Dance and the dancing male body: rethinking cultural hegemony in the dance education sector in South Africa
B.) Secondary sources
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Butler, J. (1993). Gender Trouble: Feminism and the Subversion of Identity. London & New York: Routledge (“Bodily Inscriptions, Performative Subversions” p.163-181).
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Butler, J. (1999). Bodies That Matter: On the discursive limits of “sex”. London & New York: Routledge (Preface and Introduction).
Burt, R. (1995). The Male Dancer: Bodies, Spectacle, Sexualities. London: Routledge.
Clowes, L. (2013). The limits of discourse: Masculinity as vulnerability. Agenda: Empowering women for gender equality. 27 (1). p.12-19.
Cogneau, D. (2003). Colonisation, School and Development in Africa: An empirical analysis. Développement et insertion international: Document de Travail. 1. p.4-20.
Connell, R. W. (1995). Masculinities (Second Edition). California: University of California Press.
Dean, B. (1966). The Many Worlds of Dance. Sydney: Murray
Ferretter, L. (2006). Louis Althusser Routledge Critical Thinkers. London: Routledge.
Freire, P. (1970). Pedagogy of the Oppressed. London: Penguin.
Friedman, S. (2011). Not a Rose by any other Name: Reflections on the Complexities of Dance Teaching as Praxis. The South African Dance Journal. 1(1). p.30-42.
Frosh, S., Phoenix, A., & Pattman, R. (2002). Young Masculinities. Hampshire: Palgrave.
Graham, M. (1991). Blood Memory. Great Britain: Macmillan London Ltd.
Grotowski, J. (1968). Towards a Poor Theatre. New York: Simon and Shuster.
Hanna, J. L. (1983). The Performer-Audience Connection. Austin: University of Texas Press.
Hanna, J. (1988). Dance, Sex and Gender. Chicago: The University of Chicago Press.
Hanna, J. L. (1987). To Dance is Human: A Theory of Non-Verbal Communication. Chicago: University of Chicago Press.
Hawley, R. (1993). Boys will be Men: Masculinity in Troubled Times. Middlebury : P.S. Erickson.
Hewitt, A. (2005) Social choreography: ideology as performance in dance and everyday movement. Durham:
Duke University Press
Kimmel, M. (2008). Guyland: The Perilous World Where Boys Become Men – Understanding the critical years between 16 and 26. New York: Harper.
Kirby, V. (2006). Judith Butler: Live Theory. Continuum International Publishing Group: London.
Loots, L. (1995). Colonised Bodies: Overcoming gender constructions of bodies in dance movement education in South Africa. South African Theatre Journal. 9. (2). p.51-59.
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Loots, L. (2004). Opening Night Address. African contemporary dance? : questioning issues of a performance aesthetic for a developing and independent continent: proceedings of the 7th Jomba! Contemporary Dance Conference held at the University of KwaZulu-Natal, 22-24 August 2004. p.10–11.
Loots. L. (2006). Navigating African Identities, Otherness and the “wild Untamed Body” in dance
‘development’ programmes. Global Perspectives on Dance Pedagogy: Research and Practice. Congress on the Research of Dance Conference Proceedings, De Montfort University, Leicester (UK) 2006. p.293–
299.
Loots, L. (2010). Artistic Director of the Flatfoot Dance Company. Interviewed by the researcher in Durban, 14th October 2010.
Loxley, J. (2007). Performativity. London and New York: Routledge. (Chapter 7: “Performativity and Performance Theory”. p.139–166).
Maqoma, G. (2001). Cultural Identity, Diversity and Modernity in Education. Published in the conference proceedings of: CONFLUENCES 3 – From Concept to Concert. University of Cape Town School of Dance.
July 2001.
Martino, W., Pallotta-Chiarolli, M. (2003). So What’s a Boy? Addressing Issues of Masculinity and Schooling.
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Milner, M. (2006). Freaks, Geeks and Cool Kids. Oxon: Routledge.
Morrell, R. (2001). From Boys to Gentlemen: Settler Masculinity in Colonial Natal 1880 – 1920. Pretoria: Unisa Press.
Pollack, W. S. (2000). Real Boys’ Voices. New York: Random House.
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Shapiro, S. (2004) Beyond Dancing… that Mode of Being Called Teaching. Confluences 4: Proceedings of the Fourth South African Conference, hosted by the University of Cape Town School of Dance; 4-7 July 2004.
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[http://search.sabinet.co.za.ezproxy.ukzn.ac.za:2048/WebZ/images/ejour/theatre/theatre_v22_a4.pdf :sessionid=0:bad=http://search.sabinet.co.za.ezproxy.ukzn.ac.za:2048/ejour/ejour_badsearch.html:por tal=ejournal] (Accessed 20 September 2010).
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Appendices
Appendix A: Interview Questions PART 1
Drama
1. What led you to choosing Drama as a Matric subject?
2. Did your parents have any say in whether or not you studied Drama? If they did, what was their opinion on you choosing the subject?
3. How has your experience of Drama been thus far?
4. Are you happy you decided to do Drama?
Hilton
1. In your opinion, what does it mean to be a Hilton boy?
2. Do you think that the school encourages you to become a well-rounded individual, or do you think that the school favours certain things over others, or certain skills over others?
3. Do you feel that there is a great deal of pressure on you as a Hilton boy to fit a certain bill or prescribed stereotype?
Dance
1. Have you ever danced before?
2. If yes, what dance have you done?
3. What sorts of people do you think dance? Is there a specific type of person that dances or can anyone do it?
4. How much do you know about the different styles of dance that can be explored?
5. Do you think that dance is only suitable for girls?
6. What is your perception of boys who dance?
7. Do you think that the style of dance has anything to do with what is acceptable or not? For example, a male ballet dancer vs. a male hip-hop or break dancer?
PART TWO:
DANCE/FUNK
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1. You have done a few dance-related activities in Drama this term. What were they?
2. How did you feel about participating in these activities?
3. Were there any that you really didn’t enjoy? If yes, why?
4. Did you have a favourite activity? If so, specify which and state why?
5. Did you expect that you would experience dance the way that you have through your involvement in it thus far?
6. Do you think that dance is an important aspect of the Drama curriculum? Explain why or why not.
7. We have begun working on our FUNK choreography. How has this process been thus far?
8. What has been most challenging for you, personally?
9. Is there anything that you have found particularly easy?
10. How do you think the rest of the class is handling the process?
11. Do you think that as a class, we will be able to create a good piece and ultimately perform confidently on the stage?
PART THREE:
Earlier in the year you participated in the FUNK programme, hosted at Hilton College.
1. What was your first thought when you found out that your class would be participating?
2. Did your opinion of dance and dancers change during the process of creating the work?
3. How did your friends (other than your classmates) react when you told them you would be performing a dance piece in a show?
4. Do you think that the way in which other boys perceive you on the sports field is in any way affected by seeing you perform in a dance show?
5. What was your favourite part of the experience (be honest!)?
6. What was your least favourite part of the experience (be honest!)?
7. What do you think you learnt through the process of creating the piece and performing in the Theatre?
8. Would you do it again? Give reasons for your answer.
PART 2: