Sexism means ‘judging people on the basis of their gender when their gender is irrelevant’.

Sexism describes ‘the expression of sexist attitudes through words or actions’ (Caroline Bird 1968, cited in EAF Berlin. Diversity in Leadership (2025), p. 8).

Used in the Strafgesetzbuch (German Criminal Code) for criminal (because verifiable) forms of sexualised violence; established in common parlance for all forms of sexualised violence.

frequent use in technical language

The most comprehensive term for various forms of exercising power through sexuality

• Without physical contact, so-called hands-off actions (e.g. verbal and gestural sexual harassment, sexist jokes, sexually suggestive comments, messages and image messages with sexual content)
• with physical contact, so-called hands-on actions (such as sexual touching, kissing, attempted sex, rape)
• Grey area: sexual boundary violations (intentional and unintentional touching, hugging, assistance, massages, unwanted entry into changing rooms, forms of exhibitionism)

Any sexual act performed on, with or in front of children and young people against their will, or to which they cannot knowingly consent due to physical, emotional, mental or linguistic inferiority, is defined as sexual abuse or sexual violence. The perpetrator exploits his or her position of power and authority to satisfy his or her own needs at the expense of minors.

• What values are important to us for our organisation and our interactions with one another?
• What is our role and function in terms of protecting our employees and upholding boundaries?
• What contribution can and do we want to make to ensure that they can work in a safe environment?
• How can we clarify and formulate our self-image as an institution with regard to the protection of our employees?
• What does our programme look like? Are the perspectives of all genders equally considered in the planning?
• Do our plays represent diverse gender roles?
• Do we already have a protection concept?
• Is there a designated person to whom those affected can turn?

1. Take a stand against sexism and sexual violence in any form
2. Reflect on the conditions and risks of harassment and assault within your own organisation
3. Encourage awareness training
4. Discuss the objectives and measures for a protection concept with all members of the institution and adapt it on an ongoing basis
5. Encourage participation in training courses, conferences, symposia and workshops

• What motivates me to address this issue?
• Is it for my own safety, or do I want to stand up for someone else?
• Do I want to raise awareness and promote further development within my company/organisation?
• Do I feel safe with regard to
   
• ...the physical environment? Training room, changing facilities?
• ...the other people? Is there a climate of trust within the group?
• ...the methods used? Can I understand why a particular method or exercise is being used? Do I have the option of not participating in an exercise?
• ...expressing my opinion? Can I ask questions and offer criticism, and will they be heard?
• ...the music used? Does the music convey content that makes me feel insecure, irritated or uncomfortable?
• ...the story or theme that the group is working on for a performance/artistic end product? Do I feel that what we are working on for the stage reproduces clichés or sexism?
   
• Do we have the opportunity to examine a theme critically and from multiple angles and to participate in its development?
• Do I know who to turn to if I experience something unpleasant?
• Is there a protection concept?
• Is there a mission statement that includes protection against sexualised violence?

1. Contribute to breaking down taboos through mutual exchange (peer-to-peer counselling)
2. Establish networks with other dancers and dance scenes and organise yourselves
3. Elect deputy spokespersons
4. Demand contact persons and confidants for complaints
5. Set up awareness training courses
6. Encourage the agreement of guidelines and codes of conduct at management level (choreographers, artistic directors, trainers, etc.)

• Why is the concept of maintaining boundaries and creating protection indispensable in dance education?
• What is my role and function?
• What contribution can I make?
• What are the requirements and conditions?
   
• ...spatial-material
• ...personnel, composition of participants
• ...own knowledge, skills, open questions
• ...institutional and structural (expectations on the part of the educational institution and parents)
   
• What “vulnerable areas” do I perceive in the field?
• How can I recognise them?
• What conditions could perpetrators use to prepare and commit (sexualised) violence?
• What conditions and situations could make me a perpetrator of (sexualised) violence?

1. Demonstrate that boundaries will be maintained and protection provided.
2. Examine the conditions and risks of planned mediation projects and the methods to be used.
3. Draw on suggestions and guidance from existing protection concepts.
4. Make specific agreements with participants on how to interact with each other.
5. Integrate dialogue with participants into the project.
6. If possible, appoint or offer an external contact person and confidant for the duration of the project