在街舞舞者中，选择爵士舞作为主要舞种的男性是最少的。他们成为男爵，不仅出于对爵士艺术[1]的认同和喜爱，还包含着对自我新可能的发现。

在家庭、社交两个维度中，男爵们都面临着性别和生活的紧张关系。在家庭和社交双方面的生活境遇下，爵士艺术本身，以及爵士艺术所形成的艺术性社交关系，都成为了男爵们的寄托对象。爵士于社交和家庭关系中的轮转过程中，通过为男爵的生活带来弛放感受，对从家庭到社会关系、到艺术、再回到家庭与社会关系的延伸和回归过程发生效用。除了上述积极效用之外，爵士在对男爵确定自己于生活中的位置，以及自我认同的建设，还有更进一步的助力作用。

尽管男爵文化所打开的个体认同空间有其局限性，并不能帮助这一少数群体充分获得承认和平等交流的通道，但爵士舞的艺术形式仍然在很大程度上松动了他们在生活和性别之间的紧张关系，为他们在有限认同空间的身心安顿，创造了包含着精神活力的存在方式。

Among street dance dancers, the number of males who choose jazz as their main dancing style is the lowest. They choose the male jazz dancer as one of the roles in their daily life, not only because of their recognition and love for jazz art, but also because they found new possibilities for themselves in jazz dance.

In both the family and the social dimensions, male jazz dancers are facing the tension between gender and life. Therefore, in the context of family and social life, jazz art itself, as well as the artistic social relationship formed by jazz art, have become the objects of the male jazz dancers. During the rotation of Jazz in the relation of social and family, art brings effect to the process of extending and returning from family to social, to art, and back to family and social by bringing a relaxed feeling to the life of male jazz dancers. In addition to the positive effects mentioned above, Jazz has a further boost in determining the male jazz dancer ’s position in life and the building of self-identity.

The individual identity space opened by the culture of male jazz dancers has its limitations, and it cannot help this minority group to fully gain access to recognition and equal communication. However, the art form of jazz dance still largely looses the tension between their life and gender has created a way of existence containing spiritual vitality for their physical and mental settlement in the limited identification space.