This thesis is an empirical study into the experiences of young male dancers, aged 11-18 years, in the north west of England who, outside of their secondary schools, attend private-sector dance schools for tuition in one or more dance genres such as ballet, ballroom/latin-american, contemporary, jazz, tap and urban dance. Its prime focus is to explore the ways in which these young dancers contest the two dominant Western discourses that position dance as a ‘feminine’ activity (e.g., Sanderson, 2001; Stinson, 2001; Risner, 2002a; Gard, 2003) and males who dance as subject to a homosexual presumption (e.g., Rodgers, 1966; Grant, 1985; Hamilton, 1999; Risner, 2007).
Data were generated from semi-structured interviews with 26 male dancers, 4 parents, 6 teachers and 4 dance policymakers / administrators. Explored through the theoretical lens of ‘inclusive masculinity theory’, characterised by a softening of masculinity and an erosion of homophobia (Anderson, 2009), data were analysed thematically (Braun and Clarke, 2006). Findings suggest that most male dancers continue to experience bullying, marginalisation, and stigmatisation, especially from their male peers in secondary schools, where orthodox forms of masculinity proliferate still.
While my analysis finds ‘inclusive masculinity theory’ inadequate to explain the lived experiences of most of these young male dancers, I nonetheless find much value in the related concepts of ‘masculine recuperation’ (Hansen, 1996) and ‘heterosexual recuperation’ (McCormack, 2012), these being identity-management techniques adopted by some males who transgress heteromasculine boundaries. Drawing on these 2 concepts, I pinpoint 6 strategies employed by boys to shore up their masculine and/or heterosexual identities: professing attraction to females; acquiring a ‘sporty’ boy identity; reconceptualising dance as a sport; opting for ‘cool’ dance genres; acquiring popularity through dance and, finally, the policing of movement and choreographic practices. I find that by employing some, most or all of these recuperative techniques, boys are able to contest the aforementioned dominant discourses – that dance is for females (via masculine recuperation) and that boys who dance are presumed gay (via heterosexual recuperation).
Attention is also given to boys’ experiences of dance in their secondary schools. I conclude that while ostensibly a prescribed component of the P.E. curriculum (at Key Stage 3), dance continues to be marginalised and coded as a ‘feminine’ subject and one delivered mostly by non-specialist, female teachers – a problematic, discursive, and material (re)production of gender normativity. Attempts to woo boys into dance via heteronormative schemes of work in schools or through external initiatives such as ‘Project B’ from the Royal Academy of Dance, are also deemed problematic in their gender essentialism. Furthermore, the philosophy of dance education in schools, one that privileges ‘process’ over ‘product’, does little to foster boys’ engagement with dance. Taken collectively, these findings are a cause for concern as well as a call to action.
By furthering our understanding of how young male dancers contest the dominant discourses that pertain to dance and masculinity, this thesis contributes to knowledge in the fields of both dance and education, the former still hitherto under-researched in the UK, especially regarding boys’ experiences of dance education and training in the private sector. In drawing upon the concepts of ‘masculine recuperation’ (Hansen, 1996) and ‘heterosexual recuperation’ (McCormack, 2012), I illuminate how young male dancers re-inscribe their masculinity, and heterosexuality if appropriate, by their deployment of various recuperative strategies – findings that are apt, novel, and original to the sociology of dance in England.