Reinforcing Gender Roles at the Male Strip Show: A Qualitative Analysis of Men who Dance for Women (MDW)

While stripping has been an attractive topic among sociologists for several decades, much of the existing research concentrates on women who dance for men (WDM) and men who dance for men (MDM). In this study, I use qualitative methods to understand the experiences of men who dance for women (MDW). I spent 18 months at a strip club that I call “Dandelion's,” and conducted 22 in-depth interviews with male strippers. Specifically, I explore how the male strip show reproduces traditional, stereotypical gender roles in two main ways: dancers’ physical interactions with customers, and their hypermasculine presentations of self.     

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.     

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.     

Men’s personality and women’s perception of their dance quality

Recent research shows that women judge men who show variability in their body movements as good dancers. Here we report data on women’s perception of dance quality in 48 men, aged 18-42 years, and relate them to men’s self-reported personality traits. Male participants completed a standardised personality inventory (the NEO-FFI) and then danced to a basic rhythm while their body movements were tracked with optical 3D motion-capture technology. Dance movements were applied to a featureless virtual humanoid character and judged on their dance quality by 53 women, aged 17-57 years, who viewed 15 s of the rendered video clips of each male dancer. Conscientiousness and social agreeableness was correlated positively and significantly with women’s perception of men’s dance quality. Extraversion showed a positive correlation and neuroticism and openness were associated negatively with women’s perception of men’s dance quality, though these correlations failed to reach significance. We suggest that male dance movements may convey aspects of their personality, though possible consequences in terms of female mate preferences and selection remain to be explored.     

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.     

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.     

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.     

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.     

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.     

Gender and limb differences in healthy elite dancers: passé kinematics

Symmetry of skill development is emphasized in dance training, and many movements are well learned by both genders. The authors conducted a 2-dimensional kinematic analysis of a complex dance movement, the passé, in 12 healthy professional male and female dancers to determine whether there are differences between genders or limbs during the performance of that task. Only peak hip angular displacement differed in men and women. No differences were found between limbs in any of the dependent variables. Dancers displayed consistent temporal and spatial proximal-to-distal sequencing of movement coordination. Despite an indication of limb preference, as defined by gesture or stance limb, there were no differences in proficiency.     

Physical fitness, body image, and locus of control in college women dancers and nondancers

This study assessed the correlations among measures of physical fitness, body image and locus of control in college freshman women dancers and nondancers. 39 students enrolled in courses in modern, ballet, and jazz dance, and 120 students enrolled in an introductory personal health course were administered the Hall Physical Fitness Test Profile, the Winstead and Cash 54-item short-form Body Self-relations Questionnaire (BSRQ), and the Adult Nowicki-Strickland Locus of Control Scale. Analysis showed dancers were more physically fit, scored more positively on the BSRQ physical fitness and health domains, and were more internal in their locus of control than the nondancers. There was no significant difference between dancers and nondancers on the BSRQ appearance domain. The significant positive correlation between BSRQ health and physical fitness among dancers was not observed among nondancers. The significant positive correlation for BSRQ appearance and health was noted for nondancers but not for dancers.     

Exotic Dance Research: A Review of the Literature from 1970 to 2008

This article presents the process and findings of a review of the empirical research literature on exotic dance/dancers in the United States and Canada from 1970 to 2008. We present research methods represented in this sample, as well as the main purposes of these studies, the deployment of theory in exotic dance research, and the visibility of researcher subjectivities. Over time researchers have gradually moved from micro-level analysis with singular explanations toward multi-dimensional and contextual understandings of exotic dance/dancers. Contemporary researchers are less grounded in deviance, pathology, or victimization. We conclude with a discussion and a series of recommendations for future research.     

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.     

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.     

Four categories of women who work as topless dancers

Many involved in the feminist debates over sex work have polarized the construction of women in the sex industry as either victims of exploitation, or free agents who choose this work. This study examined the life circumstances of 30 women who worked as toplesS dancers to determine, how, if at all, the polarized debates reflect the realities of the women in this study. Four catagories of women who worked as topless dancers emerged: (1) survivors, (2) workers, (3) non-conformists, and (4) dancers. These categories suggest that there is a continuum of experience with varying degrees of choice, and demonstrate the limitations of dichotomous thinking when it comes to understanding the lived experiences of women in the sex industry.     

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.     

How Do Creative Experts Practice New Skills? Exploratory Practice in Breakdancers

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of “deliberate practice” (Ericsson, Krampe, & Tesch‐Römer, 1993, Psychological Review, 100, 363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers’ practice processes as they developed proficiency in new, specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers’ stated purposes for practicing. The results showed that dancers’ practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development.     

The Root of Dance Therapy: A Consideration of Movement,Dancing, and Verbalization vis-à-vis Dance/Movement Therapy

How and when does dance become therapy? And why is there a need for such intervention? The author, one of the great choreographer Balanchine's prima ballerinas and a professional choreographer in her own right as well, ranges far in seeking societal as well as individual causes for the creation of a new psychotherapy. She uses her passionate adherence to dance per se as a vantage point from which to view humanity's trials and tribulations. She also opens a door into the realm of professional, performing dancers who wanted to give their dancing to the world. Her ironic wit takes note of the nondancers who want to be dance therapists. She also draws a loving portrait of one of the originators of dance therapy in the United States, Marian Chace, who became her friend and mentor.     

The effects of sport dance on brain connectivity and body intelligence

Dancing is characterised by physical movement in accordance with rhythm perception. Twelve sport dancers and 12 age- and sex-matched young adults who had no dance experience (control group) were recruited. Body intelligence and brain activity were assessed in both groups using the Body Intelligence Scale (BIS) and resting state functional magnetic resonance imaging. BIS scores of dancers were higher than those of control subjects. The dancer group showed increased functional connectivity from the precentral gyrus to the right cingulate gyrus, right occipital fusiform gyrus, right inferior frontal gyrus, right medial frontal gyrus, left inferior frontal gyrus, right parietal postcentral gyrus, and right frontal lobe compared with control subjects. Sport dancers had increased body intelligence sensitivity compared with matched controls. In addition, the characteristics of dance, including physical movement in accordance with rhythm perception, might be associated with increased brain activity in the somatosensory and rhythm perception networks.