Men, Masculinities and Sexualities in Dance: Transgression and its Limits (Genders and Sexualities in the Social Sciences)

This book examines men, masculinities and sexualities in Western theatrical dance, offering insights into the processes, actions and interactions that occur in dance institutions around gender-transgressive acts, and the factors that set limits to transgression. This text uses interview and observation data to analyze the conditions that encourage some boys and young men to become involved in this widely unconventional activity, and the ways through which they negotiate the gendered and sexual attachments of their professional identity. Most importantly, the book analyzes the opportunities male dancers find to develop a reflexive habitus, engage in gender transgressive acts and experiment with their sexuality. At the same time, it approaches gender and sexuality as embodied, and therefore as parts of identity that are not as easily amendable. This book will be of interest to scholars in Gender and Sexuality Studies as well as Dance and Performance Studies. Andria Christofidou is a sociologist of genders and sexualities. She teaches at the Department of Social and Political Sciences, University of Cyprus, and works as a post-doctoral researcher in the Developing Equality Allies: An Innovative Workplace Inclusion Programme. Andria's research has been published in the Journal of Gender Studies, and NORMA: International Journal for Masculinity Studies. Acknowledgments Contents Chapter 1: Introduction The Cultural Attachments of Western Theatrical Dance Gender, Sex, Sexuality: Theoretical and Conceptual Tools Methods Outlining the Book References Chapter 2: Theoretical and Conceptual Elaborations (Un)Doing Gender Reflexivity and the Habit of Gender Men and Masculinities Men in Feminized Terrains Men in Dance Conclusion References Chapter 3: The Gendering of Western Theatrical Dance The Gendering of Ballet Seventeenth Century: The Era of the Danseur Eighteenth Century: Classed Transformations, the Nation, and Notions of Masculinity The Nineteenth Century: When Dance Became Feminized Ballet in France Ballet in Britain Ballet in Russia A Final Note About Ballet The Gendering of Modern Dance Postmodern Dance Dance Today References Chapter 4: Becoming Dancers Discovering Dance The Boys Who Started Dancing Early Late Beginners’ Introduction to Dance Professional Pathways The Pains and Pleasures of Dancing Conclusion References Chapter 5: The Practice of Dance, Habitus, and Heightened Reflexivity Reflexivity and Habitus Dancing Bodies, Reflexive Actors Reflexivity in Ballet and Contemporary Dance Creative Dance Journeys, Gender Identities and Sexualities Conclusion References Chapter 6: Behind the Curtains: Questioning Sexuality, Troubling Gender Dance Is a Very Gay World Straight Men Questioning (Hetero)Sexuality What Does It Mean to Be a Man? Recrafting Masculinity in Dance Institutions Conclusion References Chapter 7: Getting in Character: Just Acting or Gender Embodied? Performing Onstage: Masculinity, Sexuality and the Body Embodying the Dance To Be a Leading Man Requires a Sense of Masculinity Casting Starts in the Backstage Conclusion References Chapter 8: Male Dancers Negotiating the Gendered and Sexual Attachments of Dance Negotiating Dancing Identities Dance Is a Sport, Dancers Are Athletes Dance Institutions Constructing Dance as a Sport Playing the Role, Living the Story Overtly Heterosexual: Challenging the Stigma Around the Men Who Dance Downplaying or Hiding the Dancing Side of Themselves Dance Is Butch, But Not That Manly Conclusion References Chapter 9: The Grand Finale Overview of the Book The Tensions of Dance Men and Masculinities in Dance and Beyond Limitations and Areas for Future Research Concluding Remarks References Index