To conform or be different.
To conform or be different
The challenges and pressures for Maltese male dancers.
Josef Farrugia
Dance and masculinity still remains under-examined for a number of reasons. First of all, this is due to the overpowering Western notion that men do not dance, secondly, because of the homophobic assumption that those who dance are gay. This research will illustrate the problems that young male dancers face while in training and/or in professional performances. The essay will mainly focus on theatrical dance and by all means, the context of this paper will not deny the significance of traditional, ethnic, tribal and any other social forms of dance. Rather, it will focus on those Western forms of dance in which Western masculinity finds itself in an odd position. In this dissertation the term ‘theatrical dance’ refers to classical ballet and contemporary dance. Moreover, this research will focus on the stigma and taboo faced by male dancers especially in a Western context.
Male youth who choose to take dance education as their major subject, may be seen as a means to challenge dominant notions about their sexuality, gender, privilege. This paper intends to deliver the message that it is the body which unites sexuality and dance. This paper will highlight the problem of male heterosexual dancers who find it really hard to construct their own masculine identity. Male dancers have evolved over the years and have come a long way from the time when their sexuality was constantly being questioned. Both heterosexuals and homosexuals were negatively affected by a tag: the former because they were afraid of being tagged as homosexual and the latter because they were considered effeminate.
Although the lifestyle of a homosexual dancer is generally more acceptable in the discipline of dance, there are many indications that the participation of males in dance remains a culturally suspect endeavour for the male adolescents, teens and young adults. Heterosexist approaches
The challenges and pressures for Maltese male dancers.
Josef Farrugia
Dance and masculinity still remains under-examined for a number of reasons. First of all, this is due to the overpowering Western notion that men do not dance, secondly, because of the homophobic assumption that those who dance are gay. This research will illustrate the problems that young male dancers face while in training and/or in professional performances. The essay will mainly focus on theatrical dance and by all means, the context of this paper will not deny the significance of traditional, ethnic, tribal and any other social forms of dance. Rather, it will focus on those Western forms of dance in which Western masculinity finds itself in an odd position. In this dissertation the term ‘theatrical dance’ refers to classical ballet and contemporary dance. Moreover, this research will focus on the stigma and taboo faced by male dancers especially in a Western context.
Male youth who choose to take dance education as their major subject, may be seen as a means to challenge dominant notions about their sexuality, gender, privilege. This paper intends to deliver the message that it is the body which unites sexuality and dance. This paper will highlight the problem of male heterosexual dancers who find it really hard to construct their own masculine identity. Male dancers have evolved over the years and have come a long way from the time when their sexuality was constantly being questioned. Both heterosexuals and homosexuals were negatively affected by a tag: the former because they were afraid of being tagged as homosexual and the latter because they were considered effeminate.
Although the lifestyle of a homosexual dancer is generally more acceptable in the discipline of dance, there are many indications that the participation of males in dance remains a culturally suspect endeavour for the male adolescents, teens and young adults. Heterosexist approaches