Make It Maverick: Rethinking the “Make It Macho” Strategy for Men in Ballet
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Click to increase image sizeClick to decrease image size Notes 1. Jules Janin, quoted in John V. Chapman, “Jules Janin: Romantic Critic,” in Rethinking the Sylph: New Perspectives on the Romantic Ballet, ed. Lynn Garafola (Hanover, N.H.: University Press of New England, 1997), p. 204. 2. See historical accounts such as Ted Shawn, with Gray Poole, One Thousand and One Night Stands (Garden City, N.Y.: Doubleday, 1979), Jane Sherman and Barton Mumaw, Barton Mumaw, Dancer: From Denishawn to Jacob's Pillow and Beyond (Hanover, N.H.: Wesleyan University Press, 1986), and Walter Terry, Ted Shawn Father of American Dance (New York: Dial Press, 1976). For a contemporary consideration of the issues surrounding gender and nationalism in relation to Shawn, see especially the essays of Julia L. Foulkes and Susan Leigh Foster in Jane Desmond, ed., Dancing Desires: Choreographing Sexualities On and Off the Stage (Madison: University of Wisconsin Press, 2001), pp. 113–46 and 147–207. 3. Shawn, with Poole, One Thousand and One Night Stands, p. 11. 4. Ramsay Burt, The Male Dancer: Bodies, Spectacle, Sexualities (London & New York: Routledge, 1995), p. 10. 5. Julia L. Foulkes, “Dance is for American Men: Ted Shawn and the Intersection of Gender, Sexuality, and Nationalism in the 1930s,” in Dancing Desires, p. 113. 6. Ibid., p. 130. 7. Ibid., pp. 129–30. 8. Some examples of ballet stereotyping that relate to masculinity were detailed in my book, Nutcracker Nation (New Haven: Yale University Press, 2003), pp. 159–62. Others will appear in the introduction as well as in the essays of Dance and Masculinity, ed. Jennifer Fisher and Anthony Shay (in progress). 9. Catherine Milner, “More boys than girls join the Royal Ballet,” News.telegraph.co.uk, April 24, 2002. Accessed Nov. 15, 2005. 10. Ralph Backlund, “From a garage on West 152d Street, a ballet company soars to Moscow,” Smithsonian Magazine, July 1988, pp. 28–40. 11. Peggy Phelan, Unmarked: The Politics of Performance (New York: Routledge, 1993). 12. Essays by Burt, who adds to the analysis in his book, The Male Dancer, and by Risner, who investigates the ballet training experiences of boys and young men, will appear in an upcoming volume on dance and masculinity (see above, note 8). 13. John Gruen, Erik Bruhn: Danseur Noble (New York: Viking, 1979), pp. 97, 115, 124. 14. Diane Solway, Nureyev: His Life (New York: William Morrow, 1998). 15. Horst Koegler, “Dancing in the Closet: The Coming Out of Ballet,” Dance Chronicle, Vol. 18, No. 2, 1995, p. 231. 16. Graham Jackson, Dance as Dance: Selected Reviews and Essays (Scarborough, Canada: Catalyst, 1978), pp. 38–43. 17. Burt, The Male Dancer, p. 29. 18. John Jordan examines evidence to the contrary by noting negative associations associated with dance in the eighteenth century in an essay that will appear in an upcoming volume on dance and masculinity (see above, note 8). 19. Burt, The Male Dancer, pp. 10, 28. 20. See J. Bailey and M. Oberschneider, “Sexual orientation and professional dance,” Archives of Sexual Behavior, Vol. 26 (1997), pp. 433–444, and L. Hamilton, Advice for Dancers: Emotional Counsel and Practical Strategies. (New York: Jossey-Bass, 1998). I thank Doug Risner for these citations. 21. Michael Kimmel, Manhood in America: A Cultural History (New York: The Free Press, 1996), pp. 219–20, 290. 22. Brenda Dixon-Gottschild, The Black Dancing Body: A Geography from Coon to Cool (New York: Palgrave/Macmillan, 2003), p. 40. 23. See Kimmel, Manhood in America, pp. 333–5; Mosse, The Image of Man, p. 194; Burt, The Male Dancer, pp. 9, 30, 196.
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it