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.
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Pub Date : 2018-11-07DOI: 10.1093/oxfordhb/9780190639082.013.27
S. Foster
The Afterword identifies key ideas regarding dance and competition that are collectively generated throughout the book: how dance competition engages matters of identity; how institutions shape competition; its rewards, losses, and political potential; and how it facilitates community interaction. The Afterword moves on to question the kind of sociality that competition produces and whether it is possible to engage in competition geared toward forms of social exchange outside the dominant capitalist culture. Both within dance and across the broader social realm, a collective understanding of the world has disappeared in favor of a positioning and repositioning of the self within a network of similar selves. Individuals begin to assume that each is jockeying for a better position, using his or her contacts with others to advance, to acquire more resources, to present a better image. In short, they become entrepreneurial.
{"title":"Afterword","authors":"S. Foster","doi":"10.1093/oxfordhb/9780190639082.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.27","url":null,"abstract":"The Afterword identifies key ideas regarding dance and competition that are collectively generated throughout the book: how dance competition engages matters of identity; how institutions shape competition; its rewards, losses, and political potential; and how it facilitates community interaction. The Afterword moves on to question the kind of sociality that competition produces and whether it is possible to engage in competition geared toward forms of social exchange outside the dominant capitalist culture. Both within dance and across the broader social realm, a collective understanding of the world has disappeared in favor of a positioning and repositioning of the self within a network of similar selves. Individuals begin to assume that each is jockeying for a better position, using his or her contacts with others to advance, to acquire more resources, to present a better image. In short, they become entrepreneurial.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"47 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":"124626819","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/9780190639082.013.10
Liz Mellish
This chapter explores Romanian dancers’ participation in organized dance competitions, both within Romania and internationally, and investigates the informal competition that exists between the members of the Banat Romanian dance community. It includes three themes. The first traces a historical trajectory on the changing importance of performances of local, regional, and national identity in dance competitions. The second theme examines the challenges faced by the judges during formal dance competitions, revealing that judgments are made according to their personal backgrounds, and their desire to encourage maximum participation through making positive commentary rather than stressing the exclusivity of individual participants. The final theme explores informal competitiveness between dancers and leaders; the author proposes that this reinforces the sense of community among dancers, and that notions of formal competition and informal competitiveness coexist in the minds of both the dancers and the leaders.
{"title":"Congratulations, We Wish You Success","authors":"Liz Mellish","doi":"10.1093/OXFORDHB/9780190639082.013.10","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.10","url":null,"abstract":"This chapter explores Romanian dancers’ participation in organized dance competitions, both within Romania and internationally, and investigates the informal competition that exists between the members of the Banat Romanian dance community. It includes three themes. The first traces a historical trajectory on the changing importance of performances of local, regional, and national identity in dance competitions. The second theme examines the challenges faced by the judges during formal dance competitions, revealing that judgments are made according to their personal backgrounds, and their desire to encourage maximum participation through making positive commentary rather than stressing the exclusivity of individual participants. The final theme explores informal competitiveness between dancers and leaders; the author proposes that this reinforces the sense of community among dancers, and that notions of formal competition and informal competitiveness coexist in the minds of both the dancers and the leaders.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"33 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":"117257903","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/9780190639082.013.11
Nalina Wait, E. Brannigan
This chapter describes the structures of power embodied in dance training methods at the material level, the effect that this has on the dancers, and the philosophical and ideological means through which such structures can be understood. The chapter revisits Australian dance theorist Elizabeth Dempster’s (2002, 2005) application of Michel Foucault’s theories of “discipline” and the “docile body” in in her analysis of the oppositional dance techniques of classical ballet and ideokinesis. It returns to this debate to better articulate how the competition inherent in many codified dance forms is opposed to the kind of (un)disciplined labor involved in somatic-based practices. This labor engages sensory acuity to attend to somatic intelligence (bodily forms of knowledge) to access new information and possibilities. This project requires an extension of current terminology, specifically extending Foucault’s notion of surveillance as a kind of self-surveillance, which can be further bifurcated as prohibitive and emancipatory.
{"title":"Non-Competitive Body States","authors":"Nalina Wait, E. Brannigan","doi":"10.1093/OXFORDHB/9780190639082.013.11","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.11","url":null,"abstract":"This chapter describes the structures of power embodied in dance training methods at the material level, the effect that this has on the dancers, and the philosophical and ideological means through which such structures can be understood. The chapter revisits Australian dance theorist Elizabeth Dempster’s (2002, 2005) application of Michel Foucault’s theories of “discipline” and the “docile body” in in her analysis of the oppositional dance techniques of classical ballet and ideokinesis. It returns to this debate to better articulate how the competition inherent in many codified dance forms is opposed to the kind of (un)disciplined labor involved in somatic-based practices. This labor engages sensory acuity to attend to somatic intelligence (bodily forms of knowledge) to access new information and possibilities. This project requires an extension of current terminology, specifically extending Foucault’s notion of surveillance as a kind of self-surveillance, which can be further bifurcated as prohibitive and emancipatory.","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":"116388360","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/9780190639082.013.9
Celena Monteiro
This chapter studies the contemporary performative feminine identities present at the annual International Dancehall Queen Competition, which takes place in Jamaica. It identifies the Dancehall Queen style as a fundamentally postcolonial feminist practice and investigates the relationship between these Jamaican underpinnings and the competition’s more recent international developments. A competition for visibility between divergent images of the Dancehall Queen icon is identified, and examined, in relation to postcolonial and radical feminist discourses. The analysis pinpoints the event as a meeting point where the politics of postcolonial and transnational feminine identities coincide. It is argued that the increasing variety of Dancehall Queen styles reinforces the notion of “boundarylessness” (Niaah 2010) in the scene, through the very contradictions, provocations, and challenges that these developments produce.
{"title":"The International Dancehall Queen Competition","authors":"Celena Monteiro","doi":"10.1093/OXFORDHB/9780190639082.013.9","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.9","url":null,"abstract":"This chapter studies the contemporary performative feminine identities present at the annual International Dancehall Queen Competition, which takes place in Jamaica. It identifies the Dancehall Queen style as a fundamentally postcolonial feminist practice and investigates the relationship between these Jamaican underpinnings and the competition’s more recent international developments. A competition for visibility between divergent images of the Dancehall Queen icon is identified, and examined, in relation to postcolonial and radical feminist discourses. The analysis pinpoints the event as a meeting point where the politics of postcolonial and transnational feminine identities coincide. It is argued that the increasing variety of Dancehall Queen styles reinforces the notion of “boundarylessness” (Niaah 2010) in the scene, through the very contradictions, provocations, and challenges that these developments produce.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"32 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":"132849208","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/9780190639082.013.4
Sarah Wilbur
The project of tracking competitive advantages in US federal dance funding is complicated by the historically partial, contingent, and indirect character of government support for the arts in US culture. Rather than discussing grant competition strictly in terms of who won the funds, this chapter offers a comparative analysis of early and recent funding infrastructures at the US National Endowment for the Arts (NEA), the lone arts philanthropic arm of the US federal government. By following the political rationales of NEA key players and the institutional rhetorics, programs, and governmental procedures that set these agendas in motion, one can better attend to which competitors hold advantages in the millennial turn toward art as an investment yielding economic deliverables, a far cry from the NEA’s early promotion of cultural preservationism, defined through the narrow production curricula of concert dance.
{"title":"Endangered Strangers","authors":"Sarah Wilbur","doi":"10.1093/oxfordhb/9780190639082.013.4","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190639082.013.4","url":null,"abstract":"The project of tracking competitive advantages in US federal dance funding is complicated by the historically partial, contingent, and indirect character of government support for the arts in US culture. Rather than discussing grant competition strictly in terms of who won the funds, this chapter offers a comparative analysis of early and recent funding infrastructures at the US National Endowment for the Arts (NEA), the lone arts philanthropic arm of the US federal government. By following the political rationales of NEA key players and the institutional rhetorics, programs, and governmental procedures that set these agendas in motion, one can better attend to which competitors hold advantages in the millennial turn toward art as an investment yielding economic deliverables, a far cry from the NEA’s early promotion of cultural preservationism, defined through the narrow production curricula of concert dance.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"705 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":"114373159","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/9780190639082.013.13
P. Chakravorty
The chapter examines the myriad meanings of dance competitions through the lens of Indian dance reality shows. It discusses reality shows such as Boogie Woogie, Dance India Dance, Naach Dhum Machale, and the production of new hybrid dances and remixes. The symbiotic relationship between Bollywood dance, reality shows, and the television industry creates the new aspirational aesthetics of “remix.” By combining ethnographic research and textual analysis of song-and-dance sequences of Bollywood films and reality shows, the chapter explores the transformation of the mythopoetic bhakti rasa of classical dances into the remix of Bollywood dances. It argues that “item numbers” and reality shows shape new gender codes in contemporary India and open up new debates on respectability, gender, and nation.
这一章通过印度舞蹈真人秀的镜头审视了舞蹈比赛的无数含义。它讨论了诸如Boogie Woogie, Dance India Dance, Naach Dhum Machale等真人秀，以及新的混合舞蹈和混音的制作。宝莱坞舞蹈、真人秀和电视行业之间的共生关系创造了一种新的“混音”美学。通过结合民族志研究和宝莱坞电影和真人秀的歌舞片段的文本分析，本章探讨了古典舞蹈的神话巴克蒂拉萨转化为宝莱坞舞蹈的混音。它认为，“项目编号”和真人秀塑造了当代印度新的性别规范，并开启了关于体面、性别和国家的新辩论。
{"title":"Dance-Off, or a Battle for the Future","authors":"P. Chakravorty","doi":"10.1093/OXFORDHB/9780190639082.013.13","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190639082.013.13","url":null,"abstract":"The chapter examines the myriad meanings of dance competitions through the lens of Indian dance reality shows. It discusses reality shows such as Boogie Woogie, Dance India Dance, Naach Dhum Machale, and the production of new hybrid dances and remixes. The symbiotic relationship between Bollywood dance, reality shows, and the television industry creates the new aspirational aesthetics of “remix.” By combining ethnographic research and textual analysis of song-and-dance sequences of Bollywood films and reality shows, the chapter explores the transformation of the mythopoetic bhakti rasa of classical dances into the remix of Bollywood dances. It argues that “item numbers” and reality shows shape new gender codes in contemporary India and open up new debates on respectability, gender, and nation.","PeriodicalId":126660,"journal":{"name":"The Oxford Handbook of Dance and Competition","volume":"28 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":"121359207","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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