- 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 the coping strategies and struggles of five European and American flamenco dancers seeking employment opportunities in a competitive marketplace profoundly affected by the economic downturn in 2005. Shifts in the performing arts system indicate that the need to fill theaters with dancers direct from Spain takes precedence over supporting local companies, a marketing strategy compounded by the limitations of what audiences frequently expect in flamenco performances. As a cultural industry, the link between Carmen and flamenco creates anachronistic ideations that limit innovative interpretations. Another recent development is that rehearsal and performance spaces are rapidly dwindling due to rampant gentrification, especially in large cities. Through a series of interviews, these five dancers reveal how they negotiate obstacles and detours as they strive to convey the essence of Spanish culture in flamenco and to present well-crafted work that reflects them as individual, spirited artists.
Kathy Milazzo is an Adjunct Professor in Writing in Clovis, New Mexico. She received her PhD in Dance Studies from the University of Surrey, focusing on sub-Saharan African/Africanist influences on flamenco and Spanish dance. Her publications on Spanish dance and culture range from historical inquiries to anthropological explorations.
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