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Adolescent Male Dancers' Embodied Realities

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Adolescent Male Dancers' Embodied Realities ADOLESCENT MALE DANCERS’ EMBODIED REALITIES by Zihao Li A thesis submitted in conformity with the requirements For the degree of Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education of the University of Toronto © Copyright by Zihao Li, 2010 ADOLESCENT MALE DANCERS’ EMBODIED REALITIES Doctor of Philosophy, 2010 Zihao Li Department of Curriculum, Teaching and Learning University of Toronto Abstract This dissertation looks at adolescent male dance students who challenge the dominant perceptions of masculinity by participating in dance, an art form which has been subjected to feminine and homosexual stereotypes. With a multi-methodological approach—qualitative, arts-informed, autobiography, interviews, videotape, and performance—this research investigates and explores the largely unknown realities regarding adolescent male dance students; why they decide to take dance; what makes them continue or stop dancing; how their perceptions of dance are transformed over time; how they feel when they are dancing; the realities they embody in studio and on stage; their message to the public about who they were, who they are, and what they want to be in and through dance. The researcher challenges the socially constructed epistemology that dance is merely an entertainment while exploring the relationship between mind and body; gender, race, and identity; literature and literacy; physical education and dance; the professional and the novice; the hows and the whys; female and male dance educators; dance pedagogy (theory) and curriculum delivering (practice); and the association of homosexuality and heterosexuality in the context of dance and its effect on adolescent male students’ willingness to dance. ii This study shows that families, friends, teachers, school administrators, dance class environment, media ( So You Think You Can Dance ), and technology (internet) have all created various levels of impact on adolescent males’ decision to participate in dance at a high school. Data and implication from this research can serve as a catalyst for future studies on adolescent male dance students. Findings can also be applied to dance programs at all levels, curriculum development, and teacher education. This electronic dissertation encompasses graphs, photos, audio and video clips, webpage links, and even a full-length documentary movie to enhance the research finding and maximize the power of a multimodal design (Jewitt & Kress, 2003). iii Acknowledgements This dissertation is the realization of a dream. Its completion is the culmination and celebration of passion, desire, contemplation, perseverance, and solitude. Whenever I work on this dissertation I am struck by the many people who have touched my life. Some appear on this page while others are kept in my heart. Although these acknowledgements recognize specific people, they are by no means comprehensive. There are many others who have given me their friendship and support. Please remember that you are always in my heart and I gratefully recognize your contribution to my journey. Linda Cameron and Lee Bartel, my thesis supervisors, my academic mentors, my extended family, were the ones who showed me the path, and who guided me throughout this journey. You helped me to envision the landscape, find my voice, and you gave me the strength and the courage to forge through uncharted territory. Your generosity and heart-felt love will be forever in my memory. Mary Jane Warner, my advisor, my role model, my forever friend. You shone light on my life when it was dark, guided me with a direction when I was lost, encouraged me when I needed it most, recognized my potential when few did, and celebrated my triumph whenever you could. You are the most loving, caring, observing, and supporting person I have ever encountered. David Booth, my advisor and my friend, encouraged me to begin the writing journey by sharing his stories. You helped me make the connections and build the bridge between theory and practice. Thank you for your witty sense of humor which gave me the means to escape when the journey became intense. Your presence and advice on my work are highly valued and appreciated. iv Ann Kipling Brown, my advisor, agreed to sit on my committee without any hesitation. Thank you for your time, thoughts, encouragement, and spirit which made my journey a celebration of joy, accomplishment, and self-actualization. Heather Sykes, my comprehensive examiner, offered valuable recommendations to broaden my understanding of masculinity and male dancers. You raised tough questions and challenged me as an intellectual. I am grateful for having you in my journey. Wendy Chan and Stan Vittoz, my parents-in-law, offered generous support throughout my journey. Thank you for being my role model of strength, determination, and love. Your journey provided me with the encouragement I needed to proceed. Yushan Li and Meidi Xu, my parents created a huge impact on my work ethic since I was young. Thank you for your strict rules and unselfish love which makes me a strong, determined, and hardworking individual. I will always remember what you said “you get what you paid for.” I would also extend my appreciation to Ruben Gaztambide-Fernández, Ardra Cole, Kimberly Bezaire, Indrani Margolin, and other CTL students and staff members for helping me navigate and transform any scattered thoughts into concrete ideas throughout my journey at OISE, University of Toronto. Thank you for being with me. I would give thanks to Sally Erling, Barrie Sketchley, Jane Deluzio, Maryanne Marsh, and other teachers and administrators at the Toronto District School Board for supporting and trusting me in conducting such research. Your permission is the initial driving force behind this finished product. In addition, I would like to thank all of the adolescent male dance students who took part in this study. Thank you for your time, for sharing your thoughts, opinions, stories, and recommendations which raise the much needed academic and practical v awareness in community. As a researcher, I am humbled by your devotion, your talents, and your perseverance. vi Table of Contents ABSTRACT........................................................................................................................II ACKNOWLEDGEMENTS.............................................................................................. IV TABLE OF CONTENTS.................................................................................................VII TABLE OF FIGURES....................................................................................................XIII TABLE OF MEDIA ........................................................................................................XV APPENDICES ............................................................................................................... XVI CHAPTER ONE: I AM A DANCER, A MALE DANCER.......................................... 1 A GLIMPSE INTO THE AUTOBIOGRAPHY OF ONE MALE DANCER................ 2 THEN.............................................................................................................................. 4 NOW............................................................................................................................... 6 RATIONALE.................................................................................................................. 8 RESEARCH QUESTION............................................................................................. 10 What is it like to be an adolescent male dance student in today’s school?............... 10 RESEARCH BENEFIT ................................................................................................ 11 Thesis map ................................................................................................................ 11 CHAPTER TWO: UNDERSTANDING DANCE ....................................................... 13 DANCE......................................................................................................................... 13 Definition of dance ................................................................................................... 13 Dance and its relevance to life.................................................................................. 14 Dance, movements, and meanings............................................................................ 15 Dance is a literacy..................................................................................................... 17 Dance and self........................................................................................................... 19 EMBODIMENT ........................................................................................................... 19 Mind and body .......................................................................................................... 19 Embodied realities .................................................................................................... 20 GENDER ...................................................................................................................... 22 Definition of gender.................................................................................................. 22 Gender in dance ........................................................................................................ 23 vii Gender imbalance in dance......................................................................................
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