Speaking Softly and Speaking Up:

An Exploration of Leadership

By
Yoshie Fujimoto Kateada
Submitted in partial fulfillment of the requirements of the
Department of Dance and the Honors Program
Dominican University of California
2015

First Reader: Dr. Gay Lynch

Department of Religion and Philosophy

Second Reader: Ms. Kara Davis

Department of Music, Dance, and

Performing Art

Honors Director: Dr. Diara Spain

Department of Natural Sciences and

Mathematics

______________________________
(First Readers Signature)

Date: ____________________

_______________________________
(Second Readers Signature)

Date: ____________________

_______________________________
(Honors Directors Signature)

Date: ____________________

Table of Contents
1

Abstract

Introduction

Personal Reflection: What Kind of Leader Am I?

Speaking Softly: A Definition of Introversion

Speaking Softly: The Value of Quiet Leadership

Speaking Up: AAPI Women in Leadership

11

Speaking Up: Culture versus Growth and the Oppression of

Womens Voices

15

A Role Model in Speaking Softly and Speaking Up

18

What Kind of Leader Do I Want to Be?

19

Conclusion

21

Bibliography

Fujimoto Kateada !1
Abstract
In Western culture good leadership is usually defined as the role of the extroverted, outspoken,
and independent. As a student in the LINES Ballet BFA Program, I had the opportunity to lead a
cast of six dancers as I created my Senior Piece. Throughout this process I identified a
disconnect between the way that I lead and how I had learned to define good leadership. I
became interested in investigating how my identity as an introverted Asian American woman
affects the way I operate as a leader. I began to realize that the tendencies of introverts and the
values of Asian culture are in direct conflict with the dominant Western definition of good
leadership. My own experience and research began to point me toward a different and more
inclusive definition. This is to say that my choreographic process challenged me to act with
authority while remaining myself, and this sparked my curiosity about the challenges and
potential that exist for introverts and Asian American women in leadership positions. I found
that the qualities that these individuals possess, namely an inclination towards inclusion and
collaboration, are powerful assets in leadership. Here it should be noted that patriarchy and
internalized oppression are clear issues within Asian culture and in general Western attitudes
towards women in leadership. My thesis will explore and acknowledge the leadership
experiences of Asian American introverted women, and the need to create a balance between
Speaking Softly and Speaking Up. Although many of my sources address this issue within
academic and corporate leadership, I will show that these findings resonate with, and are
applicable to, dance and the choreographic process. This investigation is valuable beyond my
own particular experience, for it has the potential to universally widen the definition of good
leadership, and acknowledge the need for a broader understanding of who can lead.

Fujimoto Kateada !2
Introduction
In my experience, my leadership both succeeded and failed throughout the process of
creating my Senior Piece. I am curious about which strategies I should keep for next time, and
what I can and should change. I am also curious about why I led the way I did. I am curious
about my inclination towards introversion and collaboration, as opposed to a more extroverted
and individual style of leadership. I am thinking about how to care for my dancers needs,
without being desperate for their approval. I am thinking about how to lead as the quiet person I
am, and still be heard. I am thinking about who taught me that leaders do not look or act like I
do. I am thinking about how to have confidence without conceit. I want to learn to be a better
leader the next time, and I believe that the trademarks of the way that I lead, both the advantages
and the struggles, are deeply connected to two distinct parts of my identity: first, I am an
introvert, and second, I am an Asian American woman.
While these may seem like two disparate and random ideas on which to focus, the more
that I investigate these two aspects of who I am and how they apply to leadership, the more I
realize the complexity of being a good leader, both in general, and as an introvert and a
woman of color. Leaders are human, and they personify an incredible range of cultural
backgrounds, learned values, and personal tendencies that human beings embody. Effective
leaders use a variety of skills and personality traits to create a cohesive leadership style.
However, leaders do not have control over the assumptions that others make about their ability to
lead, or the value that others assign to a particular style of leadership. For example, in Quiet:
The Power of Introverts in a World That Cant Stop Talking, Susan Cain discusses the Western
bias towards extroversion and an independent outspoken way of life. She argues that quiet

Fujimoto Kateada !3
introverts can also make successful leaders; they often let their collaborators run with their ideas
rather than taking over, and this results in a more diverse array of ideas brought to fruition. This
value can be applied to my own process, throughout which it was important to me that the voices
of my dancers were heard as fully as my own. Similarly, many Asian American Pacific Islander
(referred to from now on as AAPI) women face challenges in a culture that sees them as
incapable of exercising authority at all. This is despite the fact that research conducted by
Caroline Sotello Viernes Turner has shown AAPI women are more likely to value collaboration
and view leadership as a participatory process, which results in supportive and productive
work environments.
During my research I learned that despite dominant cultural assumptions, there is
precedent for good leadership by both introverts and AAPI women. At the same time, I am
aware that there were aspects of my leadership style that were detrimental and inhibited both my
dancers and me from creating as effectively as we could have. I have always felt out of place
and somewhat unworthy standing at the front of the room. As I reflect on my identity, I see that
these feelings of inadequacy may stem from a source far deeper than my own individual
experience. Asian culture has a history steeped in patriarchy and the oppression of women. My
research deepened my understanding of an inherited identity which makes me reluctant to speak
up. Here it must be acknowledged that Asian culture is an extremely broad statement, and
does not begin to touch on the intricacies that exist within this larger category. Additionally,
Western culture also encompasses a broad range of patriarchal attitudes that silence the voices of
women. Ultimately, while some of my doubt may be attributed to my own personality, I believe
that a large part of my penchant for self-effacement can be traced back through a long line of

Fujimoto Kateada !4
women before me, who were taught to shrink. I doubt myself, and while quiet leadership has the
potential to be effective, doubtful leadership may leave everyone stranded.
Perhaps my perspective on the effectiveness of my own leadership needs to be redefined.
I want to be less afraid the next time. I want to know that I deserve the respect that my dancers
gave me from day one for what seemed to me no reason at all. I want to be less concerned
with how much people like me and my work. I want to learn to balance my tendency towards
quiet, thoughtful, and kind leadership, with a confidence in the validity of my opinion, and an
ability to speak up. And ultimately, I want to learn the value of speaking softly and speaking up,
because I know that there is a time for both.
In this thesis I begin with a personal reflection on my choreographic process: What Kind
of Leader Am I? Following this, in Speaking Softly: A Definition of Introversion, I will
examine introversion, and its effect on leadership in Speaking Softly: The Value of Quiet
Leadership. Next, in Speaking Up: AAPI Women in Leadership, I examine the unique
perspectives brought to leadership roles by AAPI women; following this, I consider the influence
of culture on these roles in leadership in Speaking up: Culture Versus Growth and The
Oppression of Womens Voices. I will then highlight A Role Model in Speaking Softly and
Speaking Up. Finally, I will return to my personal experience as a leader and apply this
research to the choreographic process, and I will conclude with an understanding of what
leadership means to me now.
Personal Reflection: What Kind of Leader Am I?
As a freshman in the LINES BFA Program I was excited and nervous about the prospect
of creating a Senior Piece. I could not see myself at the front of the room leading, but I

Fujimoto Kateada !5
assumed that by the time I reached senior year I would become a capable leader. I aspired to
look like and act like many of the leaders and teachers whom I admire. I would be decisive, I
would push my dancers, and I would offer direction confidently and easily. Many of the
processes and resulting pieces that I have enjoyed throughout my BFA college career have been
led by people who were unafraid to push me past what I thought I was capable of. When it came
time to create my Senior Piece, this is what I wanted to give my dancers: an opportunity to
express themselves beyond what they thought was possible.
However, as I moved toward senior year, I realized that I was not becoming the
outspoken strong-willed person I imagined a leader must be. I had gained much, but an
outspoken personality and extroverted disposition were not a part of the package. I do not move
through the world as a loud, gregarious, and extroverted person, so it was illogical to assume that
that is the kind of leader I would be. I have always, in fact, been more comfortable following
direction than giving it. I love listening and collaboration. When we listen generously to others
they can hear the truth in themselves, and collaboration means more energy, more wisdom, and
more ideas. I am often afraid to take up too much space in the room. I prefer to wait - editing
and re-formatting my thoughts several times - before I speak. None of these traits seemed like
good leadership material to me. As I approached my first Senior Piece rehearsal I had this
irrational fear that my dancers would not respond to me at all. When I began my process I
realized that I was working with six incredibly intelligent and respectful artists, and I allowed
myself to enlist their help. Collaboration became a key part of the time we spent together, and it
was clear that I was not the only one in the room creating.

Fujimoto Kateada !6
Yet, I was still concerned. I was concerned that I was not challenging my dancers
enough, and that I was not helping them to realize their inherent potential. I watched the videos I
took of rehearsal and realized how many times I said good! I heard myself thank my dancers
repeatedly for their hard work and commitment. I noticed that I wanted to be liked by my
dancers, and I worried that I was not truly gaining their respect because I was too afraid to
command it. As I continued creating, I started thinking more about this need for approval and
support. I began to give my dancers choreographic prompts that explored the idea of wanting to
be liked, and what movement would you choose to do if you were trying to impress
someone? I realized how much wanting to be liked is a motivator for me. Because of this,
the piece evolved into an exploration of the line between vulnerability and a need for approval.
In dance, we are often asked to reveal our true selves, the expectation being that art has
the unique power to uncover our essence. At the same time, in dance and in life, we often
choose to reveal or exhibit certain qualities in the hope that we will impress someone; in the
hopes that they will like us. In this way, our vulnerability becomes warped by how we want to
be seen. Within the piece, I juxtaposed moments that were meant to impress the audience,
with moments that came out of what my dancers and I were truly interested in exploring and
sharing with the audience. The title of my Senior Piece, Viscera at the exhibition was
inspired by this push and pull between impressing and sharing. Exhibition was an
acknowledgement of the human tendency to exhibit ourselves in the way we wish to be seen,
and in the hopes of gaining approval or respect. Viscera, on the other hand, literally means
internal organs, and referred to the vulnerability and revelation of self that dance has the ability
to facilitate.

Fujimoto Kateada !7
Despite my strategy of incorporating and acknowledging my struggle with insecurity
during the creative process, I was still worried that the dancers would not be challenged. I was
worried that the piece would look too tame because I had not pushed them enough. I was
worried that I was being too nice. However, during this whole process, some small part of me
sensed that there was no other way for me to lead. As I sat in the audience and watched my
dancers perform the piece that we created together, I began to let go of my old definition of
leadership. I had asked that my dancers bring their whole selves to each rehearsal, and I had told
them that they had the right to expect the same from me. In the beginning of our time together,
when they told me it is easier to follow when theres someone to lead, they were not asking for
the perfect leader I imagined, that is, one who was outspoken and decisive; rather, they were
asking for me to show up with my whole and real self and be the best leader I could be. I did not
do a perfect job, but I stayed with myself, and I learned. I learned that kindness is a valid
leadership style. I learned that if you not only push your dancers, but also give them the space
and support they need, they will give you more than you could ever imagine. As I looked at
those six dancing bodies on the stage, I knew that together we created something of value. For
five months we listened to one another, and we challenged one another, and we trusted one
another, and that is worth much more than becoming the perfect leader I had hoped to be. As I
look forward to choreographing again, I am reflecting upon what being a leader means to me
now and I am realizing that it means something vastly different than it meant four years ago.
Speaking Softly: A Definition of Introversion
What does it mean to be an introvert? During her 2012 Ted Talk entitled The Power of
Introverts, Susan Cain distinguished between being shy and being introverted. She defines

Fujimoto Kateada !8
shyness as a fear of social judgment. This differs from introversion which, according to Cain,
is not caused by fear, but by a knowledge of being most productive, happy, and turned on
when one is alone and quiet. Cain also asserts that the qualities of introvert and extrovert exist
on a spectrum, that is, people are scattered along the line with varying needs for solitude and
social interaction in order to function at their optimum level. Introverts often function best in
small groups, and need a fair amount of time alone in order to recharge, but this is not true of all
introverts. On the other hand, extroverts tend to be outgoing individuals who find a lot of social
interaction stimulating and interesting, but this is not true of all extroverts. We all have some of
both within us. In her Introduction to Quiet, Cain stresses that, even if you identify yourself as
extremely introverted, you will likely find at least a few of the qualities that represent
extroversion in you and vice versa. Ultimately, these personality traits have a significant affect
on the way we lead.
Speaking Softly: The Value of Quiet Leadership
To presuppose that extroverts are a natural fit for leadership is a logical assumption; after
all, leadership requires a great deal of interaction and communication with other people.
However, Cain argues that introverts bring an equally vital set of skills to leadership positions.
One of these skills is a penchant for collaboration, something about which my six dancers taught
me a great deal. Because I was so uncomfortable at the front of the room, I immediately rejected
my role as all knowing choreographer. It should be said that some amazing work is created by
leaders who view their dancers as the clay they mold. However, I discovered the value of
allowing my piece to be shaped by more than my own voice. This choice felt almost intuitive,
because the alternative seemed impossible to me. Much of the choreography that my dancers

Fujimoto Kateada !9
ended up performing was movement of their own creation that was curated by me. I would give
the dancers choreographic prompts, and then edit the movement they made and/or make
decisions about where to place it in the overall structure of the piece. This style of leadership
enabled a certain freedom among us all, which included personal reflection and creative
opportunities for the dancers and myself, as well as the knowledge that I was not alone in my
process. Yes, it was uncomfortable for me to be in charge, yet this discomfort drove me towards
an intensely collaborative relationship with my dancers, which was one of the most fulfilling
parts of our time together.
Speaking Up: AAPI Women in Leadership
As leaders, AAPI women face many of the same issues as introverts. In her article
Pathways to the Presidency, Caroline Sotello Viernes Turner interviews four minority women
who have high ranking positions at universities across the country. She discovers that these
women bring a unique set of skills and strategies to their jobs. One of her subjects, the
Chancellor of the University of Hawaii at Hilo, was not a native of the community her
university serves when she was hired. She moved to Hawaii for the job and was aware that
many of the intricacies of island culture would be lost on her, so she hired an executive assistant
who was from Hilo. This strategy, for a leader to acknowledge the limits of her knowledge, is
part of a pattern that Turner discovered in her research. Speaking to this she writes:
Each [Interviewee] has underscored the importance of adhering to a set of institutional
core values, which include the importance of treating people with respect, seeking
consensus, being polite, and being humble. These are values also noted in the literature
about women of color in higher education leadership positions. (22)
Of significance here is the fact that this inclination to enlist others as respected and equal

Fujimoto Kateada !10

collaborators can be tied to the deeply rooted Asian cultural value of deference towards others.
In her chapter aptly titled Soft Power Cain examines Asian Americans and
introversion. She discusses the high value placed on community in Asian culture and its
connection to what Western culture often views as a tendency towards subordination. Cain
writes that individuals subordinate their own desires to the groups interests, accepting their
place in its hierarchy (188). As a gross generalization it could be said that the West is focused
on the individual, and Asia on the community. Clearly this is not always the case, but this
general observation holds significant truth. The resulting clashes between East and West can be
felt by AAPI individuals whose actions may be labeled as self-effacement and felt as
relationship honoring (190). In Cains words, what looks to a Westerner like subordination
can seem like basic politeness to many Asians (189).
There are practical reasons for this style of interacting with others. When you are living
in a community-oriented culture, it is much more convenient and sensible to behave in a way that
aligns with the values of the group. Within this context, restraint and submission are not signs of
weakness; instead, they are the attitudes of an active and responsible citizen. While it may be
tempting to view this prioritizing of the group over the self as a denial of ones own true opinion,
it is valuable to look at the issue from a different perspective. For example, the University of
Hawaii Chancellors actions did not stem from doubt in her own ability; she chose to hire her
assistant in a deliberate attempt to better serve the community, rather than to act out of concern
for her own ambition. In the context of the educational system, this is something that many
people, regardless of cultural background, would applaud. It must be acknowledged that

Fujimoto Kateada !11

deferring to others is not always an act done out of self doubt or denial, but rather a conscious
strategy that is incredibly effective in building trust and mutual respect within institutions and
communities.
The qualities that are associated with good leadership, like most everything else, are
socially relative. One of Turners Asian American interview subjects, who is now a successful
educational leader, was originally criticized for having a soft voice that was not presidential
enough (21). While this seems logical at first, not a single study I have found points to voice
volume level as an indication of effective leadership skills. While the world may need leaders
who can command a crowd with the sheer power of their booming voice, I believe there is also a
place for the soft spoken in leadership, for there is moral value in humility, as it increases our
ability to respect others. To illustrate the socially constructed nature of the definition of good
leadership, Cain cites a particularly fascinating study. This experiment examined the friend
preferences of high school students in the United States and China. When asked what they were
looking for in a friend, the American students described ideal qualities such as: cheerful,
enthusiastic, and sociable (187). The Chinese students, on the other hand, used the adjectives:
humble, honest, and hard-working (187). Clearly this does not mean that being sociable is not
valued in China, or that hard work is not encouraged by Americans, but it points to underlying
priorities and perhaps even culturally instilled values.
Speaking Up: Culture versus Growth and the Oppression of Womens Voices
While it is clear that many of the cultural values embedded in Asian culture foster
individuals who care deeply and lead effectively, there are also issues of oppression and
patriarchy. In her article Cultural Politics and Women in Singapore Higher Education

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Management, Carmen Luke discusses some of the barriers that women face when trying to
attain leadership positions in Singapore. A few of the cultural issues at play include the
following: men are legally defined as the breadwinners of their households; women are
envisioned as the glue of the family, and as primary caretakers and servers. These are but some
of the cultural factors that define a womans place in society as subservient and family focused.
While some Asian women are able to attain positions of power in education and business,
they are often the quiet and unrecognized workers behind the visible male lead. Luke writes that
Women are promoted based less on their ability and more on how well they balanced making
important contributions with staying invisible (7). This fascinating paradox leads to another
contradiction. Women are operating within a culture that sees the image of leadership as largely
authoritative and male. While women may have ambitions to lead, they must balance
expectations to look and act like a leader, with the cultural image of what a proper woman should
be: polite, quiet, and demure. This double standard leaves women walking a tightrope between
what is expected of them as a leader and what is expected of them as a woman, categories that,
clearly, should not be mutually exclusive.
Still, many interviewees were optimistic, and there was a general consensus among them
that womens leadership styles are actually more forward-thinking than the dominant
hierarchical style often adopted by men. In general, women were more willing to negotiate
and consult with others, and had a greater interest in, and sensitivity towards, peoples feelings
and needs. Even as women face the silencing affects of oppression and patriarchy they are

Fujimoto Kateada !13

finding ways to empower themselves and those around them. Lukes article provides us with a
snapshot of womens experiences in Singapore, but many Asian American women face similar
barriers. The challenge becomes giving a voice to women without dismantling culture.
In her article, Ways of Feeling, Being, and Doing: Toward an Asian American and
Pacific Islander Feminist Epistemology, Jennifer A. Yee also examines some of the issues at
play for AAPI women in leadership. In order to do this she interviews a broad range of AAPI
women students about their experiences. Similar to Luke, Yee finds that many women are
caught between what is expected of them as active participants in their families culture, and
their developing identity as leaders. Yee argues that an AAPI Feminist Epistemology (an
evolving body of knowledge about Asian American women) has been slow to develop because of
the pervading image of Asian women as obedient daughters and wives. However, she goes
beyond Luke by not just investigating the oppression that exists, but also questioning what can
be done to reconcile culture and respect for womens voices. Yee argues that because many
women construct their self-image as a result of their interaction with others these relationships
can become places for healing and self expression (56). In this way, she writes sites of
interaction may serve not only as sites of oppression, but also as sites of resistance and sites
of liberation (54). Yees goal is to create an AAPI Feminist Epistemology so that women
have strategies for engaging in and creating relationships that foster equality. Essentially Yee is
calling for a consciousness-raising effort. She believes that, given the importance of cultural
values in womens lives, AAPI women can and should engage in both a personal and a societal
shift towards a new definition of what it means to be an Asian woman.

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At the same time, Yee is aware of the need to acknowledge cultures important role in
womens lives. She writes that, while choosing liberation over culture may seem like the most
viable option, this is not a possibility for those who are at a point in their lives when the absence
of a family or community structure is considered worse than death (61). Here she is suggesting
that a compromise must be reached. In order for cultures to survive as the foundation of identity
and community that they have the potential to be, they must evolve. Yee is confident in the
ability of APPI cultures to metamorphosis. She quotes Phoebe Eng, author of Warrior Lessons:
An Asian American Womans Journey Into Power:
Breaking the circle does not mean eradicating the bonds that have given strength to our
family systemsit means compromise. It requires us to set up different formulas for interaction. (61)
In other words, there is a place for the voices of women in Asian culture.
In an effort to raise consciousness, Yee generated a list of dimensions that characterize
AAPI womens experiences (57). These dimensions are often two opposites, such as
silence/voice and being/not being enough (58). Upon reading her list I was struck by how
many of the issues she pinpoints are paradoxes with which I have struggled. For example,
obedience/independent decision making was a confusing balance for me as I shifted from
follower to leader in my Senior Piece process. I am comfortable with obedience, but felt
unqualified to make decisions as the leader. Another dimension, stoicism/expression,
resonated with me, both in relation to dance and to life in general. Part of my fear of taking up
too much space has always manifested in a hesitancy to express myself fully. I do not
necessarily feel stoic, but I can feel myself rush to bottle up the emotions as they begin to
reach the edge. All of these dimensions demonstrate how complex the interactions between self

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and culture are. There is not one sole answer to the question, how do we give voice to womens
experiences within traditional culture? At the same time, we must keep trying. We must not
stop waking up, and digging in. We must continue to trust that the traditions we hold dear can
weather our endless questions, and our need for change.
Only recently, I realized that some of these gender and cultural issues were alive in my
Senior Piece. During a peer feedback session towards the beginning of my process, several of
my colleagues explained to me that one of the duets for a male and female dancer in my piece
placed the female dancer in a subordinate position. I had given the dancers a specific eye contact
task where the male dancer was never to look at the female dancer. I made this choice purely out
of curiosity, but a combination of this cue and the choreography made it look to many as if the
female dancer wanted the male dancer to give her attention, even though he kept ignoring her.
When I saw the duet from this perspective I immediately changed the choreography to create a
more equal relationship. I also originally created a phrase where one of the dancers was assisted
as she walked across the stage, but I took this section out as I began to feel that it did not give her
enough agency in the piece. This is not to say that interesting work cannot be made by exploring
traditional gender roles onstage, but it was only after some reflection on the subject of this thesis
that I realized how much I adhered to the value of equality throughout my Senior Piece process.
From the beginning, I was adamant that I did not want to feature any single dancer. I wanted
the dance to be about all six of my dancers experiences within the piece.
A Role Model in Speaking Softly and Speaking Up
So how does all of this theory apply to how you live a life? Sarah Kay is a young spoken
word artist who is half Japanese American and half European American. I first saw her 2011 Ted
Talk If I Should Have a Daughter, during my freshman year. I was captivated by her

Fujimoto Kateada !16

vulnerability and humor, and by the deep sense of knowing that I felt when listening to her
poetry. During this talk Kay shared her journey from an intensely shy and introverted pre-teen to
an articulate spoken word artist. Kay gives voice to the experiences of a current generation of
young women who are coming of age, learning to love, speak their truth, and live with integrity.
She chronicles her own journey in a deeply personal voice that has universal resonance.
For all of these reasons, I decided to use Kays poetry as a jumping-off point for my
Senior Piece. I asked my dancers to create short phrases based on her poetry, and then I used the
structure of her poems to inspire structural choices in my choreography. One of the poems I used
is titled Dragons. To me, it describes the internal strength that lies dormant in us until we feel
the critical mass of too many transgressions. It is the anger of one who is slow to burn, but
brilliant in flame.
My father and brother were born
with cannonball fists. Avalanche tongues.
They know how to light flame to the
smallest injustice. How to erupt into
fireworks from the inside. The silent
anger too. They are capable of keeping
the engine humming, the deep vibration
of fury warm underneath. Me--I was
not born with enough fuel. My anger
often melts into sadness, it will just
disintegrate into shame or fear, my
clenched teeth release into chatter.
But you have found the right mix of
arrogance and alcohol. Place your hands
on me one more time, then again, exhale
the cigarette into my eyes, tell me again
how I'm just not understanding the point,
remind me how you are an expert, touch
my knee, my thigh, my lower back, ignore
me twice, three times, continue talking over
me with the man to my right. There is a

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beast in my veins that was birthed by my
father. It is quiet, it sleeps through most
nights. Tonight, sir, my tail twitches in
the darkest caves. Be careful, darling.
Your footsteps land heavy here. Your
racket will wake the dragons. (50)
Dragons speaks of a father and brother whose strength is quick to show; they have
avalanche tongues and cannonball fists, whereas she talks of shame, chatter, and sadness.
To me, this poem is about the assumptions that are made about those who are quiet and appear
demure. While women may be taught to melt their anger into sadness, there is still a beast
within their veins. This poem is a creative acknowledgment of the quiet strength of women,
and the power that silently waits for the important moments- the moments during which women
find within themselves the fortitude to speak their truth.
Besides giving voice to her experiences as an introverted Asian American woman, Kay is
also a role model as a leader. She has committed herself to the education of young poets in
co-founding Project Voice with poet Phil Kaye. Kay, Kaye, and Project Voice have also
been joined by spoken word artist Franny Choi. Project Voice performs and offers workshops
for students and faculty in schools across the country and internationally. As educators, these
three Asian American leaders highlight the voices of young people and encourage them to speak
up about the small and big events happening in their lives. Kay is an excellent role model for
introverts who have something to say. She speaks her truth to millions of people without compromising her identity.

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What Kind of Leader Do I Want to Be?
As I contemplate what I have learned from this first foray into a leadership position, I am
aware that this experience has shifted my identity as a person and dancer. I no longer want to be
the leader that I wanted to be four years ago, and I am more conscious of the cultural and
structural factors that play a role in who leads and how they lead. While the bulk of my research
for this thesis addressed issues of women who are introverted Asian American leaders in
education and business, I believe that the same barriers exist in the arts. A fascinating study
conducted by the American Conservatory Theater in San Francisco found that the majority of
theatergoing audience members are female, while the majority of artistic and executive directors
are male. Whose stories are being told on the stage? Would more diverse leadership lead to
more diverse art? In a somewhat similar vein, for their 2014-2015 season, the New York City
Ballet commissioned new works from all male all white choreographers. I have recently become
very interested in physical theater, the melding of dance and theater, but have been unable to find
many acclaimed women choreographers in this genre. All of this points to the gender imbalance
that is omnipresent, whether we are discussing business, politics, education, or art.
However, I am optimistic that an awareness of these structural issues and of the
incredible talents that women bring to leadership, can begin to shift this paradigm. For me, this
begins with deciding what kind of leader I want to be; shedding expectations about what a leader
is supposed to look like, and finding my own way. In Hiking the Horizontal, artist Liz Lermans
insightful and practical field notes from a choreographer, she shares a moment when her
dancers were moving especially beautifully. She writes, I decided that they were dancing so
well because they were so loved (44). As a choreographer, this is what I want to offer my

Fujimoto Kateada !19

dancers. I know that I dance best when I feel supported; not when I am being coddled or offered
false praise, and not when I am being degraded or undervalued, but that magic in-between
place. I dance best when the support is real and authentic, and is coupled with a push for
excellence and a reminder that I am capable of reaching that excellence.
Throughout my process, I found collaboration to be an incredible tool in creating this
kind of environment. As noted above, I immediately identified with the role of curator. I
enjoyed drawing out the voices of my dancers, and intertwining my vision with theirs. I began
my process by creating phrases which I asked the dancers to convert into three distinct duets. In
pairing up my six dancers, I attempted to place them with people who would push them to think
and move in new and perhaps uncomfortable ways. Their choreographic responses to these
pairings completely exceeded my expectations, and solidified my belief that they had as much to
teach one another as I did. As I continued my process, I worked with the material the dancers
made using my outside perspective to shape the piece. Given all of these strategies, it was with
surprise and delight that I discovered the etymology of the word curate, which comes from the
Latin curare meaning one who is responsible for the care (of souls). This is the kind of
leader I want to be. I believe that being a leader imbues one with the responsibility to care.
Conclusion
It is time for us to evolve our consciousness as a society and create a more inclusive
understanding of what good leadership means. This new understanding must include an
acknowledgment of the role that culture and tradition play in shaping our identities as leaders,
while uplifting the voices of the marginalized. Leadership is not only the domain of the

Fujimoto Kateada !20

outspoken, extroverted, and independent. There is value in leadership that strives for humility,
collaboration, and listening. The world needs both. As I consider my next choreographic
adventure, I am excited to trust in the validity of my own leadership, and continue to push
myself beyond my place of comfort. In leadership, as in life, we must learn to bring our whole
and real selves to the table, because there is a time for speaking softly and speaking up.

Fujimoto Kateada !21

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