The Self-Concept as a Side Bet: How Stripping Enhances the Self-Views of Men who Dance for Women

Because stripping is considered a form of “dirty work,” it has the capacity to negatively influence exotic dancers’ self-definitions. While some researchers have looked at the ways in which stripping impacts the self-concepts of women who dance for men and men who dance for men, there have been very few studies of the self-views of men who dance for women. Using qualitative methods, I examine how stripping shapes the self-concepts of male strippers. Overall, I found that the positive effect on dancers’ self-definitions was an important side bet that kept them committed to the occupation.     

Tiny dancer: Body image and dancer identity in female modern dancers

Dance has been found to both enhance and undermine body image. Most of the literature has focused on ballet dancers and has neglected the role of identity as a dancer. This study assessed general and dance specific body image and dancer identity in 77 female modern dancers. Compared to samples of non-clinical college women, this sample had higher body appreciation and lower drive for thinness and self-objectification. White dancers in the sample also had positive levels of dancer body efficacy/acceptance whereas as non-White dancers had negative levels of this variable. Identity as a dancer was negatively correlated with body appreciation and dancer body perceptions and not related to the number of years of dance experience. Of general and dance specific body image, body appreciation emerged as the unique predictor. The findings warrant further research on positive body image, modern dancers, and identity.     

Physical strength and gender identification from dance movements

Here we show that gender identification of male (but not female) heterosexual, right-handed dancers correlates with physical strength (measured via handgrip strength) after controlling for the effect of body-mass-index on strength. Using optical motion capture technology, we collected the dance movements of men and women for subsequent animations of uniform shape- and texture-standardized virtual characters (avatars). Short video clips (15 s) of these movements were presented to male and female adults and children, who were asked to identify the gender of the avatar. Gender identification performance was significantly higher than chance for both adults and children. Among adults (but not among children) the avatars of male dancers who were physically stronger were perceived as males significantly more often than were the avatars of male dancers who were physically weaker. There was no relationship between strength and gender identification for female dancers. We conclude that physical strength affects gender identification from human dance movements at least for male dancers, and that pre-pubertal children might not be sensitive to strength cues in dance movements.     

Body Objectification, Self-Esteem, and Relationship Satisfaction: A Comparison of Exotic Dancers and College Women

We examined body objectification, self-esteem, and relationship satisfaction differences between college women and exotic dancers and the relationships among these measures for both groups. Forty-three college women and 40 female exotic dancers completed a questionnaire that assessed each of these constructs. Relative to college women, exotic dancers reported less relationship satisfaction, more body surveillance, and a greater prioritizing of body attractiveness over physical competence. Relationship satisfaction and the prioritizing of appearance over physical competence varied for the heterosexual and bisexual dancers. For exotic dancers, the body objectification measures of surveillance and shame were negatively, and body control was positively, related to self-esteem; body shame was negatively related to relationship satisfaction. For college women, higher levels of body surveillance and body shame were associated with higher prioritizing of physical attractiveness relative to physical competence.     

Exploring female dancer’s emotions and coping experiences following deselection: An interpretative phenomenological analysis

ObjectivesThe purpose of this study was to (a) explore female dancers’ experiences of emotions following deselection and (b) examine the coping mechanisms used by dancers to overcome these emotions.MethodsTwo one-on-one semi-structured interviews were conducted with ten female dancers (aged 20–26, average career length M = 6 years) from dance forms including ballet, jazz, commercial, and contemporary. Data were collected and analysed using interpretative phenomenological analysis by Smith (2009).ResultsDancers experienced a rollercoaster of emotions including disappointment, confidence impacts, and embarrassment, as well as changes in their feelings towards dance. To deal with these emotions the dancers often avoided their emotions, used dance as therapy, and sought social support as coping mechanisms.ConclusionsDancers’ emotional experiences of deselection seem to negatively influence the social identities of the dancer and the levels of motivation they held towards dance. Findings highlighted the importance of coping with these emotions, and suggested future sport psychologists should apply interventions to assist with this and the regulation of emotions to prevent dancers from dropping out.     

Lower limb kinematic variability in dancers performing drop landings onto floor surfaces with varied mechanical properties

Elite dancers perform highly skilled and consistent movements. These movements require effective regulation of the intrinsic and extrinsic forces acting within and on the body. Customized, compliant floors typically used in dance are assumed to enhance dance performance and reduce injury risk by dampening ground reaction forces during tasks such as landings. As floor compliance can affect the extrinsic forces applied to the body, secondary effects of floor properties may be observed in the movement consistency or kinematic variability exhibited during dance performance. The aim of this study was to investigate the effects of floor mechanical properties on lower extremity kinematic variability in dancers performing landing tasks. A vector coding technique was used to analyze sagittal plane knee and ankle joint kinematic variability, in a cohort of 12 pre-professional dancers, through discrete phases of drop landings from a height of 0.2 m. No effect on kinematic variability was observed between floors, indicating that dancers could accommodate the changing extrinsic floor conditions. Future research may consider repeat analysis under more dynamic task constraints with a less experienced cohort. However, knee/ankle joint kinematic variability was observed to increase late in the landing phase which was predominantly comprised of knee flexion coupled with the terminal range of ankle dorsiflexion. These findings may be the result of greater neural input late in the landing phase as opposed to the suggested passive mechanical interaction of the foot and ankle complex at initial contact with a floor. Analysis of joint coordination in discrete movement phases may be of benefit in identifying intrinsic sources of variability in dynamic tasks that involve multiple movement phases.     

Neurocognitive control in dance perception and performance

Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers' exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers' timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialog between science and dance.     

Dancing with passion: A look at interpersonal relationships

Drawing from the dualistic model of passion for activities (Vallerand et al., 2003), this research investigated the role of passion for social partnered dancing in relationships quality with other dancers as well as outside of the dance community, in a romantic relationship. Study 1 showed that harmonious passion (HP) was related to enjoyment while dancing with a novice partner, whereas obsessive passion (OP) was associated with negative interactions with an incompetent partner. Study 2 showed that HP was positively related to relationship quality with a preferred dance partner and the dance community through mastery-approach and social connection goals, whereas the opposite effect characterized OP. Also, OP was negatively related to relationship quality with both a dance partner and a romantic partner through conflict, whereas the reverse trend characterized HP. This research identified mechanisms through which passion may affect relationships within and outside a passionate activity such as dance.     

Mirror,mirror on the wall,who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers’ physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers’ physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers’ expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.     

现代舞训练与弦乐训练对脑灰质体积的差异影响

目前舞蹈与音乐两种训练对脑灰质结构影响的差异尚不明确。本研究利用基于体素的形态学分析方法(voxel-based morphometry, VBM), 比较现代舞训练被试、弦乐训练被试与对照组被试的脑结构磁共振数据。结果表明现代舞训练组在涉及感觉运动控制的皮层、皮层下结构及小脑多个区域出现灰质体积的显著增加与减少; 弦乐训练组则在与音乐训练直接相关的听-动-读皮层出现灰质体积的显著增加。这一发现提示现代舞训练可能系统性地影响广泛脑区的灰质结构, 弦乐训练可能局部地改变了具体功能脑区的灰质结构, 两种训练对脑灰质结构的影响模式存在差异。     

Transforming Spirituality in Artistic Leisure: How the Spiritual Meaning of Belly Dance Changes Over Time

Studies show that different dimensions of religiosity change throughout the life course. Yet, we have little information about how spirituality that some people experience outside of formal religious organizations may change. The purpose of this study is to examine how spirituality associated with artistic leisure may emerge or decline over time. Drawing from two waves of semistructured qualitative interviews conducted five years apart, I examine how the spirituality dancers associate with belly dance changes over time and factors associated with those transformations. Rather than emerging, findings show that whether dancers instill belly dance with spirituality remains stable or decreases. Furthermore, much of the decrease in the spiritual meaning that dancers link to belly dance can be understood in the context of their changing involvement in the dance, different meanings they attach to belly dance, revisiting their personal beliefs about spirituality, and expanding their spiritual outlets.     

Striptease Spectators: Live and Imaginary

In the United States, adult entertainment striptease (also called exotic dance, nude dancing, and topless dancing) has both live and imaginary spectators. The real audience consists of those who actually enter a club (cabaret, theater), such as patrons and club personnel. However, there are people who only imagine what exotic dance is. I will comment on real and imaginary exotic dance spectators, the values they have, the actions they take that impact exotic dance, and the implications of these actions. A mosaic of contested meanings of exotic dance affects its existence or modification as well as American civil liberties. There are some feminist and uninformed imaginary spectators. Most active is an absent, imaginary audience of a segment of the politically active Christian Right that adheres to its interpretation of Scripture. Imaginary spectators are usually blind and deaf to the actual language of a dance form. Some believe exotic dance to be sinful and/or to cause crime, property depreciation, and disease, contrary to scientific evidence. These spectators’ actions in many places have destroyed the contemporary genre of exotic dance, hurt the industry economically, and caused the loss of jobs. Actual spectators, patrons who expect to see the same full nudity and sexy dance movements that are seen in “high” (“elite”) forms of art such as ballet, opera, modern dance, and theater, believe in free expression and unfettered enterprise and join the defense of exotic dance.     

Strategic Flirting and the Emotional Tab of Exotic Dancing

ABSTRACT

The paper uses the concept strategic flirting, an aspect of emotional labor, to challenge the dichotomous view that sex work is either exploitative or empowering for exotic dancers. The findings suggest a more nuanced understanding of the advantages of sexual power and expenditures of emotional labor. Data were gleaned from interviews with 112 female dancers in several cities. Data from dancers indicate significant support for both the sexual radical/libertarian view—that she is the dominant party in the sexual transaction—and the radical feminist view that exotic dancing has detrimental consequences. Both the feminist and sociology of emotions literatures are explored for applications to the dancers' work.     

Dancing with identity: Narrative resistance strategies of male and female stripteasers

Using life history interviews with 14 female and 10 male striptease dancers, the researchers examined how the language of deviance is used in the life narratives of exotic dancers. Past studies have oriented toward striptease as an occupational curiosity for men and as deviant for women. This article addressed both genders in one study. Eschewing typical deviance vocabularies of analysis, the authors drew upon “biographical work” as our theoretical orientation to frame the life history interview materials and to develop the concept of “narrative resistance.” Rather than assuming that deviance is inherent to striptease dancing for women, but not men, the authors demonstrated how deviance is a socially constructed narrative resource that all dancers may draw upon to construct an account of self. The narrative resistance strategies discussed here include two deviance exemplars: sleaze and immersion. The authors concluded with two discussions: one regarding gender and biographical work and the other regarding the generalizability of narrative resistance as a biographical work strategy.     

Effects of auditory rhythm on movement accuracy in dance performance

The present study addresses the impact of the rhythmic complexity of music on the accuracy of dance performance. This study examined the effects of different levels of auditory syncopation on the execution of a dance sequence by trained dancers and exercisers (i.e., nondancers). It was hypothesized that nondancers would make more errors in synchronizing movements with moderately and highly syncopated rhythms while no performance degradation would manifest among trained dancers. Participants performed a dance sequence synchronized with three different rhythm tracks that were regular, moderately syncopated, and highly syncopated. We found significant performance degradation when comparing conditions of no syncopation vs. high syncopation for both trained dancers (p = .002) and nondancers (p = .001). Dancers and nondancers did not differ in how they managed to execute the task with increasing levels of syncopation (p = .384). The pattern of difference between trained dancers and nondancers was similar across the No Syncop and Highly Syncop conditions. The present findings may have marked implications for practitioners given that the tasks employed were analogous to those frequently observed in real-life dance settings.     

McSexy: Exotic Dancing and Institutional Power

A growing body of research is exploring the relationship between power and women's sexuality in occupations that involve the vending of sex or the sale of sexuality. Previous research has examined power in the field of exotic dancing on the individual level and at the interactional/organizational level. This research examines dancer power at the institutional level. Data were gleaned from interviews with 133 female dancers in several cities and level of clubs.     

Coherence between emotional experience and physiology: does body awareness training have an impact?

Two fundamental issues in emotion theory and research concern: (a) the role of emotion in promoting response coherence across different emotion systems; and (b) the role of awareness of bodily sensations in the experience of emotion. The present study poses a question bridging the two domains; namely, whether training in Vipassana meditation or dance, both of which promote attention to certain kinds of bodily sensations, is associated with greater coherence between the subjective and physiological aspects of emotion. We used lag correlations to examine second-by-second coherence between subjective emotional experience and heart period within individuals across four different films. Participants were either: (a) experienced Vipassana meditators (attention to visceral sensations), (b) experienced dancers (attention to somatic sensations), and (c) controls with no meditation or dance experience. Results indicated a linear relationship in coherence, with meditators having highest levels, dancers having intermediary levels, and controls having lowest levels. We conclude that the coherence between subjective and cardiac aspects of emotion is greater in those who have specialized training that promotes greater body awareness.     

Dancing faith: contemporary Christian dance in Norway

ABSTRACT

Although dance is a common religious expression, its place in the Christian tradition has been contested. In modern Protestant Norway, dance has mostly been considered irrelevant to church life or even sinful. In recent decades, however, dance has become increasingly common in Norwegian churches. The present analysis of empirical data on dance in Christian settings in contemporary Norway is based on participant observation and interviews. While younger dancers (born after 1990) consider it natural to dance in church, and are usually welcome to do so, older participants have met significant resistance. When dancing, dancers find personal meaning (wellbeing, processing emotions and life events), social meaning (communication, belonging), and religious meaning (contact with God, prayer, growth). Dance emerges as a part of lived religion that clearly highlights how bodies matter, and how spiritualities are gendered, in this contribution to understanding the embodied dimensions of religion.     

Moderating Effect of Self-Esteem on the Relationship between Perfectionism and Creative Thinking among Collegiate Dancers

Social cognitive theory has supported the view that perfectionism can be a hindrance to creativity, and also considers self-esteem to have a moderating effect on their relationship. Therefore, the purpose of this study was to examine the moderating effect of self-esteem on the relationship between perfectionism and creativity in college dancers. Two hundred and sixty-six college dance students completed the Multidimensional Perfectionism Scale of Frost, the Rosenberg Self-Esteem Scale, and the New Test of Creative Thinking. The moderating effect was tested with a four-step moderated hierarchical regression analysis. Bivariate analyses showed that creative thinking was, as a dependent variable, significantly related to multidimensional perfectionism and self-esteem in college dancers. Additionally, the hierarchical regression analysis revealed that self-esteem moderated the association between multidimensional perfectionism and creative thinking after controlling for selected socio-demographic characteristics. It can thus be concluded that self-esteem might regulate the positive effect of multidimensional perfectionism on creative thinking. Professional dance instructors who are working with perfectionist dancers should, therefore, seek ways to improve dancers’ self-esteem as one of the strategies to improve their creative thinking.     

Belly Dance as an Embodying Activity?: A Test of the Embodiment Model of Positive Body Image

The study aimed to test Menzel and Levine’s (2011) embodiment theory of positive body image in the context of belly dance. Participants were 213 women from Adelaide, South Australia. They comprised 112 belly dancers recruited from two belly dance schools, and a sample of 101 college women who had never participated in belly dance. Participants completed questionnaire measures of positive body image, body dissatisfaction, self-objectification, and enjoyment of sexualization. It was found that belly dancers scored higher on positive body image and lower on body dissatisfaction and self-objectification than the college students. There was, however, no difference between groups in enjoyment of sexualization. Importantly, in support of the embodiment model, the effect of belly dance group on positive body image was mediated by reduced self-objectification. It was concluded that belly dance represents an embodying activity, one associated with a number of benefits for its practioners, including positive body image.