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Traditionally, partner dances occur between a woman and a man, following rather conservative gender roles and rules. However, as a result of international lesbian, gay, bisexual, transgender, intersex, queer, asexual, allies and more (LGBTIQA+) activism, some social dancing events and competitions have made space for gender and sexual diversity. This chapter focuses on the Rainbow and Same-Sex dancing scene in Finland and its potential and challenges for transgender inclusion. We draw on data collected during the first author’s ethnographic and participatory action research study on trans-inclusive sport spaces and the second author’s experiences as a professional dance teacher and Rainbow trans dancer at both same-sex and mainstream dance competitions. Our findings reveal that the Rainbow dancing movement has helped make dancing more accessible and inclusive for members of the trans community through challenging traditional cis- and heteronormative dance roles and the men-lead/women-follow paradigm. Yet, certain challenges for trans-inclusion persist, such as the transphobic politics and rules of national and international dance associations. In concluding this chapter, we provide recommendations for enhancing access and positive experiences of trans people in dance, DanceSport and sport in general.
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Through the lens of personal experience, this chapter provides an exploration of the oft-concealed practices and hypermasculine ideals in dance education. Commercial, concert, and academic dance pedagogy continues to create and perpetuate homophobia that restricts the definition of “boy dancer” to the point of creating a false scarcity and competition to be the most cis-heteronormative male possible. Alterio argues this environment contributes to the perpetuation of discrimination against LGBTQIA+ dancers, the exclusion of non-cis boys, and lack of innovation in the field. Recommendations are offered to those interested in pushing the boundaries of performance and gender identity and a call for institutions to support this work.
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Theatrical dance remains widely perceived as an unconventional activity for boys and young men in many Western contexts. This chapter focuses on professional male dancers’ pathways into recreational, pre-professional dance and assesses the various obstacles encountered and the sources of encouragement available to continue dancing and to pursue a dance career. Data analysis challenges the assumption that homophobia and hierarchies among boys, men, and masculinities have been erased. The chapter argues that wider systems of inequality, oppression, and power persist. These continue to affect boys and young men, influencing their choices and the possibilities to transgress gender norms.
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Ni’Ja Whitson turns a piece that was originally commissioned as a keynote lecture for the 2020 Collegium for the African Diaspora Dance (CADD) conference, Fluid Black: Dance Back. This chapter is a hybrid text that centralizes Black Transgender and Nonbinary experiences in a conversation of futurity in African Diasporic spirituality, dance traditions, and performativities. Furthermore, Super Fluid/Super Black interrogates beingness through an exploration of astrophysics and global attempts at Black erasure to uncover new strategies of collectivizing under physical, metaphysical, and cosmic bodies that dismantle cisheteronormativity at their core.
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This chapter explores the sexual spatialisation of salsa dance spaces through the narratives of lesbian salsa dancers. It draws on conversations with seven