I think about teaching – you should behave differently, considerately. If you had kids a lot younger in your class you’d address them as a special case or someone older with physical limitations or folk with training only in ballet or only in break-dance and you were mixing them with an altogether different group.
Men are different. They may not gel easily with your style or planned class. It doesn’t mean you should scrap everything you’ve planned [ though you might!] but that you should take special care bridging the gaps without making them feel self-conscious. One thing may be to say, without making a big fuss, that if anything you’re trying seems awkward for them or feels out of character they should be aware of it and log how they might change it to complement the rest of what’s happening.
A man will be more comfortable with larger moves than fussy ones, and usually with cooperating with gravity instead of defying it. Modern tends to be more that style inevitably. But the most obvious example would be to direct someone to cross the floor. With zero self-consciousness it would be natural for most men to take one step to every two of a woman’s. Most couples walk that way, and make it where they’re going ok. If a move feels satisfying that tends to be the key.
And most men don’t like to be the only one in a class. They like each other as reference points. At some points everyone will be doing the same moves, just with a different accent. At other times it’s nice to exploit contrast. I get very frustrated if there’s men in a workshop who wouldn’t normally be there, and then they have an unsatisfying experience, or if a performance has them just used as padding instead of having any interesting contribution to the whole.
~ Andy Raine “Men in Dance” Network Coordinator