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Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance

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Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance Edith Cowan University Research Online Theses : Honours Theses 2009 Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance Quindell Orton Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Gender and Sexuality Commons Recommended Citation Orton, Q. (2009). Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance. https://ro.ecu.edu.au/theses_hons/1331 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1331 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. W~~1e1" kwt~t<>''"'" Ac"d'""'"J<:tfFblc-m·,-.,:A•1< Architects of the Identity of Dance: Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance Quindell Orton Bachelor of Arts in Dance (Honours) Faculty of Communication and Creative Industries Western Australian Academy of Performing Arts Edith Cowan University Submitted: 27/10/09 Supervisor: Maggi Phillips USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ABSTRACT Evidence suggests that males receive more opportunities, awards and dominate the dance scene in terms of artistic directorship of high visibility, large budget contemporary dance companies within Australia. This research investigates why and how males have come to be the architects of the identity of dance and the factors which may inhibit a counterpart female's likelihood of assuming the same role. Much of this paper deals with constructing hypotheses for how gender disparities in contemporary dance may have come about. In order to devise informed hypotheses, I have gathered data on government funding and national dance awards. In addition interviews were carried out with various dance artists to provide further insight. This information appears throughout this paper combined with findings from previous studies and articles from organisations such as The Gender Project. My research reveals that various factors can contribute to a male/female dance artist's career progression. Factors such as the attention and opportunities given to male dancers during their training, socialisation processes, the pressure and/or desire to fill traditional roles and the different ways males and females can be portrayed and perceived. In response to these findings a series of 'suggested solutions' have been explored in order to achieve greater gender balance. These 'solutions' involve recommendations for dance educators, choreographers, training and supporting organisations, presenters and the dance community which, in tum, reflect on the greater society. Although these 'solutions' are beneficial guidance points, in my opinion, it will still take some time before equality is achieved as change involves shifting society's overall attitudes towards dance and gender. 1 COPYRIGHT AND ACCESS DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text; or (iii) contain any defamatory material I also grant permission for the library of Edith Cowan University to make duplicate copies of my thesis as required. Dated .... ?.:;-;~/r-~~/.9. ............................................................. 2 ACKNOWLEDGMENTS My thanks to Gary Barnes, Bridgette VanLeuven, Nick Hughes, Cassandra Lake, Marni Hentschke, Philip Channells, Pam Lee and Agnes Michelet for their knowledge and assistance when compiling funding figures. To the three interviewees for their time, patience and insight. To Joanna Mendl Shaw and The Gender Project for providing their invaluable research articles which have contributed significantly to my research. To Maggi Phillips for her continual guidance and support throughout this daunting endeavour. To my parents for their support, patience and IT facilities. 3 TABLE OF CONTENTS Abstract. ................................................................................................................................. 1 Copyright and Access Declaration ........................................................................................ 2 Acknowledgments ................................................................................................................. 3 Table of Contents ................................................................................................................... 4 Table of Tables ...................................................................................................................... 6 Chapter 1: JntrOdUCiDg the JSSUC aaaaaaaaaanoaaaoaoaaaaaaaaaoaaaaaaaoaaaoaaaaaaaaaaoaaaaoaaaaaaoaaaaaaaoaaaaaaaaaaacaooo 7 Complexity of Gender Balance .......................................................................................... 7 Necessity for Gender balance ............................................................................................. 8 Gender Inequality ............................................................................................................... 8 Research Methodology ....................................................................................................... 9 Existing Research ......................................................................................................... 10 Chapter 2: Gender Inequality in Australia ••••••••••••••~n••••••••••ee .. •••••••••••••••••••••••••••oe•••••• .... 15 Funding ............................................................................................................................ 15 Artistic Directors and their Relationship to Funding ................................................... 18 Awards ............................................................................................................................. 19 Beginning the Explanation ............................................................................................... 25 Bringing Males into Dance .......................................................................................... 25 Chapter 3: Accumulation of Advantage .......................................................................... 27 The Inexperienced Male ................................................................................................... 27 Male Physicality ............................................................................................................... 28 Rarity and Demand .......................................................................................................... 29 Confidence ........................................................................................................................ 30 Chapter 4: Socialisation Factors ...................................................................................... 31 4 Socialising Males not to Dance ........................................................................................ 31 Socialisation within the Dance Class ............................................................................... 32 Males ............................................................................................................................ 32 Females ........................................................................................................................ 33 Effects on the Professional Scene .................................................................................... 34 Chapter 5: Perceptions and Portrayals .................................... oe ...... ~~~ ............. G8 ............... 35 Media ............................................................................................................................... 35 Society .............................................................................................................................. 37 Male Admiration .............................................................................................................. 38 Chapter 6: : Filling Traditional Roles ........................................... u ••••••••••••••••••• ., ••••••••••••• 40 Mother .............................................................................................................................
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