{"id":70,"date":"2025-08-15T01:17:11","date_gmt":"2025-08-15T00:17:11","guid":{"rendered":"https:\/\/journalists.org.uk\/xinyue-yang\/?p=70"},"modified":"2025-08-18T10:53:45","modified_gmt":"2025-08-18T09:53:45","slug":"dance-and-gender-roles-barriers-and-new-perspectives","status":"publish","type":"post","link":"https:\/\/journalists.org.uk\/xinyue-yang\/2025\/08\/15\/dance-and-gender-roles-barriers-and-new-perspectives\/","title":{"rendered":"Dance and Gender Roles: Barriers and New Perspectives"},"content":{"rendered":"\n

The pounding of drums echoed across the stage. Rina Su, president of Newcastle University\u2019s Chinese Dance Society<\/a>, swept her wide sleeves through the air, her steps sharp and forceful. These moves, often seen as the domain of male dancers in Mongolian<\/a> dance, looked just as free and powerful in her performance. In the audience, some whispered:\u201cIs that a woman?\u201d<\/p>\n\n\n

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Rina Su practicing in a dance studio. (Photo courtesy of Rina Su)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

In the dance world, gender stereotypes remain deeply rooted. According to a report from Voice Magazine<\/a>, gender roles in dance remain deeply ingrained: male dancers are often assigned high jumps and lifts, while female dancers are expected to perform graceful spins and maintain elegant lines.<\/p>\n\n\n\n

The \u2018Graceful\u2019 and the \u2018Powerful\u2019: Gender Labels on Stage<\/em><\/strong><\/p>\n\n\n\n

Rina Su’s dance moves are sharp and powerful, a style often classified as \u201cmale\u201d had become her signature. \u201cI always try to do male styles. People love it,\u201d she said with a smile. <\/p>\n\n\n\n

However, this choice is not always accepted. “I prefer the men’s movements. But I was expected to do the female movements sometimes.”<\/p>\n\n\n\n

In the eyes of many, Chinese dance is often labeled as \u201cgentle\u201d and \u201cfeminine.\u201d Rina responded, \u201cI know these labels exist, but honestly they just put limits on how we can express ourselves in dance.\u201d<\/p>\n\n\n

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Rina Su practicing Chinese dance. (Photo courtesy of Rina Su)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

This gendered division of labour in dance extends beyond the stage and into the backstage. According to a study published on Medium<\/a>, men dominate ballet choreography, highlighting the reality that directorial and creative roles are still predominantly held by men. <\/p>\n\n\n\n

Ballet<\/a> dancer Qianli Hua has noticed the same issue: \u201cThere are more female dancers in ballet, so competition is fiercer,” she said.<\/p>\n\n\n\n

“This puts stricter demands on female leads, not just in terms of skill but also appearance. A very capable female dancer once missed her chance to perform simply because her calves were slightly larger than others.\u201d <\/p>\n\n\n\n

Qianli believes breaking gender bias requires giving female choreographers more opportunities behind the scenes.<\/p>\n\n\n\n

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\u201cOn stage, dancers should just do what they\u2019re good at and what they can create, not be limited by whether they\u2019re male or female.\u201d<\/em><\/strong><\/p>\n\n\n\n

<\/em><\/strong>–Qianli <\/em>Hua<\/strong><\/p>\n<\/blockquote>\n\n\n

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Qianli Hua. Left: ballet performance; right: everyday life. <\/em>
Photo courtesy of Qianli Hua.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

When Dancers Switch Roles<\/em><\/strong><\/p>\n\n\n\n

In dance, male dancers face pressure from gender stereotypes, with soft and delicate movements often seen as \u201cunmasculine,\u201d limiting their choices and creativity. <\/p>\n\n\n\n

In the view of Hip-hop<\/a> dancer Zidong Chen, soft or delicate movements do not necessarily indicate a lack of strength. However, he admits that men who try these styles are subject to some prejudice.\u00a0<\/p>\n\n\n\n

He said, \u201cIn some dance circles, male dancers performing jazz or K-pop girl group choreography are easily labeled as gay, even though this association itself is a stereotype.\u201d<\/p>\n\n\n

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Zidong Chen dances street dance. <\/em>
(Photo courtesy of Zidong Chen)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n
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Sourabh Belgal, a dancer of Bachata<\/a>, which is a style of Latin dance, has had similar experiences. During a Greek dance event, he invited a male lead dancer to dance with him, but was rudely rejected. <\/p>\n\n\n\n

Sourabh said, \u201cThe stereotypes are that if men follow, they are not showing masculinity. It\u2019s such a big problem in Bachata right now.\u201d<\/p>\n\n\n\n

However, Sourabh challenged these biases by taking a \u201cLady Styling\u201d class three months after teaching himself to dance, saying, \u201cMany people say I\u2019m one of the top three followers in Newcastle. Switching roles helps me grow and fosters more creativity on the dance floor.”<\/p>\n<\/div><\/div>\n\n\n

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Sourabh Belgal performing in a show. (Photo courtesy of Sourabh Belgal)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Breaking Boundaries: The Future of Gender in Dance<\/em><\/strong><\/p>\n\n\n\n

In recent years, as dance has continued to evolve, dance trends have become increasingly inclusive. <\/p>\n\n\n\n

Sourabh Belgal pointed out, \u201cThe modern Bachata dance style has evolved from Dominican<\/a> traditional to modern <\/a>to sensual<\/a>, though the styles vary widely, this inclusivity is subjective, at least in my view, it has improved.\u201d\u00a0<\/p>\n\n\n\n

He also emphasized that such issues require a change in mindset, \u201cMaybe instructors can stress in class that it\u2019s perfectly fine to lead or follow, and over time, it will become accepted.\u201d<\/p>\n\n\n\n

Young dancers are increasingly calling for everyone to try the styles they enjoy, without being confined by traditional role assignments. <\/p>\n\n\n\n

Qianli emphasises that casting and recruitment should prioritise ability and creativity, \u201cDancers should do what they\u2019re good at and what they can create, without being limited by whether they are male or female.\u201d<\/p>\n\n\n\n

Sourabh and Qianli’s perspectives both highlight that, whether in stage performances or teaching roles, professional skills should be prioritised, allowing everyone to maximise their potential in dance.<\/p>\n\n\n

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Rina Su <\/em>practicing Mongolian dance. (Photo courtesy of Rina Su)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

When dance breaks free from gender boundaries, every dancer can explore greater creative and expressive possibilities, making the stage more diverse and inclusive. These efforts make dance more diverse and free, allowing every dancer to explore their own potential on stage. <\/p>\n\n\n\n

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\u201cDance belongs to anyone who dares to try.\u201d<\/em><\/strong><\/p>\n\n\n\n

– Sourabh Belgal<\/em><\/strong><\/p>\n<\/div><\/div>\n<\/blockquote>\n\n\n\n

In today’s world, where gender biases are gradually being broken down, the future of dance is being reshaped, one that is both creative and more inclusive.<\/p>\n\n\n\n