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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.

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.

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.

This chapter explores the sexual spatialisation of salsa dance spaces through the narratives of lesbian salsa dancers. It draws on conversations with seven

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.

This chapter discusses the application of the concept of the continuum of sexual violence to research on, and discussion of, the issue of sexual violence. Two of the original aims of the research were to explore the links between the different forms of sexual violence and to investigate the idea, which arose whilst working in a refuge for battered women, that most women have experience of sexual violence in their lifetime.1 Whilst analysing the in-depth interviews carried out with women, I begin to use the concept of a continuum of sexual violence to describe the findings in the two areas.

Following revelations about sexual abuse in theatre and other entertainment industries in autumn 2017, this chapter explores the conditions which allow or

One arena where images of sexually objectified women are especially prevalent is the world of music videos. Music videos represent an important area of study, both because of their popularity with younger viewers (Ashby & Rich, 2005) and because love and sex predominate as themes (Andsager & Roe, 1999; Arnett, 2002). What we seek to do here is to take a closer look at the nature and impact of the portrayal of women in music videos, focusing, in particular, on sexually objectifying images. How frequently do objectifying images occur? What messages about femininity do these images convey to girls? What is their demonstrated impact on girls and young women? Given the current popularity of rap and hip-hop music, we focus our attention on their portrayals of African American women. We address these issues via four pathways. First, we summarize findings from existing research concerning the nature of gender portrayals in music videos. Second, we turn our attention to African American artists and summarize findings about the images of black women in music videos. Third, we present new data from an analysis we conducted of the sexual content in black music videos, providing both quantitative and thematic analyses. Finally, we summarize findings about the demonstrated impact of music video exposure on young viewers' gender beliefs and body image concerns. (PsycInfo Database Record (c) 2022 APA, all rights reserved)

Since the inception of jazz, the lives and experiences of women-in-jazz have been inadequately documented and archived, which has led to a lack of female representation in the jazz community. During the recent resurgence of the #MeToo Movement, many women-in-jazz bravely shared stories of sexual discrimination and harassment. As the jazz community continues to address the gender disparity, women’s stories need to be centered in order to address current realities of women-in-jazz. By documenting the experiences of women-in-jazz in higher education as students, educators and performers, sexual discrimination and harassment must be considered as contributing factors of the gender disparity in jazz.

Michael L. Siciliano draws on nearly two years of ethnographic research as a participant-observer in a Los Angeles music studio and a multichannel YouTube network to explore the contradictions of creative work. Creative Control explains why “cool” jobs help us understand how workers can participate in their own exploitation.

I start this discussion in this chapter with an outline of the key points within the #metoo debate, looking at what, according to various scholars, has and has not been achieved since the hashtag went viral in 2017. This overview constitutes the context for the subsequent analysis and critical evaluation, which will look at how the press conceptualised #metoo, and how it shaped some of the wider discussions about the hashtag. In Chapter 11, it will focus on whether (and how) the widespread use of #metoo after 2017 affected the representation of violence against women in the British press compared to the previous years.

There has been a global surge in music festivals over the last decade, especially in Europe. In the UK, it is estimated that more than 3.5 million people attended the 230 music festivals in 2015 (Time Out, 2015; UK Festival Awards, 2016). Despite a body of research indicating higher levels of crime, particularly acquisitive and violent crime in spaces with similar characteristics (e.g. nightclubs, pubs and gigs), there have been no previous studies examining the occurrence or nature of crime at music festivals. This chapter brings together conceptual developments across the social sciences to shed light on the underexplored subject of gender and safety at music festivals, a leisure location of growing interest to social scientists and of significant growth within the events industry. This chapter presents data from the first UK study to explore safety and crime at music festivals and raises questions regarding the distinctive features of commercialised music festivals, the extent to which they can be considered transgressive or countercultural spaces and what might be the distinctions, if any, of gendered sexual violence within such spaces.

A video game is an interactive digital entertainment that you “play” on some type of electronic device. The medium has existed in some form since the 1950s, and since that time, has become a major worldwide industry, spawning technology battles and being birthed in new iterations that become ubiquitous parts of modern life. This chapter will look at the development of video games from the beginning, through the golden age, and into the era of the console wars. Further, it will point out the enormous revenues video games make, and show how the #metoo movement and unions are working to change the face of the industry.