- 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 competitive nature of televised dance shows such as So You Think You Can Dance and Got to Dance enables tap dancers to compete against dancers from a range of styles and genres. These shows require set choreography with the focus on a final performance, rather than improvised tap steps devised from tap challenges, which evolved from American tap practitioners competing against each other to demonstrate proficiency in rhythmic interpretation of the music. This chapter discusses the results of movement analysis of the English tap company the Pulse Collective and auditions in Sky 1’s Got to Dance. The analysis is supported by a historical comparison of tap dance in the United States, where the form first evolved, and its emergence in England to examine how tap dancers measure success across multiple contexts, such as informal challenges, theatrical performances, and formal examinations.
Sally Crawford-Shepherd is a dance practitioner, choreographer, and lecturer. She achieved a BFA in Dance at University of Missouri-Kansas City, an MA in Choreography at Trinity Laban, and her PhD in Dance Ethnography at De Montfort University. She is currently the Coordinator of Dance at the University of the West Indies, St Augustine Campus, Trinidad.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.