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View / Open Henderson Oregon 0171N 11882 AN INQUIRY INTO MEN’S EXPERIENCES IN COLLEGIATE DANCE by PAUL DAVID BRYANT HENDERSON A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2017 THESIS APPROVAL PAGE Student: Paul David Bryant Henderson Title: An Inquiry Into Men’s Experiences In Collegiate Dance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the School of Music and Dance by: Dr. Jenifer Craig Chairperson Dr. Steven Chatfield Member Walter Kennedy Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Paul David Bryant Henderson iii THESIS ABSTRACT Paul David Bryant Henderson Master of Fine Arts School of Music and Dance June 2017 Title: An Inquiry Into Men’s Experiences in Collegiate Dance This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements. iv CURRICULUM VITAE NAME OF AUTHOR: Paul David Bryant Henderson GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR The University of Alabama, Tuscaloosa, AL DEGREES AWARDED: Master of Fine Arts, Dance, 2017, University of Oregon Graduate Certificate, Women’s and Gender Studies, 2017, University of Oregon Bachelor of Arts, Dance and Public Relations, 2010, The University of Alabama AREAS OF SPECIAL INTEREST: Performance Choreography Education Dance and Gender Intertextuality PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, Eugene, Oregon, 2014-2017 Instructor and Presenter, American College Dance Association Northwest Regional Conference, Laramie, Wyoming, 2016 and Eugene, Oregon 2017 Instructor, Eugene Ballet Academy, Eugene, Oregon, 2016-present Instructor and Commercial Dance Intensive Coordinator, Boulder Jazz Dance Workshop, Boulder, Colorado, 2015 and 2016 Company Dancer, Interweave Dance Theatre, Boulder, Colorado, 2015 Faculty Member and Assistant Director, American Ballet Theatre Summer Intensive, Tuscaloosa, Alabama, 2014 Guest Artist Dancer and Aerialist, AROVA Contemporary Ballet, Birmingham, Alabama, 2013 and 2014 v Production Dancer and Aerialist, Celebrity Cruises, Miami, Florida, 2012 – 2014 Company Dancer, DEMA Contemporary Dance, New York City, New York, 2012 Company Dancer, J. Chen Project, New York City, New York, 2011 Company Dancer, SYREN Modern Dance, New York City, New York, 2011 GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellow, University of Oregon, Eugene, Oregon, 2014-2017 Outstanding Graduate Student in Dance, University of Oregon, Eugene, Oregon 2017 Georgianne Teller Singer Dean’s Fellowship Award, University of Oregon, Eugene, Oregon 2017 University of Oregon General Scholarship Award, University of Oregon, Eugene, Oregon 2016-1017 Barbara Sellers-Young Graduate Student Award, University of Oregon, Eugene, Oregon, 2016 vi ACKNOWLEDGMENTS I would like to express my sincerest appreciation to my committee chair and advisor, Dr. Jenifer Craig, for her dedication to this research study; her wisdom, candor, and willingness to listen; her unwavering support of my professional, academic, and personal endeavors; and for our numerous “balcony” chats. Additionally, I would like to thank my committee members, Dr. Steven Chatfield and Walter Kennedy, for their continuous and thoughtful feedback throughout this study, and for always challenging me through both movement and mind. I would like to extend a special thanks to all of the participants and panelists who served throughout the various phases of this study. Without your participation this study would not have been possible. Special thanks to the three participants of Phase 3 for offering your beautiful artistry, vulnerability, strength, and honesty during the rehearsals for and performance of “Masculation: 1” and “Masculation: 2”. I want to offer a huge thanks to my graduate cohort, Hannah Andersen and Lindsey Salfran, for their friendship, inspiration, laughter, and for always being a sounding board for ideas, frustrations, and successes. I want to thank my family for their unconditional love, support, and guidance during my graduate studies. I want to thank my mom for introducing me to dance, and for always pushing me to be the best dancer, educator, and person I can be. Lastly, I extend my deepest love and appreciation to my partner, Matthew Shea, for his commitment to me, especially during this graduate school journey. Thank you for always being by my side, celebrating my accomplishments, and challenging me to be inventive. Most importantly, thank you for your patience. vii Dedicated to my mom, who taught me the value of dreaming big and persevering; my partner Matthew, whose enduring love and support have helped me succeed in completing this project; to the current and future men in dance who blaze trails for us all; and in loving memory of Jo E. Shea (1954 – 2017). viii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ............................................................................................................................ 1 My Story ....................................................................................................................................... 7 Significance of Study ................................................................................................................ 10 Statement of Purpose ............................................................................................................. 11 Delimitations .............................................................................................................................. 12 Limitations .................................................................................................................................. 13 II. REVIEW OF RELATED WORK ................................................................................................ 14 Dancer Habitus .......................................................................................................................... 14 Pedagogical Approaches, Educational Concerns, and Paralleling Dance and Sports ..................................................................................................................................... 18 Proximity and Touch ............................................................................................................... 28 III. METHODS ..................................................................................................................................... 32 Phase 1 – ACDA Discussion Panel and NDEO Presentation ................................... 33 Phase 2 – Experiential Movement Workshops and Discussion Sessions .......... 34 Phase 3 – Choreographic Rehearsal and Performance Experience .................... 38 Evaluative Methods ................................................................................................................. 38 IV. EXPERIENTIAL MOVEMENT WORKSHOPS AND DISCUSSION SESSIONS ....................................................................................................................................... 40 Phase 2 – Participant Intake Interviews ........................................................................ 40 Colton ...................................................................................................................................... 42 Dee .......................................................................................................................................... 48 Eli .......................................................................................................................................... 54 ix Chapter Page Enzo ......................................................................................................................................... 58 Harrison ................................................................................................................................ 64 James ..................................................................................................................................... 73 Lee .......................................................................................................................................... 78 Leon ......................................................................................................................................
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