Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.20
S. Dodds
Although hip-hop battles produce “winners,” these competitions also produce “losers” who fail to make it through to the next round or win the overall contest. This chapter argues that the face plays a significant role both in strategizing toward victory and in revealing loss. The research arises from an ethnographic study of hip-hop dancers in the Philadelphia area, and examines the deployment of the face as a choreographic tool in the dance battle. Within these contests, dancers utilize the face to provoke embodied modes of intimidation and derision to support their desire to win; however, they also conceive the face as a legible marker of weakness and loss. The chapter draws upon hip-hop and sports scholarship to explore how dancers negotiate the competition paradigm and concludes that a “loss of face” becomes an essential component of battle knowledge.
{"title":"Loss of Face","authors":"S. Dodds","doi":"10.1093/OXFORDHB/9780190639082.013.20","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.20","url":null,"abstract":"Although hip-hop battles produce “winners,” these competitions also produce “losers” who fail to make it through to the next round or win the overall contest. This chapter argues that the face plays a significant role both in strategizing toward victory and in revealing loss. The research arises from an ethnographic study of hip-hop dancers in the Philadelphia area, and examines the deployment of the face as a choreographic tool in the dance battle. Within these contests, dancers utilize the face to provoke embodied modes of intimidation and derision to support their desire to win; however, they also conceive the face as a legible marker of weakness and loss. The chapter draws upon hip-hop and sports scholarship to explore how dancers negotiate the competition paradigm and concludes that a “loss of face” becomes an essential component of battle knowledge.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"297 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":"114272168","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/9780190639082.013.18
Rowan McLelland
This chapter discusses international ballet competitions through exploring their contributions to ballet as a transnational practice. It provides an ethnographic account, specifically focused on the multilayered significance of competing for aspiring dancers in the People’s Republic of China, in addition to assessing the role of competitions in the broader institution of ballet in China. The chapter investigates the value found in engaging with ballet competitions in terms of physical, social, economic, and political capital. It explores how value operates differently for individual competitors, dance teachers, training institutions, and even nations, both within China and in the rest of the world, to indicate the significance of competitions as a contributing factor to China’s increasing status in ballet more widely.
{"title":"Not Another Don Quixote!","authors":"Rowan McLelland","doi":"10.1093/OXFORDHB/9780190639082.013.18","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.18","url":null,"abstract":"This chapter discusses international ballet competitions through exploring their contributions to ballet as a transnational practice. It provides an ethnographic account, specifically focused on the multilayered significance of competing for aspiring dancers in the People’s Republic of China, in addition to assessing the role of competitions in the broader institution of ballet in China. The chapter investigates the value found in engaging with ballet competitions in terms of physical, social, economic, and political capital. It explores how value operates differently for individual competitors, dance teachers, training institutions, and even nations, both within China and in the rest of the world, to indicate the significance of competitions as a contributing factor to China’s increasing status in ballet more widely.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"11 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":"125130127","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/9780190639082.013.3
E. Winerock
Whereas much of the dancing of the early modern period emphasized the cohesion or “harmoniousness” of the group, competitive dancing allowed participants to distinguish themselves as individuals. In formal, staged competitions and in informal dance-offs, dancing highlighted individuals’ grace and skill. In addition, masterful dancing implied excellence more broadly: for men, impressive athletic displays on the dance floor also suggested virility and sexual prowess. This chapter examines two groups of complementary sources for early modern competitive dancing: didactic manuals that provide detailed instructions for dances like the galliard and games like “Kick the Tassel,” and literary works that stage or describe competitive dancing, with particular attention to Thomas Middleton, William Rowley, and Philip Massinger’s The Old Law, William Shakespeare’s Twelfth Night, William Kemp’s Nine Daies Wonder, and an anonymous song from the “Blundell Family Hodgepodge Book.”
{"title":"Competitive Capers","authors":"E. Winerock","doi":"10.1093/oxfordhb/9780190639082.013.3","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.3","url":null,"abstract":"Whereas much of the dancing of the early modern period emphasized the cohesion or “harmoniousness” of the group, competitive dancing allowed participants to distinguish themselves as individuals. In formal, staged competitions and in informal dance-offs, dancing highlighted individuals’ grace and skill. In addition, masterful dancing implied excellence more broadly: for men, impressive athletic displays on the dance floor also suggested virility and sexual prowess. This chapter examines two groups of complementary sources for early modern competitive dancing: didactic manuals that provide detailed instructions for dances like the galliard and games like “Kick the Tassel,” and literary works that stage or describe competitive dancing, with particular attention to Thomas Middleton, William Rowley, and Philip Massinger’s The Old Law, William Shakespeare’s Twelfth Night, William Kemp’s Nine Daies Wonder, and an anonymous song from the “Blundell Family Hodgepodge Book.”","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"4 27 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":"130565296","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/9780190639082.013.25
Rachel Carrico
This chapter considers competition in second lining, an African American vernacular dance form that has accompanied brass band processions through New Orleans’s city streets since the late nineteenth century. It takes formal second line dance competitions as an entry point to examine the often tacit gendered biases that frame second lining’s social practice and reception. Women competitors surmise that, in order to win, they must “dance like a man.” And yet, such gendered discourses cannot fully account for the tactics employed by young women today. Featuring an ethnographic account of the First Annual Big Easy Footwork Competition, the author suggests two feminist frameworks for understanding female footwork artists’ dancing: the influence of double-dutch jump rope, and a theoretical framework that Imani Kai Johnson (2014) calls “badass femininity.” With each step, female footwork artists move within and beyond a gendered terrain in which dancing well means dancing like a man.
这一章讨论了second lining的竞争，这是一种非裔美国人的本土舞蹈形式，自19世纪末以来，它一直伴随着铜管乐队的游行穿过新奥尔良的城市街道。它以正式的二线舞蹈比赛为切入点，审视了构成二线社会实践和接受的往往是隐性的性别偏见。女选手们猜测，为了获胜，她们必须“像男人一样跳舞”。然而，这样的性别话语并不能完全解释当今年轻女性所采用的策略。通过对第一届Big Easy步法大赛的民族志描述，作者提出了两个女权主义框架来理解女性步法艺术家的舞蹈:双荷兰跳绳的影响，以及Imani Kai Johnson(2014)称之为“badass femininity”的理论框架。每走一步，女性步法艺术家都在一个性别领域内外移动，在这个领域里，跳得好意味着像男人一样跳舞。
{"title":"Dancing like a Man","authors":"Rachel Carrico","doi":"10.1093/OXFORDHB/9780190639082.013.25","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.25","url":null,"abstract":"This chapter considers competition in second lining, an African American vernacular dance form that has accompanied brass band processions through New Orleans’s city streets since the late nineteenth century. It takes formal second line dance competitions as an entry point to examine the often tacit gendered biases that frame second lining’s social practice and reception. Women competitors surmise that, in order to win, they must “dance like a man.” And yet, such gendered discourses cannot fully account for the tactics employed by young women today. Featuring an ethnographic account of the First Annual Big Easy Footwork Competition, the author suggests two feminist frameworks for understanding female footwork artists’ dancing: the influence of double-dutch jump rope, and a theoretical framework that Imani Kai Johnson (2014) calls “badass femininity.” With each step, female footwork artists move within and beyond a gendered terrain in which dancing well means dancing like a man.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"63 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":"131773651","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/9780190639082.013.14
Kaitlyn Regehr
Neo-burlesque has been praised by dance scholarship as a body positive, feminist, safe space that has celebrated difference and argued for a broader spectrum of beauty, gender representation, and orientation. Since the inception of the movement, performers have made the pilgrimage to the Burlesque Hall of Fame pageant, and now claim titles such as Best Troupe, the King of Boylesque, and Miss Exotic World. Utilizing an ethnographic methodology, by way of participant observation and interview data, this chapter examines the author’s experience of serving as a judge at this pageant. It analyzes performers’ efforts to “authentically” recreate this mid-twentieth-century form of exotic dance and argues that such attempts can perpetuate historic prejudices with regard to body size, sexual orientation, and race. Additionally, it suggests that the process of competition often normalizes and regulates this inclusive performance practice, and is fundamentally at odds with the supposed philosophies of the neo-burlesque community.
{"title":"Miss Exotic World","authors":"Kaitlyn Regehr","doi":"10.1093/oxfordhb/9780190639082.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.14","url":null,"abstract":"Neo-burlesque has been praised by dance scholarship as a body positive, feminist, safe space that has celebrated difference and argued for a broader spectrum of beauty, gender representation, and orientation. Since the inception of the movement, performers have made the pilgrimage to the Burlesque Hall of Fame pageant, and now claim titles such as Best Troupe, the King of Boylesque, and Miss Exotic World. Utilizing an ethnographic methodology, by way of participant observation and interview data, this chapter examines the author’s experience of serving as a judge at this pageant. It analyzes performers’ efforts to “authentically” recreate this mid-twentieth-century form of exotic dance and argues that such attempts can perpetuate historic prejudices with regard to body size, sexual orientation, and race. Additionally, it suggests that the process of competition often normalizes and regulates this inclusive performance practice, and is fundamentally at odds with the supposed philosophies of the neo-burlesque community.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"142 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":"123600283","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/9780190639082.013.24
Ying Zhu, D. Belgrad
In cultural studies, attention to dance enables a reassessment of the politics of cultural forms, based on a recovery of the embodied subject as the center of meaning-making. Revisited in this light, the film West Side Story is revealed as a cultural defense of youth and play. While the adults in the film work persistently to force the Jets and Sharks into one of two binary categories (serious and mature adults, or innocent and victimized children), the youths make common cause in resisting these categories, through forms of competitive play that sprawl from the playground into the streets, beyond children’s games to the taunting and flaunting and brawling that adult discourses labeled “juvenile delinquency.” Examining three dances, the chapter argues that in West Side Story, as long as conflict is structured as a competition, it remains a cooperative and ordered enterprise. But when competition is disrupted, social frustrations erupt into fatal violence.
{"title":"“We’ll Rumble ’em Right”","authors":"Ying Zhu, D. Belgrad","doi":"10.1093/OXFORDHB/9780190639082.013.24","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.24","url":null,"abstract":"In cultural studies, attention to dance enables a reassessment of the politics of cultural forms, based on a recovery of the embodied subject as the center of meaning-making. Revisited in this light, the film West Side Story is revealed as a cultural defense of youth and play. While the adults in the film work persistently to force the Jets and Sharks into one of two binary categories (serious and mature adults, or innocent and victimized children), the youths make common cause in resisting these categories, through forms of competitive play that sprawl from the playground into the streets, beyond children’s games to the taunting and flaunting and brawling that adult discourses labeled “juvenile delinquency.” Examining three dances, the chapter argues that in West Side Story, as long as conflict is structured as a competition, it remains a cooperative and ordered enterprise. But when competition is disrupted, social frustrations erupt into fatal violence.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"62 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":"129465110","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/9780190639082.013.15
Jeremy E. Carter-Gordon
This chapter examines the perspective of sword dance judges at the Dancing England Rapper Tournament. Using a form of video-assisted interview, strategies and patterns of adjudication and aesthetic evaluation are revealed as constituting different fundamental understandings of dance, shared by groups of judges and related to cultural and dance backgrounds. The content and timing of judges’ comments about rapper dances are charted, creating “temporal-aesthetic maps” that are used to reveal underlying cultural conceptions of the performance by comparing “aesthetically dense” moments with unmarked periods of time. This methodology allows the act of adjudication to be divided into four separate processes: expectation-setting, perception, interpretation, and decision-making, by which judges transform an ephemeral, aesthetic experience into scores for competitors.
{"title":"Rapper Dance Adjudication","authors":"Jeremy E. Carter-Gordon","doi":"10.1093/oxfordhb/9780190639082.013.15","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.15","url":null,"abstract":"This chapter examines the perspective of sword dance judges at the Dancing England Rapper Tournament. Using a form of video-assisted interview, strategies and patterns of adjudication and aesthetic evaluation are revealed as constituting different fundamental understandings of dance, shared by groups of judges and related to cultural and dance backgrounds. The content and timing of judges’ comments about rapper dances are charted, creating “temporal-aesthetic maps” that are used to reveal underlying cultural conceptions of the performance by comparing “aesthetically dense” moments with unmarked periods of time. This methodology allows the act of adjudication to be divided into four separate processes: expectation-setting, perception, interpretation, and decision-making, by which judges transform an ephemeral, aesthetic experience into scores for competitors.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"90 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":"126236323","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/9780190639082.013.23
Meghan Quinlan
Gaga, the movement language developed by Israeli choreographer Ohad Naharin, is advertised as “an experience of freedom and pleasure” in which students are encouraged to move at their own pace and not compare themselves to others, yet there are several aspects of the intensives that fall in line with contemporary neoliberal ideals of individualism and competition, such as the rehearsal of choreography and the presence of the creator of Gaga. This chapter explores the contradictions at Gaga dance intensives between the practice’s philosophical imperative to focus on the self and pleasure, and the desire of many dancers to impress the teachers and gain professional contacts or jobs. The chapter argues that the idyllic philosophies of Gaga are unable to neatly exist in the competitive socioeconomic climate of the contemporary concert dance world, urging a rethinking of how dancers participate in both corporeal and corporate economies.
{"title":"Freedom to Compete","authors":"Meghan Quinlan","doi":"10.1093/OXFORDHB/9780190639082.013.23","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.23","url":null,"abstract":"Gaga, the movement language developed by Israeli choreographer Ohad Naharin, is advertised as “an experience of freedom and pleasure” in which students are encouraged to move at their own pace and not compare themselves to others, yet there are several aspects of the intensives that fall in line with contemporary neoliberal ideals of individualism and competition, such as the rehearsal of choreography and the presence of the creator of Gaga. This chapter explores the contradictions at Gaga dance intensives between the practice’s philosophical imperative to focus on the self and pleasure, and the desire of many dancers to impress the teachers and gain professional contacts or jobs. The chapter argues that the idyllic philosophies of Gaga are unable to neatly exist in the competitive socioeconomic climate of the contemporary concert dance world, urging a rethinking of how dancers participate in both corporeal and corporate economies.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"3 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":"116882542","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/9780190639082.013.17
Mary Fogarty
This chapter considers the competitive form of hip-hop dance in terms of aesthetic judgments and the social structure of taste. It discusses how breaking battles are judged, particularly in relation to the rise of international breaking competitions in a global context. The competitive aesthetic of hip-hop dance is explored via interviews with dancers, judges, and promoters at a number of high-profile international events. The chapter considers the complex interactions of tastes, reputations, organizations, and economics that structure the judging process. Finally, the place of competition within art forms is considered, as well as the ways in which such competition can shape an art form’s development.
{"title":"Why Are Breaking Battles Judged?","authors":"Mary Fogarty","doi":"10.1093/OXFORDHB/9780190639082.013.17","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.17","url":null,"abstract":"This chapter considers the competitive form of hip-hop dance in terms of aesthetic judgments and the social structure of taste. It discusses how breaking battles are judged, particularly in relation to the rise of international breaking competitions in a global context. The competitive aesthetic of hip-hop dance is explored via interviews with dancers, judges, and promoters at a number of high-profile international events. The chapter considers the complex interactions of tastes, reputations, organizations, and economics that structure the judging process. Finally, the place of competition within art forms is considered, as well as the ways in which such competition can shape an art form’s development.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"169 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":"133237243","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/9780190639082.013.1
Nadine George-Graves
The cakewalk represents one of the most important sites of competition in African-American dance history, as indicated in one of its original names, the prize walk. An examination of the cakewalk, along with tap, disco, and breaking, for example, reveals crucial insight into the development of race and class in the United States. Using primary and secondary historical sources, as well as critical race theory, this chapter analyzes the significance of competition in a number of salient cakewalk settings and argues that the political economy that develops around cakewalk competition alters our definitions of terms such as currency, value, and worth.
{"title":"Taking the Cake","authors":"Nadine George-Graves","doi":"10.1093/OXFORDHB/9780190639082.013.1","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.1","url":null,"abstract":"The cakewalk represents one of the most important sites of competition in African-American dance history, as indicated in one of its original names, the prize walk. An examination of the cakewalk, along with tap, disco, and breaking, for example, reveals crucial insight into the development of race and class in the United States. Using primary and secondary historical sources, as well as critical race theory, this chapter analyzes the significance of competition in a number of salient cakewalk settings and argues that the political economy that develops around cakewalk competition alters our definitions of terms such as currency, value, and worth.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"52 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114026770","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}
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