Pub Date : 2018-11-07DOI: 10.1093/OXFORDHB/9780190639082.013.6
Ruth Hellier‐Tinoco
This chapter discusses five case studies of dance competition contexts in Mexico, between 1931 and 2016. The Dance of the Old Men (La Danza de los Viejitos) from the Island of Jarácuaro, Lake Pátzcuaro, Michoacán, Mexico, forms the focus. After being appropriated through postrevolutionary governmental processes of nation building in 1923 and simultaneously utilized as an embodiment of Mexicanness for the ever-expanding tourist industry, the Dance of the Old Men has been a corporeal icon of tradition, authenticity, and Indigenousness. Competition environments have enabled the fixing and dissemination of this dance and, in later contexts, the reappropriation of concepts of “tradition.” The five examples include the Cultural Missions; publications for national boarding schools; Night of the Dead entertainment for international and national tourists; locally organized National Indigenous Institute contests; and the Zacán Artistic Contest of the P’urhépecha People.
本章讨论了1931年至2016年间墨西哥舞蹈比赛背景的五个案例研究。来自墨西哥Pátzcuaro湖Jarácuaro岛的老人之舞(La Danza de los Viejitos)形成了焦点。1923年，在革命后的政府国家建设过程中，老人之舞被征用，同时作为墨西哥性的体现，用于不断扩大的旅游业，老人之舞已经成为传统、真实性和土着性的有形象征。竞争环境使这种舞蹈得以固定和传播，在后来的语境中，“传统”的概念被重新使用。这五个例子包括文化使命;国家寄宿学校出版物;为国际和国内游客举办的死亡之夜娱乐活动;当地组织的全国土著研究所竞赛;以及Zacán P ' urhsamhaha人民艺术大赛。
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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.
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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/9780190639082.013.27
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.
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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.
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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。
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