- 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
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.
Ruth Hellier-Tinoco (PhD) is a scholar–creative artist and Associate Professor at the University of California, Santa Barbara. Her research and teaching focus on experimental performance-making; community arts and eco-activism; sport and music; and the politics and poetics of performance, theater, music, and dance in Mexico. Publications include Embodying Mexico: Tourism, Nationalism and Performance (2011) and Women Singers in Global Contexts (2013).
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