one of us, in the practice of leadership, uses a diversity of styles. Although one may favor a participative or democratic style, there are some instances when this is inappropriate or will be ineffective. A leader needs to recognize first his or her own choice of style and how this may affect others’ response. Choosing the right style

for the right situation is a key skill in leadership (Swans- burg, 1990).

Appreciation of Ambiguity

Partner dancing features two distinct roles, usually di- vided by gender. The male is the leader, the female the follower. In fact, some dance instructors tease that this is really the only time that men are in charge. But this is not always the case. Many dancers wiU tell you that in order to have better understanding, both roles should be tried and developed.

For a dance follower, it is wonderfully exciting to dance with a new partner. A good leader can guide you through even the most complicated moves as long as you allow it. This permission requires giving up control as well as the need to anticipate what comes next. It is not easy, or even natural, to relinquish such command of the body. However, it is an incredibly freeing sensation to let the partner and the music move you with grace and beauty.

For the dance leader, the ambiguity is in the partner’s response. It is the leader’s responsibility to communicate each move and direction to the partner. This is per- formed nonverbally, with only physical cues. When the cues are misread, there are missed steps or stumbles. In that case, the leader needs to adjust. However, there are times when missed cues turn into brand-new moves that neither has done before. These “accidents” can be grati- fymg, stretching the art and the partners to new levels.

In executive or management practice, the role of leader and follower are fluid. There is an appreciation of the times when he or she can let go and allow a group to create, which will lead to a growing confidence-an understanding that as the leader, most decisions are collab- orative and shared, and lighten the daily load. Recogniz- ing that it is not always expected that the leader must know the next move, waiting patiently for the cues, is ac- ceptable. The response, which is dependent on the cues, causes an evolutionary process of building, changing, and moving the department or organization forward. There is a built-in feedback loop, as the cyclic change


process is influenced by each preceding move. For freshness, there is always the possibility of surprises. Learning from missteps is critical, since these often lead to the most creative ideas or solutions.

Knowing Something of Life

Like life, dancing is experiential. The dancer knows the dance through the movement and the integration of the body and the spirit. Even the casual observer knows and can even feel the dance through the grace and passion of the dancer.

Le Vasseur (1999) found that even the emotional re- sponses one feels when viewing art, for example, are ex- plained as a translation of the input through the physical senses to create a "feeling." This feeling is as important as the lived experience. It is the feeling that is known and recognized, and even remembered, as experience. To a dancer, dancing is life. It feeds and restores the essence of life within the body, the mind, the soul, and the spirit.

Leadership is experiential. Yes, there are skills and ex- pertise that are developed through formal and continu- ing education, but the comprehension of subject matter does not necessarily make one a leader. Like dance, it can be studied and observed, but the knowing is through the experience.

Sometimes, leadership is situational. A leader may emerge in someone unexpectedly, through some crisis or moment of truth. The experienced leader learns to recognize the strengths of his or her staff and find ways to ac- centuate these attributes. Like discovery of potential, the recognition of leadership qualities in others is a gft that, if cultivated, will reap great rewards and benefit to both parties.

Holding Multiple Perspectives Without Judgment

Competition is pervasive in dancing. There is formal, official competition that is national as well as worldwide in ballroom, shag, country, disco, and other specialties. Similar to sporting events, the competition can be fierce, even while the competitors are friends, classmates, and

colleagues. There may be great secrecy of moves and rou- tines, which are showcased during the competition events.

That said, there is also a lot of coaching, camaraderie, and support that goes on behind the scenes. Everyone wants to do well, everyone wants to be the winner, but, still, there is a tremendous amount of respect that is shared among everyone. Even the best dancers are guid- ing and teaching the next generation of world-class dancers. There is a sense of pride for the competitive field as a whole, always a sense of encouragement for others to compete.

Similarly in leadership, thew is tremendous competition. Whether it is for the most market share, best pric- ing, best retention strategies, or the flashiest advertising campaign, each organization sees itself at the top of the list. Resources, visibility, accolades are all highly sought after by different departments.

Like life, dancing is experiential.

On the other hand, there can be a wonderful team spirit when everyone shares the same vision and goals. Holding multiple perspectives is about teamwork. It is about working together to succeed as a group. It is ac- knowledging each other's contribution and accepting their support without judgment.

Keeping Commitments to Oneself

The dancer makes dance a priority. It is part of living a full life. There are room and space and time allocated for dancing up front, rather than as an afterthought. The relationship between the dancer and the dance is likened to the closest of loved ones. The dependence on the dance is equal to air, water, or food. It can be an aching need if denied.

Alfred Stieglitz (1864-1946), a brilliant photographer, produced a palladium print in 1922 called "Dancing



Trees.” This black and white photograph depicts the thick branches of a young tree at its first forking. The branches separate from the tmnk in a sign of indepen- dence, yet each one hovers near enough to the other for support and encouragement. They intertwine, at once leaning toward and away from each other, sharing the piece of sunlight that shines through the leaves from above (Stieglitz, 1922).

As the leader, it is important to recognize the interde- pendence of relationships. This includes our customers, staff, colleagues, and our organization. It especially in- volves our relationship with ourselves. The priorities we place on our own physical, emotional, and spiritual needs are critical for our lives as well as a model for others.

Additionally, it is the leader’s responsibility to role- model the priorities and behaviors heor she expects from others. This includes attention to life after work. An ac- knowledgment that workers (and indeed the leadership) need time for family, hobbies, exercise, and even support for education, is critical. The more that nonwork aspects of life are accounted for, the healthier and, therefore, more productive the workforce will become.

Conclusion

Leaders today face multiple challenges everyday. Comparisons of art and leadership are not new. Indeed, many artists are leaders, working far beyond the horizon of present thought. In fact, Whyte (2001) observes that great artists are always creating for an audience 50 to 100 years in the future.

The metaphors of dance bring the concept to life in a new way. Dancing is an art form that is open to all. You don’t need any supplies or equipment, only the desire to move.

Author contact: [email protected], with a copy to the Editor: [email protected]

References

Benner, P. (1984). From novice to expert: Excellence and power in clinical nursing practice. Menlo Park, CA: Addison Wesley.

Center for Nursing Leadership. (1997). The dimensions of leadership. Re- trieved December 2002 from www.cnl.org.

Dancing Wheels. Retrieved April 2002 from www.dancingwheels.com

Goleman, D. (1998). Working with emotional intelligmce. New York Ban- tam Books.

Lacy, M.D., & Zucker, A. (2001) What do you dance? (Episode 1) Free to dance. New York PBS and W E T .

Le Vasseur, J. (1999). Toward an understanding of art in nursing. Ad- vances in Nursing Science, 21(4), 48-63.

Rivers, F. (1996). The way ofthe owl: Succeeding with integrity in a con- flicted world. San Francisco: HarperCollins.

Strickland, D. (2000). Emotional intelligence: The most potent factor in the success equation. Journal ofhhrsing Administration, 30,112- 116.

Stieglitz, A. (1922). The dancing trees. Exhibit in Modern Art in America. Washington, Dc: National Gallery of Art.

Swansburg, R.C. (1990). Management and leadership for nurse managers. Boston: Jones and Bartlett.

Whyte, D. (2001). Crossing the unknown sea: Work as a pilgrimage of identity. New York Riverhead Books.

For the Record. . . In the July-September 2001 issue of Nursing Forum (Vol. 36[3]), the name of co-author Mary Ann henriques was omitted from one of the articles. The correct citation is: Stephenson, C., & Henriques, M.A. (2001). Management function analysis: Learning from the expert. Nursing Forum, 36(3), 9-11. We regret the omission.


a look at nursing leadership through the lens of a dancer

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