Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.28
Laura Robinson
This chapter explores competitive street dance crew choreography in relation to interdisciplinary theoretical frameworks regarding virtuosity and excess. Through a close analysis of five performances featured on the British television talent shows of Britain’s Got Talent and Got to Dance, this chapter examines the concept of virtuosity as transcendence in relation to the continued emphasis on technology and the street dance body. Through the choreographic application of animation techniques, synchronicity, the construction of “meta-bodies,” and the narrative of ordinary versus extraordinary, this chapter reveals that crews create the illusion of transgression through their affinity with technology, while also competing with their cinematic counterparts. Through this analysis, this chapter further reveals the negotiation between the individualistic nature of the virtuoso and the crew collective within the neoliberal capitalist framework of the competition.
{"title":"Above and Beyond the Battle","authors":"Laura Robinson","doi":"10.1093/OXFORDHB/9780190639082.013.28","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.28","url":null,"abstract":"This chapter explores competitive street dance crew choreography in relation to interdisciplinary theoretical frameworks regarding virtuosity and excess. Through a close analysis of five performances featured on the British television talent shows of Britain’s Got Talent and Got to Dance, this chapter examines the concept of virtuosity as transcendence in relation to the continued emphasis on technology and the street dance body. Through the choreographic application of animation techniques, synchronicity, the construction of “meta-bodies,” and the narrative of ordinary versus extraordinary, this chapter reveals that crews create the illusion of transgression through their affinity with technology, while also competing with their cinematic counterparts. Through this analysis, this chapter further reveals the negotiation between the individualistic nature of the virtuoso and the crew collective within the neoliberal capitalist framework of the competition.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130782658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/oxfordhb/9780190639082.013.8
Sally Crawford-Shepherd
The competitive nature of televised dance shows such as So You Think You Can Dance and Got to Dance enables tap dancers to compete against dancers from a range of styles and genres. These shows require set choreography with the focus on a final performance, rather than improvised tap steps devised from tap challenges, which evolved from American tap practitioners competing against each other to demonstrate proficiency in rhythmic interpretation of the music. This chapter discusses the results of movement analysis of the English tap company the Pulse Collective and auditions in Sky 1’s Got to Dance. The analysis is supported by a historical comparison of tap dance in the United States, where the form first evolved, and its emergence in England to examine how tap dancers measure success across multiple contexts, such as informal challenges, theatrical performances, and formal examinations.
{"title":"Visible Rhythms","authors":"Sally Crawford-Shepherd","doi":"10.1093/oxfordhb/9780190639082.013.8","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.8","url":null,"abstract":"The competitive nature of televised dance shows such as So You Think You Can Dance and Got to Dance enables tap dancers to compete against dancers from a range of styles and genres. These shows require set choreography with the focus on a final performance, rather than improvised tap steps devised from tap challenges, which evolved from American tap practitioners competing against each other to demonstrate proficiency in rhythmic interpretation of the music. This chapter discusses the results of movement analysis of the English tap company the Pulse Collective and auditions in Sky 1’s Got to Dance. The analysis is supported by a historical comparison of tap dance in the United States, where the form first evolved, and its emergence in England to examine how tap dancers measure success across multiple contexts, such as informal challenges, theatrical performances, and formal examinations.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132081525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.5
K. Milazzo
This chapter explores the coping strategies and struggles of five European and American flamenco dancers seeking employment opportunities in a competitive marketplace profoundly affected by the economic downturn in 2005. Shifts in the performing arts system indicate that the need to fill theaters with dancers direct from Spain takes precedence over supporting local companies, a marketing strategy compounded by the limitations of what audiences frequently expect in flamenco performances. As a cultural industry, the link between Carmen and flamenco creates anachronistic ideations that limit innovative interpretations. Another recent development is that rehearsal and performance spaces are rapidly dwindling due to rampant gentrification, especially in large cities. Through a series of interviews, these five dancers reveal how they negotiate obstacles and detours as they strive to convey the essence of Spanish culture in flamenco and to present well-crafted work that reflects them as individual, spirited artists.
{"title":"Marking Your Territory","authors":"K. Milazzo","doi":"10.1093/OXFORDHB/9780190639082.013.5","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.5","url":null,"abstract":"This chapter explores the coping strategies and struggles of five European and American flamenco dancers seeking employment opportunities in a competitive marketplace profoundly affected by the economic downturn in 2005. Shifts in the performing arts system indicate that the need to fill theaters with dancers direct from Spain takes precedence over supporting local companies, a marketing strategy compounded by the limitations of what audiences frequently expect in flamenco performances. As a cultural industry, the link between Carmen and flamenco creates anachronistic ideations that limit innovative interpretations. Another recent development is that rehearsal and performance spaces are rapidly dwindling due to rampant gentrification, especially in large cities. Through a series of interviews, these five dancers reveal how they negotiate obstacles and detours as they strive to convey the essence of Spanish culture in flamenco and to present well-crafted work that reflects them as individual, spirited artists.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116135324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.22
M. B. Borelli
This chapter focuses on a viral video featuring commentary playing over an episode of the US syndicated show Soul Train. The particular queer black commentary in the video addresses the outfits, dances, and individual expression of each dancer as she or he struts down the line. At one point, narrator Darrell Hunt proudly states, “You can’t outdo black people!” What is it that cannot be outdone? What types of pleasures, affective expressions, and collective structures of feeling emerge from the witnessing and circulation of this viral video? Part of the discussion addresses how such communities celebrate blackness as something of value, worth collecting, and competitively viable. Hunt’s affective analysis of the black bodies dancing is particularly relevant given the recent #BlackLivesMatter movement and the continual devaluation of black bodies globally. If neoliberalism celebrates competition and individuality, how does black collective pleasure, mediated through a queer aesthetic and affective lens, actually out-do the emotionally devastating effects of capitalism?
{"title":"You Can’t Outdo Black People","authors":"M. B. Borelli","doi":"10.1093/OXFORDHB/9780190639082.013.22","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.22","url":null,"abstract":"This chapter focuses on a viral video featuring commentary playing over an episode of the US syndicated show Soul Train. The particular queer black commentary in the video addresses the outfits, dances, and individual expression of each dancer as she or he struts down the line. At one point, narrator Darrell Hunt proudly states, “You can’t outdo black people!” What is it that cannot be outdone? What types of pleasures, affective expressions, and collective structures of feeling emerge from the witnessing and circulation of this viral video? Part of the discussion addresses how such communities celebrate blackness as something of value, worth collecting, and competitively viable. Hunt’s affective analysis of the black bodies dancing is particularly relevant given the recent #BlackLivesMatter movement and the continual devaluation of black bodies globally. If neoliberalism celebrates competition and individuality, how does black collective pleasure, mediated through a queer aesthetic and affective lens, actually out-do the emotionally devastating effects of capitalism?","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116144375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/oxfordhb/9780190639082.013.7
Catherine E. Foley
This chapter examines the shifting dynamics of practice and transmission in sean nós dancing, an Irish solo, percussive, and semi-improvisatory dance form. This dance form extended its contexts of practice in the 1970s from rural, informal, and intimate gatherings in Conamara in the west of Ireland, to a national staged competitive event, the Oireachtas, considered to be the primary national competition for sean nós dancers. The chapter argues that competition culture influenced the transmission and practice of the dance form and the ethno-aesthetic embodied in its practice. With live television broadcasts of the competition from the first decade of the 2000s, an increased interest in sean nós dancing in Ireland and further afield followed, and concerns around issues of performance, identity, place, and authenticity arose.
{"title":"Shifting Dynamics","authors":"Catherine E. Foley","doi":"10.1093/oxfordhb/9780190639082.013.7","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.7","url":null,"abstract":"This chapter examines the shifting dynamics of practice and transmission in sean nós dancing, an Irish solo, percussive, and semi-improvisatory dance form. This dance form extended its contexts of practice in the 1970s from rural, informal, and intimate gatherings in Conamara in the west of Ireland, to a national staged competitive event, the Oireachtas, considered to be the primary national competition for sean nós dancers. The chapter argues that competition culture influenced the transmission and practice of the dance form and the ethno-aesthetic embodied in its practice. With live television broadcasts of the competition from the first decade of the 2000s, an increased interest in sean nós dancing in Ireland and further afield followed, and concerns around issues of performance, identity, place, and authenticity arose.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134108488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.26
A. Masten
That dancing was part of antebellum America’s rough-and-tumble world of sport is little known today, but scores of men and women made their names and livings by challenging each other to jig, hornpipe, and even ballet competitions. Jig dancers earned continental reputations as artists and athletes by matching up in scored bouts for hefty purses, silver belts, and side bets. Champion dancers gained large followings as they met in local taverns or toured circus and theater circuits. This chapter argues that challenge dancing thrived in the 1840s and 1850s because it tapped into trends and traditions popular among whites and blacks of both sexes. Challenge dancers engaged in trials of skill, combined Irish and African steps, emulated boxers, wore blackface, copied danseuses, and exploited the popular press. In the process, they transformed a local entertainment into a marketable, media-driven profession with national, and even transnational, appeal.
{"title":"Man and Money Ready","authors":"A. Masten","doi":"10.1093/OXFORDHB/9780190639082.013.26","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.26","url":null,"abstract":"That dancing was part of antebellum America’s rough-and-tumble world of sport is little known today, but scores of men and women made their names and livings by challenging each other to jig, hornpipe, and even ballet competitions. Jig dancers earned continental reputations as artists and athletes by matching up in scored bouts for hefty purses, silver belts, and side bets. Champion dancers gained large followings as they met in local taverns or toured circus and theater circuits. This chapter argues that challenge dancing thrived in the 1840s and 1850s because it tapped into trends and traditions popular among whites and blacks of both sexes. Challenge dancers engaged in trials of skill, combined Irish and African steps, emulated boxers, wore blackface, copied danseuses, and exploited the popular press. In the process, they transformed a local entertainment into a marketable, media-driven profession with national, and even transnational, appeal.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130860688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.16
E. Benthaus
The American television show So You Think You Can Dance (SYTYCD) is commonly referred to in the scholarship as a reality dance competition, a reality talent show, or simply as reality television. Instead of looking at the competitive aspect of SYTYCD and its relation to the genre of reality television, this chapter focuses on the show’s inherent intertextuality, specifically in relation to the early American popular entertainment genres of vaudeville and melodrama. It argues that vaudeville performance aesthetics and melodramatic performance modes are attractions on display, which produce what media scholar Henry Jenkins refers to as “affective immediacy” and “affective intensification” as part of the spectatorship experience that goes beyond the competitive aspect of SYTYCD. It focuses on the dance routines as well as audience responses to these routines from the SYTYCD dance fan community on YouTube.
{"title":"Dismantling the Genre","authors":"E. Benthaus","doi":"10.1093/OXFORDHB/9780190639082.013.16","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.16","url":null,"abstract":"The American television show So You Think You Can Dance (SYTYCD) is commonly referred to in the scholarship as a reality dance competition, a reality talent show, or simply as reality television. Instead of looking at the competitive aspect of SYTYCD and its relation to the genre of reality television, this chapter focuses on the show’s inherent intertextuality, specifically in relation to the early American popular entertainment genres of vaudeville and melodrama. It argues that vaudeville performance aesthetics and melodramatic performance modes are attractions on display, which produce what media scholar Henry Jenkins refers to as “affective immediacy” and “affective intensification” as part of the spectatorship experience that goes beyond the competitive aspect of SYTYCD. It focuses on the dance routines as well as audience responses to these routines from the SYTYCD dance fan community on YouTube.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125460774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.2
Karen Schupp
This chapter explores the interplay between what is sold, bought, and invested in at dance competition events. Dance competitions, which focus on contemporary, jazz, tap, hip-hop, and ballet, and attract thousands of competitors, most of whom are adolescent girls, operate on a “pay to dance” system. Using a qualitative research approach and a theoretical framework rooted in literature on the construction of bodily ideals, the dancer’s contributions to contemporary dance practices, the formation of dancing communities, and dance learning in relation to ideas of conspicuous consumption and the experience economy, the chapter demonstrates that dance competitions offer adolescent dancers a meaningful venue through which to perform, build community, and nurture transferable proficiencies. Although not explicitly “for sale,” these qualities provide an understanding of why competitors “pay to dance.”
{"title":"You’ve Got to Sell It!","authors":"Karen Schupp","doi":"10.1093/OXFORDHB/9780190639082.013.2","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.2","url":null,"abstract":"This chapter explores the interplay between what is sold, bought, and invested in at dance competition events. Dance competitions, which focus on contemporary, jazz, tap, hip-hop, and ballet, and attract thousands of competitors, most of whom are adolescent girls, operate on a “pay to dance” system. Using a qualitative research approach and a theoretical framework rooted in literature on the construction of bodily ideals, the dancer’s contributions to contemporary dance practices, the formation of dancing communities, and dance learning in relation to ideas of conspicuous consumption and the experience economy, the chapter demonstrates that dance competitions offer adolescent dancers a meaningful venue through which to perform, build community, and nurture transferable proficiencies. Although not explicitly “for sale,” these qualities provide an understanding of why competitors “pay to dance.”","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129131845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.19
Y. Wong
Margaret Cho is a Korean American comedian and television personality who has made a career out of turning a series of failures into material for her public persona. In 2010 Cho appeared as a celebrity contestant on the reality television dance competition Dancing with the Stars, where she attempted to critique the structure of the dance competition and the expectations for performing proper Asian femininity. This chapter examines Cho’s failure to win as an attempt to rewrite the conditions of Asian American success, which is most often construed in narrowly defined terms of model minority excellence in opposition to complete failure.
玛格丽特·赵(Margaret Cho)是一位韩裔美国喜剧演员和电视明星，她的事业就是把一系列的失败变成她公众形象的素材。2010年，Cho作为明星选手参加了电视真人秀舞蹈比赛《与星共舞》(Dancing with the Stars)，她试图批评舞蹈比赛的结构，以及人们对表现得体的亚洲女性气质的期望。这一章将赵的失败视为试图改写亚裔美国人成功条件的尝试，亚裔美国人的成功通常被狭义地定义为模范少数族裔的优秀，而不是完全的失败。
{"title":"Dancing with the Asian American Stars","authors":"Y. Wong","doi":"10.1093/OXFORDHB/9780190639082.013.19","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.19","url":null,"abstract":"Margaret Cho is a Korean American comedian and television personality who has made a career out of turning a series of failures into material for her public persona. In 2010 Cho appeared as a celebrity contestant on the reality television dance competition Dancing with the Stars, where she attempted to critique the structure of the dance competition and the expectations for performing proper Asian femininity. This chapter examines Cho’s failure to win as an attempt to rewrite the conditions of Asian American success, which is most often construed in narrowly defined terms of model minority excellence in opposition to complete failure.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"544 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131543889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.12
Juliet McMains
This chapter explores Argentina’s Campeonato Mundial de Baile de Tango (World Tango Dance Championships) in the context of tango’s history in the English-designed ballroom dance competitions that have defined tango’s international image since the “tango-mania” of the early twentieth century. Use of the Mundial by the Argentine government to advance commercial and national branding agendas is examined in conjunction with the Mundial’s use by dancers to launch careers and expand acceptance of same-sex dancing. It is argued that Argentines are redefining tango competition on their own terms in ways that both reclaim the dance from foreigners and simultaneously reproduce some of the same aesthetic shifts that were effected through tango’s inclusion in ballroom dance competitions, resulting in a whiter, more homogenous, and externally focused expression.
本章探讨了阿根廷的世界探戈锦标赛(Campeonato Mundial de Baile de Tango)在探戈历史的背景下，英国设计的交际舞比赛自20世纪初的“探戈狂热”以来就定义了探戈的国际形象。阿根廷政府利用Mundial来推进商业和国家品牌议程，同时也审查了舞者利用Mundial来开展事业和扩大对同性舞蹈的接受程度。有人认为，阿根廷人正在以自己的方式重新定义探戈比赛，既从外国人手中夺回了探戈，同时又重现了探戈被纳入交际舞比赛所带来的一些相同的审美转变，从而产生了一种更白人、更同质、更专注于外部的表达。
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