What are the functions of social dance? How are the dance roles defined and expressed? And how are they linked along with the social practices? These questions were not resolved by the study of dance, because dance practice (the movement and soundmaking of dancing) has been a highly politicised and politically sensitive subject, with all of the issues related to gender, race, class, sexuality and so on. This research has been carried out in a highly charged context; because the study of dance, as well as other socio-cultural activities, involves politics and is deeply embedded in the political landscape (and that, too, was not resolved by the study of dance). But as dance practice emerges and becomes much more widely discussed by students in colleges and colleges of education, and the public in general, the questions posed by this research seem increasingly relevant. The basic idea that social dance in the US, as in Europe and the UK, was created to serve male interests is not novel; but the idea that “dance” has become associated with a particular male identity is. This was a clear issue on the menu in “Dance,” and has received considerable attention in social literature since, despite the fact that the research questions were well presented and all of the questions themselves related to other important issues.
In the present book I offer a series of proposals on topics connected with gender, dance, performance, and performance studies to develop a more systematic analysis of social dance. My first idea is to look at gender as the basis of social dance, both the meaning of gender and the function of gender in social dance. Although there has been an extensive study of gender in dance, no one has attempted this. It is necessary to go back to social dances of the early twentieth century, such as dance in the “Jungle,” all of which had strong gender connotations. In the 1920s and 30s, a movement of “modern dance,” led by Maurice Jellé, promoted gender-reassignment procedures in social dances, and in the late 1950s and 60s, it was the dominant mode of social dance. In other words, one of the defining features of the late twentieth century is the emergence of gender-sensitive social dance, a mode of practice that has often been called social gender dance. This social dance, I argue, is the culmination of the struggles that have been fought out in the history of social dance, as a movement for equality and liberation from the “tricks and games” of the “Jungle,” as well
dance and body, classification of social dance, social dancing styles, social dances are also called, social dance skills