As desigualdades de gênero na dança clássica da escola de artes de Chapecó: um espetáculo para não se dançar só

Abstract

The present research focused on investigating how the possible gender inequalities were conceived, built, maintained and naturalized by students entering and graduating from the Classical Ballet Course at the Chapecó School of Arts, between the years 2008 and 2018. In view of the common sense that, through the culture of hegemonic masculinity, understands dance as an activity with characteristics linked to the feminine and, mainly, the scarcity of research on the themes “dance, gender and education”, we seek to know and understand this topic of importance educational and social today. In this sense, it was sought, through the literature review in the database, as well as a search in documents and files of the referred institution, to know how historically the male gender has become present / absent in the participation of classical dance practice in Chapecó School of Arts. The research was based on theories of gender, in the socio-historical perspective of Scott (1995), and of masculinities, according to Connell (1995) and Kimmel (1998). The methodology adopted was that of Depth Hermeneutics (HP), in the theoretical perspective of Thompson (2011), allied to that of the Focus Group (FG), according to the teachings of Gatti (2001), for the data collection that occurred through the application of interviews and, also, for data analysis, Discourse Analysis (AD), according to Orlandi (1999). Throughout the analyzes, we identified that there are, both in the institution and in the speeches of the interviewed participants, conceptions about the reproduction of a rigid structure regarding the male presence in classical ballet, as well as in a broader social sphere. We apprehend that in the speeches of our interviewed students, when bringing their experiences to the scene, the prejudice about male participation in the practice of classical dance became evident, specifically, in this study, in the Classical Ballet Course from the Chapecó School of Arts, as well as the naturalization of this prejudice, reflecting a strong social presence on the conception of hegemonic masculinity, present in this educational context.