Embodying race – cultural reproduction of ideals of aesthetics, gender and ethnicity in contemporary dance auditions

Gatekeepers in the contemporary dance field have one of the most influential roles in the development of the artform as well being responsible for shaping and developing the audience’s perception through their artistic choices. Additionally, gatekeepers result to cultural ideas of aesthetics, gender, race and ethnicity when engaging with hiring practices such as auditions and production practices. From the interviews of choreographers, rehearsal directors and artistic directors of the field of contemporary dance in the Netherlands, this thesis addresses the main research question of, How do cultural ideas of aesthetics, gender, race and ethnicity inform production and audition practices in the contemporary dance field in the Netherlands? Not only do gatekeepers rely on aesthetic conventions of the field when hiring or casting dancers, but also search for specific representations of gender and race in order to find the ideal dancer who will better represent the choreographer or director’s artistic vision. This research revealed that gatekeepers have a material view towards the dancing body as the representation or instrument of the work, where social concepts such as gender, sexuality and race are seen as added material qualities. For instance, the social concept of race is perceived as an added-on quality. Not only is this view undermining the dancer’s agency and sense of self but further objectifies the dancer’s body, specifically the female body. Gatekeepers preach and idealize their art while masking a culture of abusive, manipulative and discriminating attitudes of a hierarchised structure. Additionally, pressures from the public and governmental funds to diversify the performing arts has led to gatekeepers expressing frustration and even resisting attitudes towards diversity efforts. Furthermore, this research gives insights into how gatekeepers reproduce their own habituated practices and ideas on aesthetics, gender, race and ethnicity which have been socialized from their own dance education. Such socialization, reflects that such ideals are deep rooted in the overall contemporary dance culture. In order to address the research question, this study draws on qualitative methodology by conducting semi-structured interviews of gatekeepers and using thematic analysis to analyse and interpret the results. This method of analysis was found to be effective in the interpretation of respondent’s attitudes, experience and how these are influence by their own perceived reality. This research offers recommendations and deeper understanding on how to better address the problematic practices rooted in the underlying structures of power in professional contemporary dance institutions. Moreover, this thesis recommends how to improve the conducting of auditions and production practices while avoiding the influence of predisposed assumptions of aesthetics, gender and race and ethnicity.