• Performance organizers and artistes may interface in in-person office settings and/or online forums.
• Organizers should ensure that artistes’ sale of self-promotional materials is allowed by both the venue that the event is taking place in as well as organizations involved in the event. They should also check with the venue’s policies about soliciting voluntary donations from attendees. At some venues, such as universities, such sales and donations are strictly prohibited. Revenue from these sales should be split according to agreed-upon terms between artistes and the organizations involved.

• Itinerary: When and where artistes are expected should be made clear to them beforehand, for a stress-free performance. There should also be an exchange of contact information, and an explicit “go-to” contact and/or emergency contact should be made clear for general communication. In some cases, artistes may not be able to speak or read the local language; extra precautions should be taken such that they are not confused by their surroundings.
• Financial: The method and amount of payment should be made clear before the performance takes place. Artistes and performance organizers must come to this agreement beforehand; artistes should not ask for more, and performance organizers should not give less.
• Please note: Logistics pertaining to food, travel, & accommodations do not apply at the local level in which performance organizers operate.

Rules and regulations regarding substances such as drugs, alcohol, and tobacco are at the discretion of the organizer(s) and venue, and artistes as well as attendees must heed these rules. If available, they should be consumed responsibly. Performance organizers should make sure that artistes, attendees, and staff comply with these rules.

It is in the artistes’ best interest to ask questions

about safety when approaching organizations. Artistes should identify and clarify with the responsible individual(s) about safety measures for themselves and their co-artistes within a performance space or other related spaces of operation. Organizers should do their best to answer questions on how they enforce safety in their spaces. Organizations following best practices often have a reliable Internal Complaints Committee (ICC) to address matters of misconduct.

Organizers should keep their space as habitable as possible for guest artistes, and artistes should ensure to leave spaces habitable for the next.

In the case of unforeseen/unavoidable circumstances, be prepared to handle such situations with the consideration that both parties are not at fault, and discuss possible responsibilities and liabilities in advance.

Organizer should not request the photo of an artiste unless it will be used for official purposes (travel bookings, accommodation arrangements, promotional content etc). Artiste should be asked for consent prior to such uses of their photograph and name.

If bringing together multiple artistes not from the same traveling group, should ask if the artistes are comfortable performing with one another and prioritize their response in arrangements.

The organization responsible for featuring the performance should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially those from intersectional variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

• Performance organizers and artistes may interface in in-person office settings and/or online forums.
• Organizers should ensure that artistes’ sale of self-promotional materials is allowed by both the venue that the event is taking place in as well as organizations involved in the event. They should also check with the venue’s policies about soliciting voluntary donations from attendees. At some venues, such as universities, such sales and donations are strictly prohibited. Revenue from these sales should be split according to agreed-upon terms between artistes and the organizations involved.

• Itinerary: When and where artistes are expected should be made clear to them beforehand, for a stress-free performance. There should also be an exchange of contact information, and an explicit “go-to” contact and/or emergency contact should be made clear for general communication. In some cases, artistes may not be able to speak or read the local language; extra precautions should be taken such that they are not confused by their surroundings.
• Financial: The method and amount of payment should be made clear before the performance takes place. Artistes and performance organizers must come to this agreement beforehand; artistes should not ask for more, and performance organizers should not give less.
• Please note: Logistics pertaining to food, travel, & accommodations do not apply at the local level in which performance organizers operate.

Rules and regulations regarding substances such as drugs, alcohol, and tobacco are at the discretion of the organizer(s) and venue, and artistes as well as attendees must heed these rules. If available, they should be consumed responsibly. Performance organizers should make sure that artistes, attendees, and staff comply with these rules.

It is in the artistes’ best interest to ask questions

about safety when approaching organizations. Artistes should identify and clarify with the responsible individual(s) about safety measures for themselves and their co-artistes within a performance space or other related spaces of operation. Organizers should do their best to answer questions on how they enforce safety in their spaces. Organizations following best practices often have a reliable Internal Complaints Committee (ICC) to address matters of misconduct.

Organizers should keep their space as habitable as possible for guest artistes, and artistes should ensure to leave spaces habitable for the next.

In the case of unforeseen/unavoidable circumstances, be prepared to handle such situations with the consideration that both parties are not at fault, and discuss possible responsibilities and liabilities in advance.

Organizer should not request the photo of an artiste unless it will be used for official purposes (travel bookings, accommodation arrangements, promotional content etc). Artiste should be asked for consent prior to such uses of their photograph and name.Tour organizers should make the artistes’ itinerary clear to individual performance organizers; time of arrival and departure from host city, accommodations, food logistics, and who will provide local transportation, and other pertinent details to make sure that adequate communication between performance organizers and artistes should be established.

Tour organizers should clearly communicate artistes’ itinerary to individual performance organizers; time of arrival and departure from host city, accommodations, food logistics, and who will provide local transportation, and other pertinent details to make sure that adequate communication between performance organizers and artistes should be established.

The organization responsible for featuring performances and arranging tours should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially those from intersectional variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

Settings Under Which The Interactions Between A Teacher And A Student Should Occur

Personal spaces (e.g., the teacher’s or student’s home, etc.) should be avoided if possible to prevent power skew. Public spaces for classes can include community centers or studios.

If not, classes should happen in an open-to-view space, and never behind closed doors. Additionally, students should be exceptionally wary of one-on-one settings with no other witnesses (e.g. other students, family of the teacher, family of the student).

General

Students and teachers should, near the beginning of the relationship, decide upon a suitable frequency and duration of classes. A change in either of those two (e.g. absences or rescheduling) should be communicated reasonably ahead of time. Both parties should try their utmost to adhere to these guidelines, and revise if they do not work for them anymore.

Financial

Payment should be made promptly. Students/their parents and teachers should discuss mode and frequency of payment so that neither party is dissatisfied. Changes in the above should be communicated as early as possible.

It is in the students’ best interest to ask questions

about safety when approaching teachers. Students should identify and clarify with the responsible individual(s) about safety measures that apply to all students within that learning space or other related spaces of operation. Teachers should do their best to answer questions on how they enforce safety in their spaces. Teachers following best practices often have reliable avenues to address matters of misconduct.

Teachers should keep their space as habitable as possible for students, and students should ensure to leave spaces habitable for others.

In the case of unforeseen/unavoidable circumstances, be prepared to handle such situations with the consideration that both parties are not at fault, and discuss possible responsibilities and liabilities in advance.

One should ask permission before making physical contact with the other (e.g. “may I give you a hug?”). Especially in initial stages of the relationship, under no circumstances should the student touch the teacher or vice versa during, before, or after class, unless explicit consent is given by the other party. Even if consent is given, teachers should understand that their words and actions could potentially be coercive, especially in a setting like their own home and in the context of class. Most importantly, mutual trust should be built before any consent is given.

Parents or teachers asking a student to prostrate or touch a teacher’s feet to receive blessings can be problematic. Especially when the student-teacher relationship is beginning, it is imperative that those involved should exercise restraint. This act is a profound and deep sign of respect, and should not be treated lightly. Similarly, parents should avoid forcing their children to prostrate either, or otherwise perpetuate a one-way teacher-student power dynamic. It is better left as an option for students, if they feel like doing so.

Teachers should not have a say in any personal matters of the student that do not directly relate to the art form taught (e.g. career prospects, dating, marriage, etc.). The job of the teacher is to teach without mutual trust and vulnerability; they should not provide their opinions on anything except the art form itself. Maintaining this boundary requires for the teacher to explicitly welcome the student to voice discomfort and/or disagreement. It requires the student remember and voice moments they are uncomfortable with.

Students or parents of students asking/coercing teachers to feature them in performances puts pressure upon the teachers to agree. Especially if the teacher is dependent on the money they get from class for their day-to-day lives, they may feel obligated to cater to their students’ and their parents’ insistence to keep their income intact. Asking favors of teachers is inappropriate and unprofessional. Instead, one can ask for a teacher’s suggestion or recommendation.

Students - do not assume everything that was taught to you is automatically yours to share. Ask for permission from your teacher when performing or sharing learning materials and do not distribute materials without consent from rightful IP owner.

Open, frequent and honest dialogue between parents, students, and teachers is encouraged, to ideally prevent harmful situations. It is important to recognize and encourage attempts at these conversations.

The organization responsible for featuring performances and arranging tours should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially those from intersectiona variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

All parties should be wary of behavior that could constitute misconduct or cause discomfort verbally/emotionally/financially/physically/sexually (the last two types are especially delicate in a dance or instrumental class).

Co-artistes share practice, performance, and informal spaces (especially while on tours and in green rooms before performances).

General & Accommodations

To maintain respectful and sustainable relations between all those who perform together, we recommend having explicit conversations about hosting arrangement preferences (e.g. separate bedrooms) and expectations on how to candidly convey moments when someone feels uncomfortable or unsafe. Examples of how these expectations can be set can be found in our co-artiste agreement.

Financial

Sometimes, issues arise due to lack of transparency on the total amount that is paid and/or lack of consensus on the payment split. Oftentimes, a lump sum is given to a designated artiste to split. Co-artistes may then get a disproportionately smaller amount to the lead artiste without knowing or having a say in their pay. To ensure that all involved parties are treated fairly and respectfully, conversations should be had between:
1) tour organizer and the designated artiste about splits per performance
2) performance organizer and all artistes on stage to convey the lump sum amount
3) co-artistes about the payment split with the designated artiste

Please note: Logistics pertaining to food, travel, and itinerary do not apply to this interaction always, but may apply on a case-by-case basis depending on the type of interaction. Please refer to other interactions when roles overlap.

It is in the artistes’ best interest to ask questions

about safety when approaching organizations or sharing workspaces with co-artistes. Artistes should identify and clarify with the responsible individual(s) about safety measures for themselves and their co-artistes within a performance space or other related spaces of operation. Organizers should do their best to answer questions on how they enforce safety in their spaces. Organizations following best practices often have a reliable Internal Complaints Committee (ICC) to address matters of misconduct.

Co-artistes should keep their space as habitable as possible for one another.

In the case of unforeseen/unavoidable circumstances, be prepared to handle such situations with the consideration that both parties are not at fault, and discuss possible responsibilities and liabilities in advance.

Organizer should not request the photo of an artiste unless it will be used for official purposes (travel bookings, accommodation arrangements, promotional content etc). Artiste should be asked for consent prior to such uses of their photograph and name. Tour organizers should make the artistes’ itinerary clear to individual performance organizers; time of arrival and departure from host city, accommodations, food logistics, and who will provide local transportation, and other pertinent details to make sure that adequate communication between performance organizers and artistes should be established.

Although Co-artistes may often share candid camaraderie, open communication regarding all matters should be practiced. It is often easy to make assumptions that favors can be exchanged, and these assumptions should be avoided through regular and honest communication. Favors due to familiarity does not mean automatic consent.

The organization responsible for featuring performances and arranging tours for co-artistes should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially of a intersectional variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

Identity Differentials Between One Another (e.g. gender, caste, language, etc.)

Identity-based derogatory remarks or financial repercussions are examples of discrimination. For example, implicit biases can cause a female artiste to be paid less than a male artiste. Non-judgmental, straightforward conversations about uncomfortable behaviors can lead to more professional and respectful treatment of co-artistes. Available to artistes are also our workshops on actions that can alleviate strain on relationships between artistes.

Room for discrimination can mean risk of harm. This harm can include being coerced into substance use (tobacco/alcohol/drugs) or nonsexual/sexual favors.

A host and artiste can interact in various professional and personal spaces (host's home, spaces of transit, performance spaces, etc).

General

Expectations of what must be provided should be set far beforehand. Will the hosts be providing simply a place to stay, or will they also be providing food? If so, how often? Are they required to transport the artistes to/from the venue or other locations? Are there other requirements that should be made clear beforehand (e.g. visits to the post office, other essential trips/shopping, entertainment).

Accommodation

Artistes should be designated their own spaces to sleep and take care of personal hygiene without invasion of privacy.

Food

If hosts are providing food for artistes, dietary restrictions and preferences should be made clear (by the artistes themselves or the organizers) up-front; otherwise, the artistes should acquiesce to eating whatever the hosts make.

Financial

Under no circumstances should hosts feel obligated to make monetary purchases for artistes without reimbursement. Common items that come under this category include electronics, dry fruits/nuts, other exportable foods, etc.

It is in the hosts’ and guest artistes' best interest to ask questions about safety prior to arrival at the host's home. Hosts and guest artistes should identify and clarify with the responsible individual(s) (tour and performance organizers) about safety measures that apply to all within their spaces of operation. Organizers should do their best to answer questions on how they enforce safety in their spaces and how safety will be enforced within personal spaces. Organizers following best practices often have reliable avenues to address matters of misconduct.

In the case of unforeseen/unavoidable circumstances, be prepared to handle such situations with the consideration that both parties are not at fault, and discuss possible responsibilities and liabilities in advance.

The artiste should not invite whomever they like to where they are staying without host (and tour organizer, when applicable) permission, especially for classes/workshops or other gatherings they might expect to have there. Visa status/residency should be taken into account if workshops are being hosted for profit.

Hosts should make clear as to which rooms are off-limits within their homes. This is especially true of bedrooms, particularly of minors’, to ensure everyone’s safety, but can also extend to simple spaces such as the refrigerator (i.e., unless made explicitly clear, artistes should not help themselves to what they see).

We generally recommend a no substance/alcohol policy within host homes throughout the duration of the artistes’ stay in order to retain uncompromised judgment. Beyond that, it is up to the discretion of the hosts; policies regarding substances and alcohol should be made clear at the outset of the host-artiste relationship.

If doable, all of the requirements of the relationship should be documented in a contract, initiated by performance/tour organizers.

The artistes should not expect prostration (touching of the feet) from hosts or their family members unless it is done voluntarily.

Neither host nor artistes should place pressure upon the other to take on a student-teacher interaction with each other. Neither should they place pressure on the other to provide performance opportunities.

Open, frequent and honest dialogue between all parties is encouraged, to ideally prevent harmful situations. It is important to recognize and encourage attempts at these conversations.

The organization responsible for arranging accommodation for guest artistes should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially those from intersectional variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

All parties should be wary of behavior that could constitute misconduct or cause discomfort verbally/emotionally/financially/physically/sexually (the last two types are especially delicate in a dance or instrumental class).

Hosts and artistes should not discriminate based on what people eat, socioeconomic status, caste, or gender/sex.

Connoisseurs and artistes can interact within in-person or online forums. Whether a connoisseur or an artiste, one should be wary of individuals using influence/interest to attract the other into a more informal/intimate space where the other party is vulnerable. Avoid gatherings where there is not at least one trusted individual present. Be wary of spaces that remove escape routes/aren’t necessarily safe.

There are no particular logistics to consider within this interaction. If roles overlap, please refer to other interactions on a need basis.

It is in the connoisseur’s and artistes' best interest to ask questions about safety prior to arrival at a performance venue. Connoisseurs and artistes should identify and clarify with the responsible individual(s) (tour and performance organizers) about safety measures that apply to all within their spaces of operation. Organizers should do their best to answer questions on how they enforce safety in their spaces and how safety will be enforced within personal spaces. Organizers following best practices often have reliable avenues to address matters of misconduct.

If possible, refrain from disclosing personal information/contacting personally unless for a known and safe/consensual purpose. However, if necessary, the exchange of personal contact information should not be taken as a right to contact with uncomfortable content/frequency.

Open, frequent and honest dialogue between all parties is encouraged, to ideally prevent harmful situations. It is important to recognize and encourage attempts at these conversations.

Artistes should define platforms on which they are comfortable communicating with connoisseurs.

The organization responsible for arranging accommodation for guest artistes should espouse a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially those from intersectional variables. The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

All parties should be wary of behavior that could constitute misconduct or cause discomfort verbally/emotionally/financially/physically/sexually (the last two types are especially delicate in a dance or instrumental class).

Be aware of the appropriate gestures/interactions given the familiarity level with the party. Familiarize yourself with the definitions of physical or verbal/emotional sexual abuse/harrassment so that you are on the lookout for these. Know beforehand whom one can confide in safely in case of a violation, and try to use this outlet if one occurs.

Do not allow non-consensual advances or uncomfortable gestures (verbal/physical/sexual) in public (e.g., an unexpected hug when no touch is expected).

Ask if the other is comfortable with certain actions (e.g. “can I give you a hug?”) especially in public. Fight the normalization of the non-consensual advances or uncomfortable gestures mentioned above.

A Parent's Presence In Spaces That Their Child Operates In

Parents should actively demonstrate that the “home” environment is their child’s first safe space, free of judgment, rules, and regulations that may come with other spaces of operation. Here, parents need to be supportive and supported.

Parents should ensure they have the option to access spaces that their child operates in (ie. classes, back-stage, performance and practice spaces, etc). Parents should be respectful of the privacy protocols of that space and the individuals occupying that space.

Parents should not force or convince their child into spaces that they expressed discomfort with. As a student or parent: research and connect with what else exists out there, map out your options, and know that you have alternative places to go.

A Parent’s Responsibility In Ironing Out Logistics (Financial, Itinerary, Travel, Food, Accommodations)

If the child is a minor, logistics should never be left to just the teacher and the child. Parents should be taking care of these aspects for their child until it makes sense for the child to be self-sufficient.

Refer to teacher-student contracts or the teacher student logistics section for more information.

A Parent’s Responsibility To Enquire About Liability And Safety

Parents and children should come to a consensus on appropriate safety measures, facilitated by regular conversation. Parents should ensure that these measures are honored.

Parents should identify and reach out to individuals (local organizations, performance and tour organizers, teachers, etc) responsible for enforcing safety within the spaces that their child may operate in. Organizations following best practices often have a reliable Internal Complaints Committee (ICC) to access matters of misconduct. It is in the parent’s best interest to ask questions

about safety when approaching organizations.

Parents can maintain an active network of trusted peers– both young and experienced– to familiarize themselves with the Indian arts space(s) before committing their child to it.

When a parent is unable to be present at the child’s workspace, they should ask in advance who is liable for and will keep the parent informed about their child’s safety.

How Parents Can Understand And Act On Boundaries Given The Cultural Nuances

Parents should understand that allowing their child to disengage with a current interaction does not have to mean loss of opportunities.

Parents should prioritize discussing self-awareness & safety from an early age regardless of their child’s gender.

Children are often the most vulnerable members in an interaction, so parents should encourage children to reason their preferences. Respecting their opinion allows the child to rely more on internal validation rather than external.

Children may be testing waters by revealing only parts of what makes them uncomfortable – it is important to not ignore signals or information.

Provide constructive feedback.

It is in the child and parent’s best interest to avoid the tendency to automatically trust members of the community. Double checking is never a bad idea.

How Parents Should Communicate

Parents should frequently check in with their children and role model asking questions about what makes them safe or uncomfortable, making children aware of their existing internal checkpoints. Such discussion between parents & children and parents & teachers should be easy, simple, and regular.

Parents' first words in a conversation where a child discloses discomfort need to be, “it is not your fault. What do you need right now to make you feel safe?” If the child asks an unexpected question, it is okay to admit that you are still figuring it out.

How Can A Parent Delineate And Uphold What Should Be Zero Tolerance - An Action That Is Undeniably Wrong.
The Roots Of Harassment In This Space Are Deep And Are often tangled in several Intersectional Issues.

As mentioned before, a child is often the most vulnerable member in interactions with other members of the Indian arts space. Parents should be watchful for ways in which their child might be facing harassment; getting berated for qualities they may or may not have inherently (e.g. cultural knowledge, body type, popularity, influence, etc), being demeaned for their financial status, being subject to demoralizing criticism,

being threatened to lose opportunities, and/or facing comments restricting his/her/their personal choices, etc.

Tell your child not to allow non-consensual advances or uncomfortable gestures (verbal/physical/sexual) in public (e.g., an unexpected hug when no touch is expected).

Tell your child to ask if the other is comfortable with certain actions (e.g. “can I give you a hug?”) especially in public. Fight the normalization of the non-consensual advances or uncomfortable gestures mentioned above.

Most of these interactions happen in in-person settings.

The spaces open to these supporting members should be made clear. Certain spaces may require higher consideration for privacy (ie green rooms), therefore supporting members should treat them as such.

General

Artistes should ask the organizer as to which supporting service(s) are provided with the usage of the performance space, if any. If the artiste desires to bring an independent supporting member, they should check with the organizers if there are any requirements as to who those members can/cannot be.

Finance

The method of payment, when the payment should be made, type of rate (hourly or fixed), the services that are included in the payment, and which party is responsible for arranging and paying for those services should be discussed prior to the start of the service.

Travel, Accommodation, Food

If a supporting member is traveling with an artiste/troupe, both tour and performance organizers should be aware of this arrangement ahead of time so as to make travel and accommodation arrangements accordingly. In the case of a touring supporting member, food logistics should follow protocol as mentioned in previous sections.

Itinerary

An artiste should clarify when, where, and how often a supporting member should report to the space of operation and when services should be delivered.

Supporting members should reach out to individuals who request their service (their immediate point of contact), and ask who is responsible for enforcing safety within the spaces that they may operate in. Organizations following best practices often have a reliable Internal Complaints Committee (ICC) to access matters of misconduct. It is in the supporting members' best interest to ask questions

about safety when approaching organizations.

In the case of unforeseen/unavoidable circumstances, all parties involved should be prepared to handle such situations with the consideration that none one may be at fault, and discuss possible responsibilities and liabilities in advance.

To ensure that everyone’s contribution is honored, the individual coordinating and supporting member must – in understandable language – discuss and agree upon:
1) the people involved in that role
2) the type of involvement (e.g. volunteer, worker)
3) the form and amount of recognition the supporting member(s) receive
Hidden or last-minute additions are difficult to accommodate.

Prior to the start of a supporting member's service, the coordinating individual and supporting member should define the boundaries of reasonable work. The supporting member should not be given extraneous or unrelated errands just due to their availability, familiarity, or intersectional identity.

It is the supporting member’s role to plan ahead and make efforts that adhere to the agreed-upon timeline. Timely work is a crucial aspect of commitment and professional conduct. Changes to the timeline must only happen if truly necessary, and have to be communicated as early as possible.

What the supporting member thinks they are and giving should align with what the requesting party expects to get. To align on expectations between one another, the supporting member and the individual who requested their service should discuss, agree upon, and adhere to the nature and quality of work.

Supporting members with access to documentation or recordings of artiste’s creations (e.g. video or photos, audio, stage cues, etc.) must ask artistes what can be shared where and how. They must also let the artiste know of each instance that the material is shared, to confirm consent.

Supporting members (make up artistes, backstage volunteers, teachers, etc) who are responsible for any role involving physical contact should be aware of personal space and boundaries, and must interact after explicit consent has been given to so.

The individual who requests services from supporting members should espouse and communicate a zero tolerance policy against any forms of discrimination, sexual and nonsexual misconduct, on online and in-person forums, especially of a intersectional variables.

The consequences of these violations should be made clear. This will help set expectations for stakeholders of the organization, artistes it features, and attendees who frequent it.

Identity Differentials Between One Another (e.g. Gender, Caste, Language, etc.)

Identity-based derogatory remarks or financial repercussions are examples of discrimination and should not be tolerated. Room for discrimination can mean risk of harm. This harm can include being coerced into substance use (tobacco/alcohol/drugs) or nonsexual/sexual favors. See Liability and Safety for more information on questions to ask to protect yourself and others.