Dança de salão: “damas” e “cavalheiros”, práticas pedagógicas e estereótipos de gênero
The processes that form subjects are continuous and act with different intensities, being able to fix differences and establish power relations. Through language, the institution of difference recurs subtly thanks to the efficiency with which language crosses culture, reinforces stereotypes, and con...
| Autor principal: | Barbosa, David Souza de Saboya |
|---|---|
| Formato: | Trabalho de Conclusão de Curso (Graduação) |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2021
|
| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/24240 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: |
The processes that form subjects are continuous and act with different intensities, being able to fix differences and establish power relations. Through language, the institution of difference recurs subtly thanks to the efficiency with which language crosses culture, reinforces stereotypes, and constitutes social practices, such as ballroom dancing. We aim here to identify if the use of the terms “lady” and “gentleman” by teachers in the pedagogical practice of ballroom dancing, acts as a mechanism that reinforces gender stereotypes. This research is justified by the effects that these stereotypes can have on their participants and the potential to be stimulating sexist behaviors that may be generated by their maintenance. Through mixed procedures of interviews and the use of questionnaires, with students and teachers of ballroom dance, we explored questions about the ways in which these terms have been used in the pedagogical practice of ballroom dance, the degree of recurrence of their use in this practice, if there is a direct relationship between the gender representations of women and men, and the stereotypes they generate. Having established these relationships, we discuss the oppressive power that these terms may be assuming in the formation of women’s and men’s identities in the practice of ballroom dancing and, as indications, we consider it relevant to consider the conduct of substitution, or total / partial abolition, of terms in question, in favor of the deconstruction of a pedagogical and sociocultural practice that we interpret as sexist and heteronormative. As a consequence it may contribute to the possibility of social inclusion of the LGBTQ community, and shall corroborate to the central agenda of the feminist movement for greater gender equity, adapting ballroom dancing to the contemporary context. |
|---|