- Copyright Page
- Introduction: Competition Culture: Winning and Losing at Dance
- Taking the Cake: Black Dance, Competition, and Value
- You’ve Got to Sell It!: Performing on the Dance Competition Stage
- Competitive Capers: Gender, Gentility, and Dancing in Early Modern England
- Endangered Strangers: Tracking Competition in US Federal Dance Funding
- Marking Your Territory: The Struggle to Work in Flamenco
- Reappropriating Choreographies of Authenticity in Mexico: Competitions and the Dance of the Old Men
- Above and Beyond the Battle: Virtuosity and Collectivity within Televised Street Dance Crew Competitions
- Shifting Dynamics: <i>Sean Nós</i> Dancing, Vernacular Expression, and the Competitive Arena of the <i>Oireachtas</i>
- Visible Rhythms: Competition in English Tap Practice
- The International Dancehall Queen Competition: A Discursive Space for Competing Images of Femininity
- Congratulations, We Wish You Success: Competition and Community Participation in Romanian Dance Festivals
- Non-Competitive Body States: Corporeal Freedom and Innovation in Contemporary Dance
- Reclaiming Competitive Tango: The Rise of Argentina’s <i>Campeonato Mundial</i>
- Dance-Off, or a Battle for the Future: Dance Reality Shows in India
- Miss Exotic World: Judging the Neo-Burlesque Movement
- Rapper Dance Adjudication: Aesthetics, Discourse, and Decision-Making
- Dismantling the Genre: Reality Dance Competitions and Layers of Affective Intensification
- Why Are Breaking Battles Judged?: The Rise of International Competitions
- Not Another Don Quixote!: Negotiating China’s Position on the International Ballet Stage
- Dancing with the Asian American Stars: Margaret Cho and the Failure to Win
- Loss of Face: Intimidation, Derision, and Failure in the Hip-Hop Battle
- Making Play Work: Competition, Spectacle, and Intersubjectivity in Hybrid Martial Arts
- You Can’t Outdo Black People: <i>Soul Train</i>, Queer Witnessing, and Pleasurable Competition
- Freedom to Compete: Neoliberal Contradictions in Gaga Intensives
- “We’ll Rumble ’em Right”: Aggression and Play in the Dance-Offs of <i>West Side Story</i>
- Dancing like a Man: Competition and Gender in the New Orleans Second Line
- Man and Money Ready: Challenge Dancing in Antebellum America
- Afterword: Who Is Competing?
Abstract and Keywords
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.
Pallabi Chakravorty is Associate Professor and Director in the Department of Music and Dance at Swarthmore College. Her most recent books are Dance Matters: Performing India on Local and Global Stages (2010, co-editor), This Is How We Dance Now: Performance in the Age of Bollywood and Reality Shows (2017), and Dance Matters Too: Markets, Memories, Identities (2017, co-editor). She is artistic director of Courtyard Dancers, a nonprofit dance company based in Philadelphia and Kolkata.
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