White+Male+American+Exotic+Dancers

=**White Male Exotic Dancers**= Lorin Clay


 * The influence of hegemonic masculinity**

While, research regarding exotic dance has primarily focused on women (Montemurro, 2001), research focusing on the male exotic dance experience is largely centered on the white male exotic dancer (Boden, 2007) (See below). It should be noted, that the lived experiences of the male exotic dancer is an under researched field, thus the influence of “whiteness” or white ethnic identity is rarely discussed. Rather, much of the research focuses on the social meaning of male exotic dance and its’ implications on the displays of traditional ideals about masculinity (Boden, 2007; Logan, 2010; Scull, 2013).

__ Ethnicity | Percent of total mentions (%) __ White/Caucasian | 63% African American | 22% Hispanic/Latino | 15%

(Boden, 2007)

To fully comprehend the cultural significance of the white male exotic dancer, one needs a baseline understanding of the way masculinity (white masculinity in particular) is constructed and understood in the United States. The hegemonic masculine identity in the United States follows a narrowly defined script. Typically, masculinity is characterized by dominance (both sexually and physically), toughness (in attitude and presentation) and heterosexuality (in identity and perception). Deviation from this script often leaves men open to scrutiny, mischaracterization and disenfranchisement (Crane, Crane- Seeber & Towne, 2003).

The male exotic dancer presents a paradox in terms of masculinity (Scull, 2013). As Scull (2013) elucidates, the male exotic dancer defies traditional gender roles through a process called gender transcendence, where the male dancer takes on characteristics mostly associated with the feminine. Mainly, these dancers become the sexualized party, are the objects rather than subjects of the sexualized gaze and are rountinely accepting money for their sexualized presentation--- all characteristics typically anathema to idealized masculinity (Scull, 2013). However, the exotic dancer becomes the sexualized object in an extremely hyper-masculinized manner; mainly in his domination over the patrons’ bodies (mostly women) and the sexually aggressive manner of his performances. As Boden (2007) notes, the hyper masculine presentation is often encouraged and validated, even though a dancer’s sexuality is still routinely questioned.


 * Implications of white male exotic dance in the United States**

The way in which male exotic dance is discussed and analyzed in the United States sheds light on the way we perceive masculinity. What the discourse surrounding white male exotic dance indicates is that the most pivotal aspect of the male exotic dance experience (and the one most worthy of mention and research) is the way a dancers behaviors and how his behavior either contradicts or reinforces “acceptable” ideas of masculinity. The experience of the white male exotic dancer in the United States highlights the unsettledness we feel when a man defies the ideals of masculinity---so much so, that even in an arena where the expectation is to engage in traditionally feminine behaviors (i.e. being sensual, intimate and seductive) men must still perform in a hyper-masculine manner to receive validation.


 * Conclusions**

Using the white male exotic dancer as a microcosm, we can begin to understand how male sex work is regarded in the United State. It can be argued that many in the US take a Universalist approach to understanding men and sex work. As Stori (1999) notes, the Universalist perspective dictates that certain absolutes are true across the board and regardless of circumstance the “truth is the truth” (Stori, 1999). In the United States, masculinity is relatively static, and the attributes that we subscribe to masculine identity are true across the board. Thus, when someone challenges those truths (such as the male exotic dancer when he enters into a traditionally feminized field) the only way to rationalize his identity and our understanding of him as a man, is to display himself in an overtly hyper-masculine manner.


 * References**

Boden, D. M. (2007). Alienation of sexuality in male erotic dancing. // Journal of Homosexuality, ////53 //(1), 129-152.  Crane, B., Towne, A., & Crane-Seeber, J. (2013). The Four Boxes of Gendered Sexuality: A Lesson Plan for Teaching About the History and Effects of Gendered Sexuality. //American Journal of Sexuality Education,// //8//(4), 274-305. Retrieved November 30, 2014, DOI: 10.1080/15546128.2013.854008 Montemurro, B. (2001). Strippers and screamers: The emergence of social control in a NonInstitutionalized setting. // Journal of Contemporary Ethnography, ////30 //(3), 275.

Scull, M. (2013). Reinforcing Gender Roles at the Male Strip Show: A Qualitative Analysis of Men who Dance for Women (MDW). //Deviant Behavior, // //34 //(7), 557-578, DOI:10.1080/01639625.2012.748624

 Storti, C. (1999). //Figuring foreigners out a practical guide //<span style="background-color: #ffffff; color: #333333; font-family: 'Open Sans',sans-serif; font-size: 14px;">. Yarmouth, Me.: Intercultural Press.