By Ramsay Burt
During this tough and energetic ebook, Ramsey Burt examines the illustration of masculinity in 20th century dance. Taking factor with formalist and modernist bills of dance, which push aside gender and sexuality as beside the point, he argues that prejudices opposed to male dancers are rooted in our principles concerning the male physique and male habit. development upon rules in regards to the gendered gaze constructed via movie and feminist theorists, Ramsey Burt presents a provocative conception of spectatorship dance. He makes use of this to check the paintings of choreorgraphers like Nijinksy, Graham, and Bausch, whereas pertaining to their dances to the social, political and inventive contexts within which they have been produced. inside those re-readings, he identifies a contrast among institutionalized and modernist dance which inspires an essentialist, heroic ``hypermasculinity''; one that is valorized on the subject of nature, heterosexuality and faith, and radical, avant-garde choreography which demanding situations and disrupts dominant methods of illustration of masculinity. The Male Dancer could be crucial examining for somebody drawn to dance and the cultural development of gender.
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Extra info for The Male Dancer: Bodies, Spectacle and Sexuality
Sample text
89). The main objection to the concept of homophobia is that it doesn’t actually offer an explanation of why modern western society is prejudiced against and discriminates against homosexuals. Homosexual men were subject to sometimes violent discrimination prior to the nineteenth century, at times when performances by leading male ballet dancers were greeted with considerable approval. There is no simple linkage between homosexuality, homophobia and uneasiness at professional male dancers. The usefulness of the concept of homophobia is perhaps strategic, in that to give a name to the way social restrictions function to maintain certain norms of male behaviour is to make visible aspects of male experience that are otherwise hidden.
An instance of this is Selma Jeanne Cohen’s discussion of dance theory in her book Next Week Swan Lake (1982). Taking as an example the dance of the Sugar Plum Fairy in The Nutcracker (1892) she glosses most existing dance theories —Langer, Goodman, Martin, Collingwood, Arnheim, semiotics. The majority of these she finds inappropriate, irrelevant or ‘claiming rather much for a dance of a simple friendly Sugar Plum Fairy’ (Cohen 1982:85). : 101), and Swan Lake (1894/5), which ‘offers more’, is DANCE, MASCULINITY AND REPRESENTATIONS 33 still essentially to be enjoyed.
The idea that men and women have the same potential to be free, reasoning subjects implicitly threatened male power. Christine Battersby (1989) has shown the conflicting nature of the arguments which were put forward by philosophers at that time to maintain male dominance. Scientists and commentators sought to prove that women were physically and temperamentally unsuited to serious thinking, while at the same time they appropriated for male genius aspects that had previously been ascribed to the feminine temperament.