Rehearsing Heterosexuality: Unspoken Truths in Dance Education

Abstract

While recent research in the United States indicates that gay and bisexual men comprise half the male population in dance, a very limited amount of scholarship focuses on the experiences of gay men and boys in dance education (Hamilton 1999). Cultural heterosexism and homophobia certainly contribute to this conspicuous absence of scholarship and discourse, as does institutionalized heterosexism in concert dance and Western social dance forms (Adair 1992; Burt 1995; Hanna 1988). Given the rich and compelling dance research in gender (Albright 1997, 1998; Bond 1994; Case et al. 1995; Crawford 1994; Daly 1998; Stinson et al. 1990; Stinson 1998; Thomas 1993) and feminist theory (Albright 1990; Banes 1998; Daly 1991, 2000; Foster 1996; Shapiro 1998; Stinson 1993), one questions the absence of scholarly analysis surrounding gay issues in dance education. Unfortunately, dance and dance education may unwittingly reproduce asymmetrical power relationships, social inequities, and sexist patriarchy by reaffirming the status quo operating in contemporary American culture. In doing so, the profession ignores vast educative opportunities for diminishing homophobia and antigay bias. In view of the relatively large numbers of gay men and young adults in the field, the lack of serious discourse and study of these critical issues is disheartening. I am reminded that Susan Stinson importantly asked the dance community these ethical questions nearly two decades ago. Regrettably, her cogent questions remain largely unanswered:

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