- 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 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.
Liz Mellish is an independent researcher who completed her PhD at University College London in 2014. Her current research focuses on social dance, cultural events, and choreographic practices in Southwest Romania, and the history of the Balkan dance scene in the United Kingdom. She is Secretary of the International Council of Traditional Music study group on Music and Dance in Southeastern Europe.
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