By Ramsay Burt
ISBN-10: 0203359763
ISBN-13: 9780203359761
ISBN-10: 0203376528
ISBN-13: 9780203376522
ISBN-10: 0415088992
ISBN-13: 9780415088992
During this demanding and full of life publication, Ramsey Burt examines the illustration of masculinity in 20th century dance. Taking factor with formalist and modernist debts of dance, which brush aside gender and sexuality as inappropriate, he argues that prejudices opposed to male dancers are rooted in our rules concerning the male physique and male habit. construction upon rules in regards to the gendered gaze constructed by means of movie and feminist theorists, Ramsey Burt presents a provocative concept of spectatorship dance. He makes use of this to ascertain the paintings of choreorgraphers like Nijinksy, Graham, and Bausch, whereas concerning their dances to the social, political and inventive contexts during which they have been produced. inside those re-readings, he identifies a contrast among institutionalized and modernist dance which conjures up an essentialist, heroic ``hypermasculinity''; one that is valorized on the subject of nature, heterosexuality and faith, and radical, avant-garde choreography which demanding situations and disrupts dominant methods of illustration of masculinity. The Male Dancer may be crucial studying for someone attracted to dance and the cultural building of gender.
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Additional resources for The Male Dancer: Bodies, Spectacle and Sexuality
Example text
9 Janin is also perhaps suggesting that the male dancer is effeminate, as he goes on to object to woman as queen of the ballet being ‘forced to cut off half her silk petticoat to dress her partner with it’ (Guest 1966:21). He seems to have felt that the ballet dancer didn’t look sufficiently manly—the mid-nineteenth century being a period, as Sedgwick has suggested, in which personal style was increasingly stressed, absolute and politically significant for bourgeois men (1985:206); or Janin may have associated cross-dressing with homosexuality (see Meyer 1992:69): although the word ‘homosexual’ did not yet exist, the behaviour and practices 26 THE MALE DANCER associated with it were taboo.
In developing a more sociological understanding of modernism it is necessary, as Janet Wolff points out, to be aware of the relationship between modernity and modernism and not conflate the two (Wolff 1990:3). Thus Raymond Williams, for example, has drawn attention to the experience of metropolitan living as a factor in the development of the formal innovations of the early modernists (see Chapter 4 below). In the visual arts, the theory of modernism 38 THE MALE DANCER developed by Greenberg, Fried and others has come under attack (Frascina 1985), focusing particularly on its ahistorical nature.
If there was any comparable attempt to limit male behaviour by referring to anatomically grounded definitions of the male temperament, this is to be found in the notion of the healthy mind in a healthy body and its development in competitive male sports (see Mangan 1981). The male body was, of course, the norm against which female anatomical and temperamental traits were judged. Men, by default and by implication, were considered to be less capable of transcending their natural lusts and desires and thus morally inferior.
The Male Dancer: Bodies, Spectacle and Sexuality by Ramsay Burt
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