By Doug Risner, Ramsay Burt
This research investigates the aggressive international of pre-professional Western live performance dance education and schooling within the usa as skilled and lived by means of boys and younger males, an under-represented inhabitants within the box. This paintings examines the discourses dance education via theoretical and narrative methods that elucidate the hugely gendered expert dance global as evidenced during the minds and our bodies of male youngsters and teenagers. Dance, its education and social meanings, has a wealthy historical past and long-time institutions with gender and gender roles in global tradition. whereas dance in a few cultures is noticeable as a suitable task and legitimate vocation for men, the dominant Western paradigm positions live performance dance as a predominantly "female" job and artwork shape. Encouraging male participation has traditionally concerned good intentioned yet usually heterosexist ways that idealize noteworthy heterosexual male dancers, specialize in masculinist comparisons among male athletes (presumably heterosexual) and male dancers, and inspire higher male participation through minimizing or ignoring the numerous inhabitants of homosexual men in dance. The study's big social implications approximately gender, femininity, masculinity, homophobia, sexual orientation, gendered our bodies, and baby tradition will entice a number of readerships drawn to arts schooling, humanizing pedagogies, and social justice issues.
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Additional info for Stigma and Perseverance in the Lives of Boys Who Dance: An Empirical Study of Male Identities in Western Theatrical Dance Training
Sample text
Using the Power of West African Dance to Combat Gender Issues,” 1994; and Stinson. “The Hidden Curriculum…,” 2005. 31 Ferdun. “Facing Gender Across…,” 1994. 32 Bond. “How ‘Wild Things’ Tamed…,” 1994; Kerr-Berry. 33 As dance historian Ann Daly noted in 1991: The inquiries that feminist analysis makes into the ways that the body is shaped and comes to have meaning are directly and immediately applicable to the study of dance, which is after all, a kind of living laboratory of the study of the body—its training, its stories, its way of being and being seen in the world.
Dance Education in/and…,” in: Shapiro. Dance, Power and Difference, 1998: 183. 47 Stinson. “Seeking a Feminist Pedagogy…,” in: Shapiro. Dance, Power and Difference…, 1998b. 48 Participants in the study received somatic practice experiences and body awareness exercises as well as creative process stimulation and guidance, which expanded their definitions of choreography into a social context. This led them to discover alternative structures for dance choreography and a more global approach for addressing creativity.
Gender Issues in Dance History Pedagogy,” 1994; Dils. “Sexuality and Sexual Identity: Critical Possibilities for Teaching Dance Appreciation and Dance History,” 2004; Ferdun. “Facing Gender Across…,” 1994; Kerr-Berry. “Using the Power of West African Dance to Combat Gender Issues,” 1994; and Stinson. “The Hidden Curriculum…,” 2005. 31 Ferdun. “Facing Gender Across…,” 1994. 32 Bond. “How ‘Wild Things’ Tamed…,” 1994; Kerr-Berry. 33 As dance historian Ann Daly noted in 1991: The inquiries that feminist analysis makes into the ways that the body is shaped and comes to have meaning are directly and immediately applicable to the study of dance, which is after all, a kind of living laboratory of the study of the body—its training, its stories, its way of being and being seen in the world.