When a boy's gotta dance: new masculinities, old pleasures

Gard, Michael

doi:10.1080/13573320801957087

Cited by 49 publications

(41 citation statements)

References 14 publications

(9 reference statements)

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“…In the current PE curriculum, dance could be said to have been divested of any qualities that set it apart from games, sports and gymnastics (cf. Gard, 2008;Sanderson, 1996). This is making it very difficult Dance in physical education 13 for dance to contribute with knowledge and bodily movement practices that challenge existing norms of what it means to have a physically educated body.…”

Section: Concluding Thoughts: Reconsidering the Position Of Dance In Pementioning

confidence: 99%

“…Attitudes towards participation in dance practice within the social setting of PE vary between different age groups, between boys and girls as well as within groups of boys and girls (Lundvall & Meckbach, 2008;Redelius, 2004;Sanderson, 2001). Students have limited opportunities to learn and develop in the areas of aesthetical knowledge and experiences through dance (Gard, 2003(Gard, , 2006(Gard, , 2008Lundvall & Maivorsdotter, 2010;Sanderson, 1996Sanderson, , 2001) and whether or not they have the chance to do so often depends on teachers' competence and pedagogical knowledge (Goodwin, 2010; Swedish National Agency for Education [SNAE], 2005;Zavatto & Gabbei, 2008). Furthermore, folk dance practice in PE has strongly emphasised white dance forms (Rovengo & Gregg, 2007).…”

Section: Dance In Pementioning

confidence: 99%

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The position of dance in physical education

Mattsson

Lundvall

2013

Sport, Education and Society

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Dance has been a part of the physical education (PE) curriculum in several countries for a long time. In spite of this, studies demonstrate that the position of dance in the subject of PE is contested and that little time is devoted to dance. The overall aim of this article is to examine the position of dance as a pedagogical discourse in Swedish steering documents over time. The empirical material consists of five Swedish curricula for PE over a period of 50 years . Discourse analysis is used to identify organised systems of meaning, including privileged and prioritised values. Our theoretical frame of reference draws on Bernstein's concept of codes. Three different knowledge areas within dance are found in the text material: 'dance as cultural preserver', 'dance as bodily exercise' and 'dance as expression'. Three pedagogical discourses emerge from these knowledge areas: an identity formation discourse, a public health discourse and an aesthetic discourse. The identity formation discourse in earlier curricula focuses on the perpetuation of Swedish and Nordic cultural traditions, while in later curricula, it emphasises the construction of a broader multicultural identity formation related to the understanding of different cultures. The public health discourse constitutes a prioritised understanding of dance as physical training related to a healthy lifestyle. The aesthetic discourse, which has the weakest position over time, represents the valuing of embodied experiences and feelings expressed through movements. This discourse is closely linked to the construction of gender. Over time, a new performance code came to surpass the former competence code in the steering documents. The performance code positions dance in PE as mainly a physical activity with little artistic or aesthetic value. The pedagogical discourse of dance remains within a highly disciplinary framework of social control.

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Section: Concluding Thoughts: Reconsidering the Position Of Dance In Pementioning

confidence: 99%

Section: Dance In Pementioning

confidence: 99%

The position of dance in physical education

Mattsson

Lundvall

2013

Sport, Education and Society

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“…For example, Bettis and Adams write about how cheerleading can and has been used as a vehicle to 'promote different dialogues about women's issues, including sexuality' (2006, p. 131). There is more general literature on how some PE teachers have attempted to tackle gender issues in their classrooms (Gard, 2008;Lock, Minarik, & Omata, 1999;With-Nielsen & Pfister, 2011) as well as material on frameworks for thinking about gender and sports in education (Connell, 2008).…”

Section: Pedagogy and Curriculum Mattersmentioning

confidence: 99%

The conundrum of C/cheerleading

Lamb

Priyadharshini

2013

Sport, Education and Society

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The growth of cheerleading as a popular school-based physical activity for people of both genders in the UK poses a challenge for physical education teachers in particular and educators in general. This paper draws on theoretical concepts and empirical research on gender, performance and cheerleading to highlight the multilayered, diverse, even contradictory meanings that can ‘attach’ to this imported cultural activity. Some of the ambiguity is caused by the distance between the idea of ‘Cheerleading’ that carries some global connotations and the sorts of ‘cheerleading’ which may be adapted versions within local contexts. Through a brief exploration of the translation of the activity and of teachers' descriptions of its practice in the UK, we hope to highlight the inherent ambiguity of cheerleading and thus, the potential and pitfalls that accompany it. The paper suggests that educators in the UK will need to recognise the diversity of meanings associated with this activity, its cultural import and the implications of this for their practice to cultivate a critically informed stance in relation to introducing and teaching cheerleading in schools

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“…In North America, dance is often labeled as a feminine activity and therefore not suitable for male participation (Crawford 1994;Gard 2008;Hanna 1988;Kraus, Hilsendager, and Dixon 1991;Risner 2002;Williams 2003). As Gard (2008, 184) has noted, 'dance has long been seen as something which boys and men, particularly in Western countries, do reluctantly if at all'.…”

Section: Introductionmentioning

confidence: 97%

“…Consistent with Ted Shawn's project in the 1930s, the field of dance has continued to distance itself from the feminine label by drawing parallels to athletes and sport through emphasizing the strength, power, and dominance of the male dancers (i.e., lifts, powerful leaps). However, despite this emphasis, men who are involved in modern dance and ballet often face labeling and stereotyping, particularly in reference to their sexuality (Gard 2008;Risner 2009). It is important to note that modern dance generally '.…”

Section: Introductionmentioning

confidence: 98%

Negotiating the gay male stereotype in ballet and modern dance

Polasek

Roper

2011

Research in Dance Education

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Dance, ballet and modern in particular, is culturally defined as a feminine activity in the United States. The purpose of the present study was to examine the experiences of professional male modern and ballet dancers in the United States. Semi-structured interviews were conducted with 12 current professional ballet and modern dancers. We examined the ways in which the dancers initially became involved in dance, any support or opposition they may have confronted, and the ways in which they negotiated the stereotypical assumptions surrounding men's involvement in dance. Four emergent themes are discussed: (1) exposure to and entrance into dance; (2) the gay stereotype; (3) negotiating the gay stereotype; and (4) homophobia within the dance community. The social significance of this study is rooted in the ways in which our culture constructs gender, the body, and movement, restricting both males and females from using and exploring their bodies in ways not deemed gender-appropriate. Attention is also given to the ways in which we can create and nurture meaningful experiences for a greater number of individuals.

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When a boy's gotta dance: new masculinities, old pleasures

Cited by 49 publications

References 14 publications

The position of dance in physical education

The position of dance in physical education

The conundrum of C/cheerleading

Negotiating the gay male stereotype in ballet and modern dance

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