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In this challenging and lively book, Burt examines the representation of masculinity in twentieth century dance. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural construction of gender.

From the Publisher

In this challenging and lively book, Ramsey Burt examines the representation of masculinity in twentieth century dance. Taking issue with formalist and modernist accounts of dance, which dismiss gender and sexuality as irrelevant, he argues that prejudices against male dancers are rooted in our ideas about the male body and male behavior.

Building upon ideas about the gendered gaze developed by film and feminist theorists, Ramsey Burt provides a provocative theory of spectatorship dance. He uses this to examine the work of choreorgraphers like Nijinksy, Graham, and Bausch, while relating their dances to the social, political and artistic contexts in which they were produced. Within these re-readings, he identifies a distinction between institutionalized and modernist dance which evokes an essentialist, heroic "hypermasculinity"; one which is valorized with reference to nature, heterosexuality and religion, and radical, avant-garde choreography which challenges and disrupts dominant ways of representation of masculinity.

The Male Dancer will be essential reading for anyone interested in dance and the cultural construction of gender.

List of figures ix
Acknowledgements x
Preface to revised second edition xi
INTRODUCTION 1
1 THE TROUBLE WITH THE MALE DANCER . . . 9
Gender norms and binary ways of thinking 13
The subject and modern body 15
Degeneracy and masculinity 19
Homophobia and the male dancer 22
The male ballet dancer during the nineteenth century: green box trees 24
Homosexuality and the male dancer: the dance that does not speak its name 28
2 LOOKING AT THE MALE 30
The spectator and the gaze 31
Choreographer-centred and spectator-centred dance analysis 35
Performative speech acts and dance performance 38
The male dancer and the gaze 41
Naturalising male violence 46
Black male dancing bodies and whiteness 52
Masculinity and presence 54
Conclusion 56
3 NIJINSKY 58
Ballets Russes and homosexuality 60
Male prowess in Nijinsky’s roles 63
Nijinsky as genius 66 Nijinsky’s unorthodox roles in Fokine’s ballets 68
The radicalism of early modernism 72
Nijinsky’s ballets and gender representation 76
Nijinska and gender representation 79
L’Homme et son désir and Les Biches 81
4 AMERICAN MEN 85
Men in the US 86 Shawn’s men 91
Male dancing after Shawn 97
Graham’s men 98
Limón, modernism, and ethnicity 105
The Moor’s Pavane and the dangers of male intimacy 108
5 DANCING IN THE CITY 111
Alvin Ailey and black masculinity 116
Merce Cunningham’s anti-hierarchical structures 122
Steve Paxton and contact improvisation 130
Conclusion 135
6 MASCULINITY AND LIBERATION 138
Bausch’s Sacre: men and shame 142
Bausch’s Bluebeard and the landscape of men’s souls 146
Changing men: Are You Right There Michael, Are You Right? 148
Jones and Zane dancing together 152
Redistributing male energy in Set and Reset 154
7 IDENTITY POLITICS 159
Clark and betrayal 160
Morris and the instability of sex and gender 164
Goode, ghosts, violence, and the politics of camp 167
DV8 and lonely men 172
Playing down sexuality in Swan Lake 178
8 POST MEN 181
Displacing masculinity 184
Women choreographers, male dancers 185
Refiguring the relationship between performer and spectator 194
Three male–male duets 198
More trouble 207
Notes 209
Bibliography 214
Index 227
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