Men/Movement/ Masculinity

by Mady Cantor

Dance, like just about everything else in human activity, is influenced by gender: gender roles, gender expression, expectations, problems, realities, and opportunities. Sometimes gender roles in dance are obvious and stereotypical, as in 19th-century ballets, with gallant male heroes and pliant maidens. Sometimes gender expression is understated or neutral as in post-modern choreography. In dance classes, gender comes into the foreground when little girls revel in the possibilities of tulle, or when boys are bullied for their interest in dance, but not much direct conscious attention is given to gender in dance education settings.

Enter Vincent Thomas, an accomplished dancer, choreographer, and teacher based in Baltimore. He has been absorbed for many years by questions about the place and possibilities of masculinity in dance, through his artistic work, pedagogical inquiry, and recently through his writing. He has written a chapter in Masculinity, Intersectionality and Identity: Why Boys (Don’t) Dance, a newly published book edited by Doug Risner and Beccy Watson. Vincent was invited to contribute to the book because of an unusual program he developed at Towson University where he is a professor in the Department of Dance. Since 2006 he has offered a course called “Movement Enhancement Skills for Men.

During the last 16+ years, over 1000 men have taken the course which attracts students from different backgrounds and intersections –athletes, music and theater students, business majors, science students, and neophyte movers.

The classes start with the introduction of a set of “Community Agreements, ” class guidelines which form the foundation of the class and are a way of being, and being with others. These agreements are:

To be full of my value and free of judgment (negative).

To be curious about my learning.

To acknowledge the many faces, names, bodies, minds, experiences in the space and know they are valid and valued.

To have serious fun.

These values create a space where experimentation and collaboration are celebrated – a setting, according to Vincent, that is a new experience for many of the men. The class involves an array of dance experiences including a BrainDance warmup, conditioning, exploration of dance elements and concepts, the development of technique and movement phrases, and improvisation which he calls “physical play. ” They physically play, for example, in activities like exploring ‘co-working’ (three ways of connecting and supporting): mutual lean, counterbalance, and “pillar of support. ” They view live and filmed dance concerts and clips, then write and discuss their impressions and discoveries. As Vincent says, “their bodies sweat and their brains sweat. ”

What makes the class unique, of course, is that all the students are male. Vincent says that men have been socialized to hide their vulnerability, but, in this all-male class, they feel free to open up, to make mistakes, to embody a range of physical dynamics that may be unfamiliar or even uncomfortable. Without the “female gaze” there tends to be less selfconsciousness and more openness to taking risks. The class is designed to be a place where strength and vulnerability can co-exist, where issues related to masculinity are brought front and center.

The course was the subject of a short documentary a few years ago (https://vimeo.com/275548988) which shows excerpts of the class in action. But perhaps the students’ own words, from the journals they keep as part of the course, offer the fullest picture of the experience:

“Being a real man to me means being confident in oneself, to be able to display vulnerability to other people (especially men), having a sense of humility and dignity, and to be a protector for anyone in need. Culturally, I saw the concept of masculinity presented in a universal manner. Altogether, I appreciate having the opportunity to participate in this class to help me evolve both as an artist and human being in this society.

“Throughout this semester, this course has actively mentioned the concept of masculinity and men dancing in this society. There were so many compelling stories, nuances, and details about men participating in this art form and how society has responded to it. There were so many interesting and much needed conversations within the class around this topic, not only when it comes to dance, but simply participating in other things that are considered “effeminate” . I believe that this course provided a safe space for these young men to be vulnerable with each other without a sense of judgement. Especially in a world where men rely on the validation of other men to secure their social status, I believe that this course has broken down the need to get that sense of validity through having these open and transparent conversations.

“I am very thankful for the opportunity to get a different view of the true definition of masculinity. I always thought it was about being the Alpha and on top of the mountain but in reality, it’s just the best version of yourself. There is no judgement from others or approval. It’s putting your abilities into place and changing yourself in the best possible way. While dance is the medium, Vincent feels that the classes, at their core, are really about exploring, expanding and dismantling stereotypes, and embracing a fuller range of masculinity. Vincent is continuing this line of inquiry with workshops and sessions called “Fathers, Sons, and Other Guys. ” Stay tuned. For more information, check out

www.vtdance.org.

Men's repertory, Photo credit: David Williams