GETTING MEN DANCING
Nicola Baartse interviews Rod Haig and David Haddy
I have been dancing since I was a child, and all my life it has been a strange phenomenon to me that the ratio of boys to girls in all my dancing activities was about one in ten. Nothing has changed over the decades, seemingly, and I notice the same phenomenon in CDFA. I find it somewhat distressing that 50% of our family in Christ either does not know, or does not want, the freedom, joy and immense blessing that we have in dancing before the Lord and so I have been thinking and praying a lot in the past twelve months about why that is. I don’t think the answers are as simple as many might think and so I put some of my questions to two of the men of the Christian Dance Fellowship of Australia, David Haddy (NSW) and Rod Haig (NT).
NICOLA:
Can you help me delve into this question of why there are so many more women than men involved in dance? Is it a cultural issue?
ROD:
I think the main reasons that there are relatively few men actively involved in dance are cultural and strongly relate to social conditioning.
This aversion to dance among men is somewhat peculiar to western culture and I believe particularly to an age group from approximately my generation or older. It is in stark contrast to many cultures in which, for men, dance is a strong expression of their culture and identity. In fact, in many cultures the unique role of men in dance is given a special place, often with certain daces or movements being the exclusive domain of the men and the subject of strong taboos to protect this privileged position.
However I believe the barriers of social conditioning are being broken down in our younger generation, with evidence of an increasing number of boys and young men finding fulfilment in dance and attitudes in society changing. Human-interest stories about successful young male dancers are becoming more frequent in the media. Shows such as Tap Dogs have helped to portray a strong masculine image of male dance.
Even in my town, Nhulunbuy, there is a separate class exclusively for boy dancers. [Many of the boys involved take this class in addition to co-educational classes].
An interesting aspect to this shift in society's view of boys involved in dance is the idea I have commonly heard expressed that boys who dance find it easier to relate to girls and have greater opportunities to develop such relationships. No longer is dancing being seen as something that is sissy, but something that even helps in 'pulling in the chicks'.
DAVID:
When I began to delve deeply into dance within the environment of the church, I did so with great hesitancy. This hesitancy was two-fold: should we even be dancing in the church and should guys especially be doing this? It's alright for women because my cultural blinkers told me that dance was a 'feminine' activity. Yet, in my heart, I was powerfully drawn to this media of expression and, as a result, practised it secretly within my own prayer closet. I was no different in my thinking or philosophy because as a product of my parents’ generation and theirs before, we knew no different.
Many men do not see the value of dance in worship. This is due in part to dance being gradually 'lost' from it's primary worship function within the church, & becoming 'visible' only in social and artistic arenas; from the kingly courts of Europe to the town squares of villages etc., to the entertainment theatres and halls.
In the west today, dance has become among other things, a display of personal achievement (technically & artistically), virility and power if we look at it as seen in movies and in certain stage presentations. One could say that it has become a form of artistic & self-worship. I see this as a similar phenomenon to those who worship creation rather than the creator.
The word is clear in placing dance within the structure of prayer, praise and worship, either in the temple, during festivals or at significant periods such as celebrating a battle victory, God’s deliverance of the Hebrews and so on.
NICOLA:
Is it to do with critical mass - i.e. there aren't many men doing it so it simply is not seen as popular?
DAVID:
In many ways today, our culture is an expression and extension of the preceding generation/s with some changes. We grow up practising that which we learn organically from our family and community. I didn't see men dancing except at celebrations and dances-purely social occasions. I certainly did not see men dancing in the church-or women for that matter.
ROD:
The idea of a lack of a 'critical mass' is definitely relevant. The situation is a self-reinforcing one, which amplifies the underlying causes of the problem. Social conditioning provides significant barriers to men becoming actively involved in dance. As a result few men are involved in dance. The lack of men involved in dance becomes a further barrier to men becoming involved and reinforces the social stereotyping that provided the original barrier. And so on.
Again, the encouraging sign is the increasing number of boys and young men taking up dance, and the increasing profile of these dancers will encourage more of the younger generation to become involved etc. Hopefully us 'grey heads' will still be active and able to encourage them as they come through.
NICOLA:
Is there something to do with an atmosphere/politics/vibes created by the females who are by default dominant in the realm of dance?
ROD:
Your question is an interesting one. In both Christian and secular settings I have generally found myself welcomed, affirmed and encouraged and my identity as a male dancer appreciated. In both settings I have also found many women who express a desire to see more men take up leadership roles in dance.
However, for so long the common dance culture has been predominantly the domain of women. At present the common vocabulary of movement and dance styles almost exclusively originates from a 'female' perspective of movement. [My comments mainly relate to the 'amateur' dance scene.]
Men involved in dance often find themselves being required to move in ways that may not seem natural to them and find little opportunity to discover or develop their own natural movement. There are also so many little ways in which you are reminded that you have chosen to become involved in a culture in which many people still see dance as being the natural preserve of women. At times it can become irksome and even a little discouraging.
In ballet lessons I was required to take tiny steps on ‘tippy toes' down the studio floor and then curtsy to my teacher. When I asked would it be more appropriate if I was to bow or some other appropriate movement I was told I should do what was in the syllabus.
On one occasion I received a flyer for a creative movement workshop which stated "Dress: loose comfortable skirts and blouses". It left you wondering how best you could respond. In my adult jazz classes I often find myself having to go along with the rest of the class and do movements which I find unnatural and even at times somewhat demeaning. And there are other similar examples.
There is also the issue of the extent to which the background of the teacher [almost invariably a woman, often trained in an exclusively female environment] limits them, so that their teaching will invariably reflect a women's perspective on movement. This situation will be resolved with time, and an important part of correcting this balance will be seeing more male dancers being willing to take up teaching roles.
NICOLA:
It's interesting to note that scientifically women are NOT more co-ordinated than men! Yet I often hear it used as an excuse touted by men as to why they are not involved. So how can we encourage more men to become involved with dance?
DAVID:
Preach the 'truth' and biblical guidelines from the pulpit. Just as we frequently raise the issues of evangelism, finances, church programmes, we need to begin a balanced programme of addressing the importance of dance with our church/congregations. This of course requires the support, drive and example of our leaders.
Expose men frequently to dance, both artistic and worship expressions of it. Include sold-out male worshippers, with at least reasonably good worship/dance technique to present and lead the dance. When men see men move and sense God is involved, they usually want to be given opportunity to respond accordingly (this is what I have found in my experience of teaching men over the last decade).
Gently yet firmly with the support of a congregation's leaders, teach MEN how to move during services or during times in their own prayer closet and with their families, youth groups etc. Instruct the fathers of the generation how to dance and how to help lead their families.
Teach congregations how to respond to 'items', a word from the lord, and so on during the service. We all can clap, but what about getting on our knees-faces, assembling for a circle dance, being totally silent, taking flags, timbrels and other accessories to celebrate his
Person?!!!
Produce good quality teaching videos to instruct men in their role as worship dancers and leaders.
We require good quality teachers, with the calling to teach and we need to find the biblical (not just a present cultural) balance of dance within the congregation. Worship was always meant to be more than singing and instruments.
I think movies like Billy Elliot and Centre Stage can help, but usually do not attract sufficient 'male' audience for a long term and wide impact to be made.
ROD:
Primarily we need to find ways in which we can provide men opportunities to experience movement in a non-threatening and non-pressured atmosphere. From my observations, often men who protest that they can't dance and never will, having three left feet etc, once they begin to experience movement, will often quickly warm to it. The thing is to get them to take the first tentative step (or leap or spin?). Also it is important that the movement they experience have some sense of relevance to them.
In this regard creative movement workshops, in which participants are encouraged to discover and explore their own natural movements, rather than follow a set dance routine, can be of great value. The use of the word 'movement' rather than 'dance' can also help to put people at ease as they often may have strong connotations they place on the word dance with the associated preconception that they 'can't dance'.
Introducing simple corporate movement into church services of other group activities may also provide opportunities for men to experience movement.
Anything that can be done to break down stereotyping and promote movement and dance in a positive light is also important. Positive masculine images of dance such as Tap, as well as stories on male dancers in the media I believe do help.
NICOLA:
Thanks, David and Rod, for some fascinating input! I’ve learnt a lot.
I asked my husband Mark, who has never related to my love of dance on more than a surface level, to read this article. He has backed up a lot of the comments made by Rod and David, especially the point about men feeling alienated by the emphasis on feminine movement. However he said he would consider attending a workshop if it was male movement taught by males.
To sum up, I think it is fairly clear that to encourage men to dance those of us who are women need to really think about the way we do a lot of things. Perhaps first of all we should be seeking the advice of men a lot more when we plan events and workshops, inviting them into the planning stages and not just hoping they will participate. It is clearly not enough, in many cases, to do the same things we’ve always done and just market them to men more.