Titlebook: Masculinity, Intersectionality and Identity; Why Boys (Don’t) Dan Doug Risner,Beccy Watson Book 2022 The Editor(s) (if applicable) and The

LUMEN

慷慨不好

比賽用背帶

Introduction, introductory chapter, Beccy Watson, Doug Risner, and Sukina Khan provide a rationale for locating dance and dance education scholarship in an intersectional framework; they draw on recent and established dance research to contextualize and introduce the chapters that comprise the edited volume. The

Iatrogenic

Understanding the Community College Male Dance Experience, and guidance for a career in dance. This chapter focuses on men from underrepresented communities and the intersections of gender, race, ethnic identity, cultural experiences, and socioeconomic status as influencing factors in determining their decisions to dance in college and beyond. The data su

Anemia

Generalist Elementary Male Teachers Advocating for Dance and Male Dancersses preservice generalist elementary teachers to dance from a creative perspective by focusing on choreographic practice. This features students’ choreographed video dance projects and related appreciation tasks. Drawing on a pilot study with six males, either teacher education students or graduates

Femine

Listening to Why Boys (Don’t) Dance: Creating Inclusive Dance Experiences for Boyso effeminacy and homosexuality, which marginalizes male participation. Dance has been distanced from orthodox masculinity, framed in heterosexuality, homophobia, and anti-femininity identities and related pressures impact upon gendered and sexual identities. An attitudinal revolution under the guise

Airtight

Morbid

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Masculinities and Performativities in Native American Danceuality traditional values of Native American culture and replaced it with heteropatriarchy. Tracing the ways American colonialism constructed Native American dance as a masculine activity, the chapter illuminates how gender-normative hierarchies became entwined with intertribal dances. The illuminat

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