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Taking images of hands in movement as its motif, the project deals with dance themes as insignia of the right to dissent, and of the malaise of the individual due to the sexist masculinisation demands of society. Traditionally, masculinity inhibits this impulse. A failure to resist the impulse involves freeing oneself from the stereotype, ceasing to be a man. A masculine movement is straight and energetic and contains large, sharp movements opposed to smooth, doubtful and small movements. Masculine gestures of hands give the impression of rigidity; there are slight movements of the wrists and the fingers only bend in order to perform an action and never flap. Flexibility and animation do not agree with the self concepts of masculinity. Clearly, the principle that guides the maintenance of a masculine image is that a man must remain motionless. It is as if everything that is curved, fragile or divergent from traditional masculine conduct has had to succumb to outside pressures to produce the weatherbeaten man, of few words, i.e., the strong and silent type. The masculine stance is one of composure while most of the movement and emotion comes from without. Feminine movements would be curved and flexible, implying a scanty predisposition to aggressiveness or resistance and expressing approachability or submission.
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