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date: 03 August 2020

(p. 627) Index

(p. 627) Index

A Team, dance crew, 168–170
Abby’s Ultimate Dance Competition, reality tv show, 456
Abyss, street dance crew, 183n13
Acevedo-Muñoz, Ernesto, 556
Acosta, Carlos, 132n6, 446n3
Adams, Mary Louise, 458
Adeline Genée Competition (ballet), 430
adjudication. See judges (judging)
adolescent girls
archetype of young competitors, 46
benefits of competing, 41–42
characteristics of, 57
motives for competing, 42
observation of peers, 48, 49f, 50–51, 53, 56
private-sector dance instruction, 41
Adorno, Theodor, 413
Adshead-Lansdale, Janet, 389, 391, 393
aesthetic density, of dance, 375, 384n7
African Americans. See also African Americans, dance genres
black benevolent societies, New Orleans, 591n4
black female identity construction, 238–239
black pleasure, black queer joy, 524–527
black queer affect, 521, 524
black queer commentary, 520–521
black queer community, 517
black queer language, 517, 520
breaking (break dancing), 411
challenge dancing by, 597
Hoofers Club, tap dancing, 218, 228n8
LGBT communities, 524–525
slavery period, 12n4
social dance forms, 3
virtuosity in social dance history, 170
youth and hip-hop dancing, 173
African Americans, dance genres. See also breaking (break dancing); cakewalk; hip-hop battles; Soul Train
African/Afro-Caribbean dances, New Orleans, 577–578
black social dance, 182, 517–518, 520, 523, 528n14
cakewalk, dance craze, 3, 18f, 20–36
Charleston, 17, 19, 221, 357
community events, 3, 12n4
Dancehall Queen performances, 247
DeFrantz’s comments on, 517
disco dancing, 19, 33, 362, 395, 456, 515, 522
early studies of, 37n3
historical background, 19–20
instructing white society, 29
Negro jig dancing, 598, 603, 609–611, 617
one-upmanship, by dancers, 20
queer ballroom dancing, 465–466, 524–525
ragtime dancing, 19, 26
Reed, Charleston contest incident, 17, 19, 25, 37
rock and roll dancing, 19, 26, 132n7
swing dancing, 19
tap dancing, 19, 218
African diaspora
aesthetic resistance to “statis or capture,” 172
dances of derision, 482–483
second lining dance form, 573–574
African slave trade, 603
African/Afro-Caribbean dances, New Orleans, 577–578
Afro-Caribbean dance, 12n5
Afro-Creole brass band traditions, 578, 591n10
Ahmed, Sara, 392, 511n16
Akkoor, Chitra, 7
Alba, Karl “Dyzee,” 413, 418
(p. 628) Albania, Gjirokastër National Folklore Festival, 276n15
Alexander, Frederick Matthias, 300n8
Alexander Technique, 294, 299n1, 301n25
Ali, Muhammad, 508, 511n15
All In: My Amazing Journey as a Dance Dad (Colley), 46
“All India Dance Competition,” 335
Allen, Debbie, 521, 528n13, 528n18
Allen, Robert C., 393, 395
Alter, Joseph S., 439–440
Althusser, Louis, 528n15
Alvin Ailey American Dance Theater, 335
American Ballet Theater (ABT), 2, 93–94
American Canvas monograph (Larson), 98
American Dance Institute, 101
American Idol, tv show, 388, 468n13
American National Theater Association, 95
America’s Ballroom Challenge tv show, 6
America’s Best Dance Crew (ABDC), reality tv show, 6, 168, 456–457
America’s Irreplaceable Dance Treasures list (Dance Heritage Coalition), 3
Amor de Dios, flamenco studio, 123
An Coimisiún, Irish step-dance organization, 206n4
An Comhdháil, Irish step-dance organization, 206n4
ananda tandavam (dance of bliss), India, 331
“Anatomy of a Format: So You Think You Can Dance Canada and Discourses of Commercial Nationalism” (Quail), 457–458
Andalusian culture, 111–112, 114
animation techniques (techno-corporeal fusion), 173–174
Annual Titans of Tease event (BHoF Weekender), 351
Anthamatten, Eric, 511n17
Antics, street dance crew, 169, 183n10
Antonucci, Dominic, 436
Any Body Can Dance (ABCD) films, 335
Aoyama, Yuko, 115, 118
appearance (overall) rubric, in judging, 46
appropriation
African social dances, 518–519
classical Indian dances, 342
Dance of the Old Men Jarácuaro, 141, 144–145, 160–161
Dancehall Queen competitions, 247
diverse dance practices, 182n3
South American social dances, 405n5
tango competitions, 305–306, 310, 312
tango in Europe, 10
Zacán Artistic Contest of the P’urhépecha People, 152
Arbeau, Thoinot, 67
archetype of young competitors, 46
Arey, June Batten, 95
Argentina, competitive tango. See also Campeonato Mundial de Baile de Tango (World Tango Dance Championships)
campeonato tango substyle, 306
same-sex couples, 323–325
social Argentine tango, 306
Tango Buenos Aires Festival (Tango BA), 310–311
Argentine Tango USA Championships, 306, 312, 323, 324f
Arias Navarro, Santiago, 147–148
Aroundtown concert piece (Dorfman), 100
Arroyo, Daniel, 323, 325
art dance
competition paradigm, 1–2
distancing from competition, 3
Romania, Western classical genres, 275n7
types of competitions, 2
Art Works, NEA flagship grant category, 99
Art Works grant program (NEA), 99–100, 102, 106n27, 107n30
“Art Works” slogan (NEA), 98–99
Artistic Contest of the P’urhépecha People (in Zacán), 139–140, 140f, 152–160, 154f, 157f, 158f
Arzumanova, Inna, 180
Ashton, Sir Frederick, 432
Asian Americans. See also Cho, Margaret
critiquing limited success of, 10
(p. 629)
Martini’s Miss Exotic World win, 360
Mr. T and Tina, American tv sitcom, 468n5
Ohno’s/Yamaguchi’s victories on Dancing with the Stars, 453, 454, 462–464, 466–467
panning of All-American Girls, 455
Association of Dance Conventions and Competitions (ADCC), 6–7
Astaire, Fred, 120, 220, 228n15, 308, 328n2
attunements and moods, Soul Train, 521–524
audiences
Argentine tango competitions, 312–313, 325–327
Bollywood, song-and-dance sequences, 340–341
breaking competitions, 409–410, 415, 418–422, 426n15
Campeonato Mundial de Baile de Tango championships, 311, 312, 325–326
Dance India Dance auditions, 335
Dancehall Queen Competitions, 233, 234, 240, 246
engagement by, 48
hip-hop battles, 475, 481
India, Boogie Woogie tv show, 333–334
International Ballet and Choreography Competition, 429, 431, 433, 444
martial arts/sparring, 500
Miss Exotic World competitions, 354, 355, 359–360, 362, 364
Oireachtas sean nós competitions, 200–201
rapper (hilt-and-point sword) dance competitions, 370–371, 373, 378
Romanian dance festivals, 253, 259, 262, 264–265, 267, 269
Rosenberg on camera’s impact on, 216
selling a dance to, 41–63
Soul Train, 500, 518–519, 521–522, 525
Austin Powers in Goldmember film, 462
Austria, Dancehall Queen Competitions, 235
authenticity, in costumes, music, choreography, 141–142
autotelic state (Csikszentmihalyi), 499
Ayres, Gene, 510n3
Back2Back, street dance crew, 183n10
Baiju Bawra, Hindi movie, 332
Bailes, Sara Jane, 512n26
Bailey, Marlon M., 524–525
Bakka, Egil, 380
Balague, Gloria, 2, 488
Balanchine, George, 432
Baldwin, Mark, 2
Baldwin, Michelle, 353, 355
ballet competitions. See also International Ballet and Choreography Competition; International Ballet Competitions
Antebellum challenge dance and, 606–608
awards/medals/prizes, 431, 435, 444–445
bias toward virtuosic ability, 433–434
Chinese competitions, 10, 429–447
criticisms of international level, 431–434
dancer choices, 433
First Position documentary film, 6, 431
gymnastics vs. ballet, 432
importance of bravura technique, 433
international competitions, 430–431
judging, 432
“Maoist body” notion (Brownell), 440
overemphasis on technical feats, 432
progression in format of, 435–439
reasons for participating, 434–435
repertoire selection, 432
Romantic era ballerina, description, 172
self-challenge/competing against oneself, 438–439
student preparation, 435
in studios, 47
technique presentation variance, 433
Youth America Grand Prix (YAGP), 6, 431
Ballet Folklórico de México, 148
Ballet Folklórico de Michoacán, 155
ballet folklórico displays and contests (Mexico), 149, 153–154
Ballet Folklórico of the Palace of Fine Arts (Mexico), 162–163n22
Ballet Hispanico, ballet company, 107n30, 117
Ballo Della Gagliarda (Compasso), 67, 68
(p. 630) ballroom dancing
Latin dances, 308
Mad Hot Ballroom documentary film, 6
queer ballroom dancing, 465–466, 524–525
Banes, Sally, 170–171, 558
“Bang Bang” (lyrical dance solo), 48–49
Barecats Burlesque Bowling event (BHoF Weekender), 350
Barnum, P. T., 599, 600
Baroque gigue, 82n11
Bartolo Juárez, Nicolás, 147–148
Barton, Kristin M., 468n13
Baryshnikov, Mikhail, 2, 209, 211
Bates, Sanna Nordin, 488
Batsheva Dance Company, 533, 542, 545–546
Battle for Your Life, hip-hop battle, 482, 491n14
Battle of the Year (BOTY, Germany), breaking international competition, 413–417, 426n8, 426n14
Bauman, Richard, 201
Baumol, William, 95
La Bayadère ballet (Petipa), 437, 606–607
b-boys
in breaking competitions, 411–413, 415–421, 423–425, 426n8, 426n12, 426n15
in hip-hop battles, 473, 475f, 476, 478, 480f, 481–485
Becker, Howard, 424
Bee, Lonnie, 528–529n20
Behl, Ravi, 333
Beijing Dance Academy, 442
Beijing International Ballet and Choreography Competition (IBCC), 429–430, 433, 435–437, 439, 441–442, 444–445
Benítez, María, 120, 127
Bennahum, Ninotchka, 116
Berkeley, Busby, 220–221
Berlant, Lauren, 460
Berlin, Irving, 328n2
Best, David, 432
Best Boylesque category (Miss Exotic World pageant), 350, 360, 361
“Best Burlesque Troupe” title (Miss Exotic World pageant), 350
best fit, rapper dance adjudication model, 382–384
b-girls
in breaking competitions, 411–412, 415–418, 420–421, 423–425, 426n8, 426n16
in hip-hop battles, 486, 491n14
bhakti rasa (aesthetic desire), India, 332, 337
bhangra song and dance competitions, 12n17
bhava-rasa (emotive-aesthetic system), India, 337, 338, 339, 341–342
Biddle, Livingston, 92–93
Big Head Productions, 234, 249n4
Binkiewicz, Donna, 90
Bionik Funk, street dance crew, 183n10
Bird, Sharon R., 591n8
Birmingham Royal Ballet (UK), 436, 446n4
Birmingham School, 412, 425n5
“The Black Beat Made Visible: Hip Hop Dance and Body Power” (DeFrantz), 182
black benevolent societies, New Orleans, 591n4
black dance genres. See African Americans, dance genres
Black expressive arts, 520
black pleasure, black queer joy, 524–527
black queer affect, 521, 524
black queer commentary, 520–521
black queer community, 517
black queer joy, 524–527
black queer language, 517, 520
black social dance, 182, 517–518, 520, 523, 528n14
Black Swan film, 172
#BlackLivesMatter movement, 517, 520, 527n3
blackface, in challenge dancing, 609–611
Blackpool Festival, Great Britain (1935), 307
Blade Runner film, 174
Blanco Borelli, Melissa, 180–181, 241–242
Bland, Alexander (Maude Lloyd, Nigel Gosling), 439
Blassingame, John W., 591n9
Blundell, William, 79–80
“Blundell Family Hodgepodge Book” (Blundell), 67, 79–80
bodies (dancing body)
dance marketing’s influence on, 51–52
ideal type, 512
types encountered in training, 51
(p. 631) body disciplines
Dempster’s analysis, 300–301n18
Foucault’s theories on, 284–285, 289–301
body-mind
anatomical truth and, 293
cultivation of the agency of, 297
cultural code effects on, 293
emancipatory self-surveillance and, 294–295
ideokinesis and, 297
improvisational dance and, 298
kinesthetic perception and, 287
somatics and, 291–292, 299n1
“technologies of the self” and, 295
Body-Mind Centering (BMC), 301n25
body-mind integrity, 294–295
body-schema mapping, 286
bohemianism, 113, 116
Bollywood films, India
Central Board of Film Certification, 341
eroticism in films, 338
female sexuality in song-and-dance sequences, 339–341
filmee naach (dance in Bombay film), 333, 344n5
global spread of, 332–333
Kalaria’s choreography for, 132n6
relation to India reality shows, 339
remix of classical dances in, 332
Umrao Jaan film, 334
Bollywoodization, 343
Bolton, Michael, 461
“Bombs Away” (B.o.B.), 214
Bon Bon, Gina, 357–358
Bonin-Rodriguez, Paul, 104n3
boogalooing, animation technique, 173
Boogie Woogie, India reality show, 332–336, 344. See also Dance India Dance (DID), reality show
celebrity judges on, 333
dance style “gang wars” format, 334–335
humorous intertext between artists, 334
Kathak bols (rhythmic syllables) on, 334
uniqueness of, 333–334
The Book of the Courtier (Castiglione), 71
Borsey, Nyesha, 579, 592n13
boundarylessness theory (Niaah), dancehall competitions, 235, 236–238, 245–246
Bourdieu, Pierre, 5, 410, 423, 446n2
Bourneville, August, 437
Bowen, William, 95
Bowers, E., 614
Boyce, Warren and Kristi, 223
Brandstetter, Gabriele, 172, 174
Brandy, 461
Brannigan, Erin, 301–302n28
brawling, choreography of, in West Side Story, 567–568, 570, 571n5
breaking (break dancing). See also breaking (break dancing), international competitions
Banes’s comments on, 170–171
on Boogie Woogie, Indian reality show, 336
description, 411
facial expressions in, 474
globalization’s impact on, 418
hip-hop and, 409–418, 420–423
historical origins, 182n3, 411–413
international competitions, 3, 10, 170–171, 409–426
remix style, 338
virtuosic performances, 169
windmill power move, 167, 169, 182n1
breaking (break dancing), international competitions
audiences, 409, 410–413, 418–422
Battle of the Year (BOTY), 413–417, 426n8, 426n14
b-boy competitions, 411–413, 415–421, 423–425, 426n8, 426n12, 426n15
codification of judging, 424
cosigning dancers, 417
Hip Opsession, 413, 424
judging and authority, 417–418
judging criteria development, 414–417
judging panels, 409–414
judging system development, 418–420
participant-observer research, 410
reputation building at, 414
rise of promoters, 422–423
sociological intervention, 423–425
tie score judging gesture, 409, 425n2
(p. 632) Brice, Fanny, 352
A Brief History of Neoliberalism (Harvey), 527n4
Britain’s Got Talent (BGT) tv show, 168, 169
Abyss’s performance, 183n13
animation techniques on, 173–174
Diversity’s performance, 168, 169, 175–176
prerecorded VT (videotape) segments, 178–179
British Amateur (tango) Championships, 307
British Blondes, 352
British Forum for Ethnomusicology, 161n1
British National Ballroom Championship, 223
British Royal Ballet Upper School, 435
Brooks, Lynn Matluck, 65
Brooks, Peter, 405n11
Broomfield, Mark, 458, 459
Brothers, Thomas, 578
Brown, Joe, 615, 618
Brown, Leander “Shack,” 579, 592n14, 592n15
Brown, Michael, 520, 528n6, 528n8
Brown, Wendy, 89, 98, 104n4
Brownell, Susan, 440–441
bruk out style, International Dancehall Queen Competition, 239–242
Bryant, Anthony, 458
buck dancing, 3
bucking contests/brass band battles, New Orleans, 578
Bulgaria
dance competitions, 274–275n2, 275n5
folk dance performances, 278–279n51, 279n51
Koprivshtitsa National Festival, 276n15
Varna International Ballet Competition, 430
Burlesque Hall of Fame (BHoF) Weekender
Annual Titans of Tease event, 351
Barecats Burlesque Bowling event, 350
Dirty Martini’s performance, 355
historical burlesque racial demographics at, 360
judging Miss Exotic World at, 352, 355, 357–358, 360, 362–364
Legends’ Brunch/Legends’ Panel events, 351
Movers, Shakers, and Innovators Showcase, 351
Naked Ladies Reading event, 350
“Not-So-Hidden Histories: Performers of Color in Burlesque,” 360
Orleans hotel, Las Vegas location, 349–351, 357, 363
Stitch ’n’ Bitch sewing class, 350
Tournament of Tease performances, 363
Burton, Clara, 614
Bussell, Darcey, 446n3
Butch Queen Up in Pumps (Bailey), 524–525
buzz factor scoring category, rapper dance, 370, 373, 378, 382
cakewalk (and cakewalk style), 3, 18f, 20–36
America’s embrace of, 25
Clorindy, Broadway performance (1898), 31–34, 32f
Color Struck, play (1925), 34–36
comedic and serious forms, 24–25
definitions, term derivation, 20–22
description of, 21
George-Graves’s examination of, 81n1
instructing white society, 29
Madison Square Garden contests, 27, 28–29, 29f
minstrelsy stage genre, 30–31
New York theater production, 27
politics of performance, 25
public/professional competitions, 23–36
role of mockery and sarcasm, 30
San Francisco, touring production, 27
slaves/slavery and, 20, 21–23, 25
vaudevillian form, 25
Calape, Mark “Swarfe,” 167
call-and-response structures
African American social dances, 586
African diasporic performance cultures, 525
So You Think You Can Dance, 396–397
tango dancing, 319
West Side Story dance-offs, 557, 560–564, 567–568, 570
Căluș dances, Romania, 255–256, 257–258, 276n22, 279n53
căluș ritual suite of dances, Romania, 255–256
Camp, Eddie, 307–308
Campbell, Cindy, 412, 423
(p. 633) Campeonato Mundial de Baile de Tango (World Tango Dance Championships), Buenos Aires, Argentina, 309–315
as Argentina’s national brand, 309–315
audiences, 311, 312, 325–326
awards and prizes, 319, 325, 327
competitor camaraderie, 321–322
foreign contestants, 313
foreign musicians at, 313
impact of government control, 314
judges/judging, 312, 314–321, 324, 326
launching of careers at, 313–314
legendary tango musicians, 310
media portrayal of, 312–313
as part of Tango Buenos Aires Festival y Mundial, 310
production values, 310–311
rise/growth of, 10, 306
San Francisco subsidiary, 306, 324f, 325
Tango, hoy y siempre (Tango, today and always) slogan, 314
tango de pista (dance floor tango) category, 310, 313, 315–317, 316f, 320, 323, 325, 326f
tango escenario (stage tango) category, 306, 310, 313, 315, 325–326, 327f
tourist attendance, 311–312
Canasta, Nasty, 354
Cansino, Eduardo, 114–115
Cansino, Margarita Carmen (aka Rita Hayworth), 114–115
Cântarea României (Song to Romania), Romanian national festival, 253–254, 256–257, 269, 274n1, 278n48
Carmen novella (Merimée), 111, 115–116
Carolan, Michael S., 51–52
Caroso, Fabritio, 67
Carroll, Dick, 614
Cartesian split, 183n12
Cash, Jennifer, 274n2, 278n45
Cassandra Report (2015), 52
Castiglione, Baldesar, 71, 75
Caunt, Ben, 617–618
Cázares, Procopio Patricio, 140f
Ceaușescu, Nicolae, 257
Céleste, Marie, 607
Centennial Exposition, Philadelphia (1876), 27
Central Board of Film Certification, India, 341
Centrul de Cultură și Artă al Județului Timiș- CCAJT (the Country Center for Culture and Art, Romania), 260
Cerebro, street dance crew, 183n10
Chacko, Elizabeth, 12n17
Chakravorty, Mithun, 333
challenge (jig) dancing in Antebellum America, 597–620. See also Diamond, John; Sliter, R. H. (Dick)
adoption of boxing belt tradition, 617–619
African American set dance, 601f
ballet, danseuses, and, 605–609
blackface, importance of, 609–611
“Boz’s Juba,” 600f
challengers, variety of, 599–603
challenges, types of, 598–599
female dancers, challenges of, 615
female jig costume, 616f
judging, 615
“Mas” Marks, Celebrated Dancer, 600f
mixed-gender dancing, 604–605
mocking of ballerina competitions, 605–606
professionalization of, 605–619
resemblance to prizefighting, 611–617
set dancing, 598, 601f, 602–604, 619
terms used for, 598
transatlantic origins, 3, 597–598, 603–605, 619n1
wit plus skill strategy, 606
Chang, Jeff, 478
Chaplin, Charlie, 352–353
Chaplin, Dmitry, 387
Charleston, 17, 19, 221, 357
“Cheek to Cheek” (Berlin), 328n2
Chew, Edward, 615
China (People’s Republic of China)
ballet competitions, 10, 429–447
Beijing Dance Academy, 442
dance-related media events, 431
digital video-sharing in, 318
International Ballet and Choreography Competition, 429–430, 433, 435–437, 439, 441, 444–445
“Maoist body” notion (Brownell), 440–441
National Centre for the Performing Arts (NCPA), 429, 430, 439, 441, 444
Shanghai Dance School, 436, 437n17
Shanghai Theatre Academy, 441
student ballet preparation, 435
(p. 634) Cho, Margaret
All-American Girl tv show, 455–456
Asian femininity backstory of, 464
being criticized and having pride, 465–467
The Cho Show, VH-1, 455–456
comedic Viennese waltz performance, 459–461
Drop Dead Diva appearances, 456
George Lopez Show appearance, 462
I’m The One That I Want touring show, 455–456, 460
love-hate relationship with Hollywood, 465
participation/loss on Dancing with the Stars, 453–468
queer sexuality of, 455
rivalry with Bristol Palin, 461–462
self-acceptance struggles, 462
Sex and the City appearances, 456
30 Rock appearances, 456
Van Amstel’s partnering with, on Dancing with the Stars, 459, 461, 464, 465–466, 468n7, 468n11
The Cho Show, VH-1 (Cho), 455–456
The Choreographic (Joy), 300n14
Chris and We, dance crew, 169
Chu, Jane, 87, 99, 101. See also National Endowment for the Arts
Chung, Brian, 456–457
The Cinema of Attractions Reloaded anthology, 405n4
Civil Rights Act (US), 90
Clare, Mattie, 614
Clark, Barbara, 299n3
Cleland, James, 71
Clinton, William Jefferson “Bill,” 98
Clorindy: or the Origins of the Cake Walk (Broadway musical, 1898), 31–34, 32f
Club Cultures (Thornton), 412
codified forms, of competitive dancers’ bodies, 9–10, 284, 285–288, 292, 299–300n5
Cohen, Bonnie Bainbridge, 302n29, 302n34
Cojocaru, Alina, 446n3
Colby, Danielle, 351
Cold War, 90, 95, 104n7
Colley, “Dance Dad” Tim, 46
Color Struck, play (1925), 34–36
Color Tango, tango band, 310
Comaroff, John and Jean, 551n11
Come Dancing tv show, 6
Compasso, Lutio, 67
“The Competition of Serbian Villages” (Hofman), 276n20
The Competition Paradigm: America’s Romance with Conflict, Contest, and Commerce (Rosenau), 4–5
competitive pleasure
competitive spectacle vs., 496, 500
game theorists on, 510n12
games and, 496–498
intersubjectivity and, 505
pursuit of, and failure vs. mastery, 508
Conamara Gaeltacht region, Ireland, sean nós dancing, 191–192, 195–196, 198–199, 204–206, 207n11
Conamara Half Set, Irish social dance, 192
Concours International de Chorégraphie, 2
Concurs al Formațiilor artistice de amatori/Concursul echipelor artistice de amatori (biennial national festivals), 256, 276n12
Concurs Societăţii “Tinerimea Română" competition, Romania, 276n13
Concursul de Coruri și Jocuri Românești competition, Romania, 256, 276n13
confrontation
in hip-hop battles, 478, 480–481, 485
in martial arts, 496–498, 504
in plantation cakewalk competitions, 36
in second line dancing, 587, 590
in West Side Story, 560, 565, 566–567
Congo dance, New Orleans, 577–578
Congo Square (French Quarter, New Orleans), 3, 12n5
Congress on Research in Dance, 161n1
Continental dancing manuals, English dancing, 81n1
Converse, Frank, 612f
Cook, Bob, 511n21
Cook, Will Marion, 32–33
cool, aesthetic of, 20
Cooley, Timothy, 276n21, 278n47
Cooper, Carolyn, 2004, 238
Coordinated Dance Residency and Touring Program grant (NEA Dance Program), 95, 96
(p. 635) Copen, Ilona, 433
Copes, Juan Carlos, 322
Coppélia, classical comic ballet, 388, 391, 404n2
corn shucking harvest festival, 3, 12n4
The Courtier (Castiglione), 75
Crabtree, Lotta, 615
Craig, Maxine Leeds, 577
Craig, Walter F., 29
Cranko, John, 432
Creative Placemaking grants (NEA), 100–101, 107n31
Creativity Connects initiative (NEA), 87, 104n2
A Critical History of Soul Train on Television (Lehman), 517
crossover style, International Dancehall Queen Competitions, 246–247
Csikszentmihalyi, Mihalyi, 499, 500, 510n10
Cullors, Patrisse, 527n3
Cultural Missions (Misiones Culturales) of the Ministry of Education (Mexico), 144, 147
Cunningham, Michael, 617
Daddy Long Legs film, 228n15
Dance Bangla Dance, India reality show, 335
Dance Commissioning and Production Challenge Grants, 95, 96
Dance Competition (Concurso de Danza) (Mexico), 147–148
Dance Ethnography Forum, 161n1
Dance Fever, tv show, 456
Dance Heritage Coalition, 3
Dance India Dance (DID), reality show, 332, 335–337. See also Boogie Woogie, India reality show
Dance Magazine, 117
Dance Moms, reality tv show, 456
Dance of the Huacaleros (Purhépecha Peoples), 150
Dance of the Old Men of Jarácuaro (la Danza de los Viejitos de Jarácuaro) (Mexico), 139–166. See also Purhépecha Peoples
appropriation strategy, 141, 144–145
dance publications/contests symbiotic relationship, 148–149
ensemble, at Zacán Artistic Contest of the P’urhépecha People, 140f, 154f
financial factors, 141
Genaro Camilo family performance of, 151f
as icon of Mexico, 144
instrumentation/footwork, description, 139–140
nationalistic role of, 145–146
as representative of Michoacán and P’urhépecha peoples, 149–150
SEP’s description of, 148–149
Tata Gervasio López prize winners (2016), 140f
tourism and, 144, 146, 149, 155
Dance of the Sowers (La Danza de los Sembradores), 150, 163n27
Dance Spirit Magazine, 431
Dance Touring Program for Large Companies grant (NEA Dance Program), 95, 96
Dance Wars, reality tv show, 456
Dancehall Queen Competitions. See also International Dancehall Queen Competition
audiences, 233, 234, 240, 246
awards, 234
boundarylessness theory (Niaah), 235, 236–238, 245–246
description, 234
emergence in Europe, 249n5
female sexuality and, 234–236, 238–239, 242, 244, 249n14
gender identity and, 235
global expansion of, 234–235
homosexuality and, 237
international dancers’ interest in, 234–235
judges and judging, 234, 240, 248
origins in Jamaica, 234
performance styles, 233–234, 236, 245–246
postcolonial feminist theory and, 235, 241, 244–245, 248, 249n13
dance-offs
emergence of, 3
in galliard dancing, 71, 74
India reality shows, 331–344
in West Side Story, 555–571
DanceSport competition circuit (US), 309f, 321, 328n1
Dancing America Rapper Tournament (DART), 369
(p. 636) Dancing England Rapper Tournament (DERT)
adjudication criteria, 370–371
audience engagement, 370–371, 373, 378
international participation, 369
origins, 370
rapper competition and, 370–371
Sheffield Steel, performers, 374, 375, 376f, 377, 382
Stone Monkey, performers, 382
video recording of interviews, 371, 374
Wardrobe Pub (2014) competition, 368
Dancing with the Stars tv show, 6. See also Cho, Margaret
Cho critique of, 457
Cho’s failed attempt at winning, 453–468
Goodman’s judging on, 460, 465–466
Inaba’s judging on, 453, 460, 462–463, 465
metanarrative of self-improvement model, 457
mirror ball trophy, 467n4
Ohno’s/Yamaguchi’s victories on, 453, 454, 462–464, 466–467
premise of, 456
Tonioli’s judging on, 463, 465, 466
danseuse, Antebellum challenge dance and, 605–609
La Danza de los Enguangochados, 155
La Danza de los Viejitos de Jarácuaro, 155
Danzas Auténticas Mexicanas (Authentic Mexican Dances), theatrical performances, 145
Darling, Tim, 615
Davies, John, 70, 71
Davis, Joan, 222
Davis, Mo’ne, 511n17
Davis, Roderick “Scubble,” 574f, 579, 588–589, 591n5
De Mille, Agnes, 93, 94
Dean, Dora, 28
DeCoste, Kyle, 591n11
DeFrantz, Thomas
analysis of hip-hop dance, 182n4
on black social dance, 517–519
comments on Soul Train, 517–520, 523
on “corporeal orature,” 169
on hip-hop virtuosity, 171
on queer presence/queer gesture, in Black expressive arts, 520
on transfer of cultural capital, 551n11
Dempster, Elizabeth, 300n9, 300n10, 300n18
analysis of ideokinesis, 285, 288, 291–292, 295–296
description of dance as unprofessional, 288
on Foucault’s gender blindness, 290
observation on kinesthetic perception, 285–287
questions about site(s) of authority in dance, 288
on role of the teacher, 294
on sensory acuity, 296
on shifts in Foucault’s thinking, 290
on somatic systems as disciplines, 292
use of (un)disciplined term, 300n9
use of Foucault’s “docile body” theory, 288, 291
Deng Xaioping, 550n5
Desmond, Jane, 142
Devaney, Séamus, 204
DeVitis, Joseph, 438
Dick Clark Productions, 388
Dickens, Charles, 602–603
“Dil Cheez Kya Hai” (What Is This Thing Called Heart) song (in Bollywood film), 334
DiMaggio, Paul, 93, 105n11
discipline
affective, in West Side Story, 558, 569
of ballerinas, 439–440
body disciplines, 289–291
on Dancing with the Stars, 463, 467
(un)disciplining practice, 288–289
Foucault’s notion of, 284, 300n11, 300n18
subjection/subjectivity, aptitude, and, 291–293
in traditional martial arts, 510n8
Discipline and Punish: The Birth of the Prison (Foucault), 284–285, 289, 290, 301n19
(un)disciplining practice, 288–289
disco dancing (p. 637)
as black dance genre, 19
Dance Fever, 456
Lawrence on queering of, 522
at Miss Exotic World competition, 362
packaging of, 333
So You Think You Can Dance, 395
Soul Train, 515, 522
Discursos Sobre el Arte del Danzado (Esquivel Navarro), 65
Distinction (Bourdieu), 446n2
Diva Citizenship, 460–461
Diversity, street dance crew, 168, 169, 175–176, 180
Dixon-Gottschild, Brenda, 20
DJ Kool Herc, 412
Dodds, Sherril, 354, 355
Don Quixote ballet (Petipa), 434, 446n1
Donnacha, Máirtín Mac, 204
Dorfman, David, 100
“Double Platinum” award, 43–44
double-dutch jump rope, 575, 580–581, 586–587, 589
Douglass, Frederick, 611
“do-watcha-wanna” approach, second line dancing, 576, 578, 582, 585, 589–590, 590n2
Downey, Greg, 500, 511n16
Drewe, Sheryle Bergmann, 488
Drop Dead Diva, Lifetime tv series, 456
drunken dancing, 66
D’souza, Remo, 335
Duerden, Rachel, 555–556
Duina, Francesco, 4, 488, 490, 500, 511n22, 512n23, 512n25
Dunbar, Paul Laurence, 32–33
Durante, Viviana, 446n3
Ebuwa, Valerie, 545
economics
breakdown of fees, 46
costs to competitors, 46
dance funding, 88–92, 97–102, 111
Dance of the Old Men of Jarácuaro, 144
of dance studios, 46–47, 52
entry fees, 41, 44, 56
flamenco’s economic obstacles, 117–123
funding models, 2
monetization of Charleston, 19
North American commercial dance, 41, 446–67
private dance studios, 6–7
prize money, 17, 19, 22, 66, 150, 153, 180, 474
US paradigm shift, 56
Eichberg, Henning, 500–501, 504, 511n20
Eisenstein, Sergei, 394
Eitzen, Stanley, 501, 508
El Centro Internacional de Estudios Gitanos, flamenco studio, 123–124
El Farruco (flamenco dancer), 122–123, 129
El Pipa, Antonio, 117–118
Electric Boogaloos, hip-hop dance group, 169
Elssler, Fanny, 607, 607f
emancipatory self-surveillance, 285, 293, 294–295
Encinias Sandoval, Eva, 112, 127–131, 133n21
England
English-style tango, 307–309
Folk Dance and Song Society, 276n23, 384n3
folk revival (early twentieth century), 370
hosting of DERT competition, 369
England, tap practice, 209–228. See also Pulse Collective
emerging communities, 211–212
Got to Dance [link] , tv show, 210–216, 225, 227n5
history of, 213, 220–223
London/Manchester tap jams, 213
Pulse Collective’s twenty-first century choreography, 226–227
tap community, 227n4
tap jams, 211–214, 216, 227n4, 228n9
televised competitions, 223–226
The English Courtier, and the Cuntrey Gentleman (Jones), 75
Enter the Dragon film, 504
Entreflamenco, flamenco dance company, 120, 121–123, 133n15
entrepreneur-in-dance competition culture, 56
entry fees, 41
envy, 2
Esquivel Navarro, Juan de, 65, 81n1
Esteban Muñoz, José, 523
Euro-American dance traditions, 97
(p. 638) European Dancehall Queens, 243, 244, 249n5, 250n16
Evans, Dixie (aka “Marilyn Monroe of Burlesque”), 349, 357
Exotic Dancers League (EDL), 349, 350–351, 357
expectation setting, rapper dance adjudication, 372–373
“eyeing up” the competition, hip-hop battles, 477–479
Facebook pages/videos
European Dancehall Queen contestant, 243
remix, 339
Romanian dance festival, 277n25
Soul Train viral videos, 516, 522, 528–529n20
Supreme Council of the Indigenous of Michoacán page, 162n8
Zacán Contest pages, 155
facial expressions
in Bollywood song-and-dance, 340
in breaking, 474
in the Busby Berkeley chorus line, 476
in cakewalk, 33
in clubbing, 476
in dance advertising materials, 51
on Dancing with the Stars, 464
in hip-hop battles, 474–477, 479–486
in rapper dance, 383
in sean nós dancing, 200–201
in striptease, 476
in tango dancing, 315, 325
Farnell, Brenda, 476
Farris-Thompson, Robert, 20, 482
Fat Bottom Review, plus-sized dance troupe, 355
Fay, Maria, 433–434
Feldenkrais technique, 299n1
feminism
boundarylessness theory, dancehall competitions, and, 235, 236–238, 245–246
Carmen’s empowerment of, 116
dancehalls and postcolonial feminist theory, 235, 238–239, 241, 244–245, 248, 249n13
erotic power concept (Lorde), 235, 241–242, 244, 246
female footwork artists’ dancing and, 235–236
Haraway’s essay on, 174
identity construction, at International Dancehall Queen Competition, 235–236
Niaah, Sonjah Stanley, 235
radical feminism, 241, 249n14
second-wave feminism, 244, 249n13
Ferri, Alessandra, 446n3
Festival Flamenco (Albuquerque, New Mexico), 118–119, 128
Festival of Mountain Folklore, Poland, 278n47
festivals
Artistic Festival of the P’urhépecha People, 140, 152–153, 155
Blackpool Festival, Great Britain, 307
corn shucking harvest, 3, 12n4
Dance of the Old Men of Jarácuaro, 145, 148
Eastern Europe, 256
France, Italy, Poland, 258
Night of the Dead, 149–150
Oireachtas, Ireland, 189–207
Romania, 253–279
Festivalul Inimilor (Festival of the Hearts), Romania, 277n26
Fields, W. C., 352
filmee naach, India dance form, 333, 344n5
Finland, international Olympic-like ballet competitions, 430
First Annual Big Easy Footwork Competition (Tremé Center, New Orleans), 573, 574f, 577, 578–585, 580f, 588f
First Position documentary film, 6, 431
The Fish dance (Purhépecha Peoples), 150
fishing net dances (Purhépecha Peoples), 150
Fiskvik, Anne Margrete, 275n3, 276n24
flamenco dancing, 111–133. See also specific dancers and schools
Alegrías form, 133n14
American dancers studies of, 114
challenges of shifting trends, 113
as a cultural industry, 113–117
dancers’ coping strategies, struggles, 112
dresses and skirts, 132–133n12
economic obstacles, 117–123, 130
(p. 639)
elevation to Spain’s national icon, 114
essays/books on, 112
global popularity of, 111, 112
globalization’s impact on, 115–116
Haesen’s study of, 112, 116–117
historical background, 113–114
impact of NYC’s gentrification, 119–120
soniquete (swing) quality, 133n19
spread of, in the US, 114–115
studios, 112, 115, 116–117
types of forms, 133n20
UNM, flamenco division, 127–130
work shortages, 112
Flamenco Festival de Jerez, annual event, 124–125, 128–129
flamenco fusion, 123–126
Flawless, street dance crew, 168, 175, 180
Flores, Mariquita, 128
Florida Burlesque Festival, 364
Fly Girls, dancers on In Living Color, 462
Fogarty, Miko, 431, 446n4
Foley, Catherine, 190–191
footwork, of second line dancing, 575–577
For the Love, hip-hop battle, 491n14
Ford, Glenn, 115
Ford, John T., 618
Ford, Richard, 111
Ford Foundation, 94
Forever Tango, 310
Forrest, John, 82n9
Forsythe, William, 284–285, 300n13
Foster, George, 602
Foster, Susan Leigh, 6–7, 51, 300–301n18, 301n23, 302n33, 547
Foucault, Michel, 104n4
“aesthetics of experience” notion, 285
Dempster on, 285
Discipline and Punish: The Birth of the Prison, 284–285, 289, 290, 301n19
Franko on, 285, 299n2
investigations of neoliberalism, 104n4
The Order of Things, 300–301n18
physical discipline models, 284–285
“production of the self” notion, 285
self-surveillance notion, 285, 289–291
subject formation notion of, 294
Thomas on, 299n2
Foulkes, Julia L., 571n1
Fox, Bonnie, 357
France
Golden Necklace festival, 258
international Olympic-like ballet competitions, 430
tango debut (1983), 306
Frank, Rusty, 219
Franko, Mark, 67, 284–285, 299n3, 301n19
Friedes Galili, Deborah, 543–544
Friedman, Brian, 387
“From Village to Festival: An Example of Construction of Canons of Correct Performance” (Gore), 384n2
Fromm, Erich, 571n6
Frow, John, 390–392
Fuller, Loie, 468n8
Fuller, Simon, 388
funk dance style, 169
Gable, Terry, 591n6
Gades, Antonio, 132n6
Gaelic League, Ireland, 190–192, 194, 196, 206n4
Gaeltacht civil rights movement, Ireland, 195, 205
Gaga Intensives, 533–552
advantage of connections with teachers of, 545
benefits of, 547–548
“boil like spaghetti” exercise, 538–539
choreography piece rehearsal, 544f
classes lead by Naharin, 534f, 540f
competition between students, 535, 537, 542–548
Echad Mi Yodea repertory, 543–544
embracing contradictions in, 548–549
focus on the self in, 536
importance of learning repertory, 543–545
influences on students’ improvisatory choices, 541
international locations of, 551n12
marketability to contemporary dancers, 536
methodics classes, 537, 550n8
movement vocabulary of, 539
(p. 640)
Naharin’s description of, 534
Naharin’s repertory lessons, 537–538, 543–545
neoliberal contradictions in, 533–552
open classes vs. intensives, 545
performance careers development and, 542–548
Portman’s comments on, 537
precariat class of dancer, 542, 549, 551n10
research as applied to, 550n2, 550n7
rhetoric of freedom utilized by, 536–537, 541–542, 548
self-research/personal pleasure philosophies of, 536
sensation/imagery, exploration of, 537–540
student experiences (descriptions), 535, 546, 548
student rehearsal, 544f
students’ exploration of form, 538f
stylistic characteristics, 539–541
talent scouting at, 546–547
toolbox of skills, 537–542
Work Instructions, 534, 550n3, 550n7
Gaga Summer Intensive (Tel Aviv, 2013), 533
galliard, 67–78
Ballo Della Gagliarda, manual, 67, 68
display of masculinity, 70–71
displays of nobility, 70–71
inventing step variations, 68
male-female competition, 72–73
male-only competition, 71
masculinity and, 70–71, 77, 78
nicknames for, 67
The Old Law play, competition, 73–76, 80
Orchésographie, manual, 67, 68, 69f, 75
tassel game competition, 71–72, 72f
Twelfth Night, 76–77
ubiquitousness of, 67
variety/flexibility of, 70
Galore, Arora, 363
Galván, Israel, 117
Gamboa, Fernando, 147–148
games. See also martial arts
closed games, 498, 509
competitive pleasure and, 496–498
confrontation in, 497–498
game theory and, 510n12
human interaction opportunities, 504, 511n19, 511n20
intrinsic value in, 510n7
open games, 498, 509
open vs. closed, 498
sports, winning, and, 499–501, 499f
Suits’s comments on, 497–498, 511n18
Gannon, T. J., 613
Garcia, Adam, 167
García Canclini, Néstor, 141, 162n20
García Lorca, Federico, 112
Garner, Eric, 520, 528n8
Garretts, J. L., 599
Garza, Alicia, 527n3
The Gathering, hip-hop battle, 487f
Gavitt’s Original Ethiopian Minstrels, 611
Geim, Andre, 507
gender
archetypal dancer description, 46
ballroom culture and, 524–525, 528n18
cakewalk and, 21, 25, 37
costumes, competitions, and, 46
in dance competition, 62n2
Dancehall Queen identity politics and, 235, 237, 243–244
early modern England, 65–81
galliard and, 70
gender discrimination, 454
gender non-conformity, 466
gender policing, 459
gender stereotypes, 458
gentility, early modern England, and, 65–81
Indianness and idealized gender identities, 342
Kemp’s morris dance and, 77
martial arts and, 510–511n14
Miss Exotic World competition and, 352–353, 361, 363
mixed-gender challenge dancing, 604–605
in New Orleans second line dancing, 575, 577–579
posthumanist/transhumanist discourse and, 174
queering tango competition and, 323–324
role in “making it,” 414
Schupp’s study of, 62n2
(p. 641)
sean nós competition and, 194
tap community and, 227n4
Tomko’s studies, 105n11
West Side Story dance-offs, 563, 565
General Training Day, 3, 12n3
Generation Z, 52
Genre (Frow), 390
George, David, 79
George Lopez Show, 462
George-Graves, Nadine, 81n1
Gerould, Daniel, 1974, 394
“Getting Happy: An Ethnographic Memoir” (Prahlad), 510n3
Ghent, Clinton, 517–518
Giraldo Rivera, Diana, 312
gitano (Spanish gypsies), 111–112
Giurchescu, Anca, 257, 275n4, 277n35
Gjirokastër National Folklore Festival, Albania, 276n15
Gladwell, Malcolm, 500
Glass, Barbara, 3
Gledwill, Christine, 405n11
gliding
animation technique, 171, 173, 175
dancing move, 171
globalization
Bollywoodization and, 343
breaking and, 411, 417–418
of culture in India, 337–338, 344
flamenco and, 113, 115–116
impact on India’s reality shows, 332
Jazzoleá and, 126
neoliberalism and, 4, 551n10
go-go dancers, 249n10
Gold, Rhea, 56
Gold Diggers film, 220–221
Golden Bag-Pipe festival, Italy, 258
Golden Hatchet festival, Poland, 258
Golden Necklace festival, France, 258
Goldman, Danielle, 541
Good Works Network, 101
Goodall, Jane, 301–302n28
Goodman, Len, 460, 465–466
Goodman, Paul, 557, 570
Gore, Georgiana, 384n2
Gosling, Nigel, 439
Got to Dance (GTD), tv show, 6, 12n8
prerecorded VT (videotape) segments, 178–179
Ruff Diamond’s performances, 168, 169, 177–178
A Team audition, 168, 169, 171
time-freeze technology, 183n17
Got to Dance 4 (GTD4), tv show (Sky 1, England), 225, 227n5. See also Pulse Collective; RiccaKane; Ross, Eilidh
description, 227n2
Pulse Collective audition clips, 212–216
tap dancing competitions on, 210
Graham, Martha, 95, 105n15, 335, 552n13
Grandville, J. J., 172
Granjero, Antonio (flamenco dancer), 112, 120–123, 121f, 127
Grant, Sidney, 321, 323–325, 324f, 328n5, 328n6
Le Gratie d’Amore (Negri), 67, 70f, 71–72
Gray, Freddie, 528n6
Great Society initiative (Johnson), 90
Greco, José, 118
Green, Doze, 483
Green, Jill, 300n17, 300n18
The Green Table ballet (Jooss), 2
Grey, Jennifer, 461, 466
Grosz, Elizabeth, 511n16
Growing Up Absurd (Goodman), 557
Guest Choreography Project, 100
Guido, Laurent, 405n4
Guillory, Monique, 591n11
Gunning, Tom, 394, 405n4
gurushishya parampara (student-teacher apprenticeship system), India, 337–338
Guyanese Dancehall Queens, 243
Gypsy Caravan, touring company, 117–118
Gypsy Kings, 118
Hae Shik Kim, 433
Haesen, Martine (Belgian flamenco dancer), 112, 113, 116–117, 125–127, 131, 132n9
Halberstam, Judith, 488–489, 509
Hall, Cristina, 117
Hall, Frank, 168–169, 190–191, 479
Hallewell, Kit, 307–308
Halling dance, Norway, 276n24
Halprin, Anna, 302n37
Hamera, Judith, 55
(p. 642) The Hand burlesque performance, 353
A Handbook for Travellers in Spain (Ford), 111
Hanisch, Carol, 249n13
Hanna, Judith Lynne, 351
Hanna, Thomas, 299n1
Haraway, Donna, 174
Harlem, New York, dance scene, 218
Harvey, David, 4, 104n4, 527n4, 541, 550n5
Harvie, Jen, 179–180
Haskell, Neil, 395–398, 405n9
Hasselhoff, David, 461
Hayes, Michelle Heffner, 127
Hayworth, Rita (aka Margarita Carmen Cansino), 114–115, 118
Hazard, Paul H., 606
Hazzard-Donald, Katrina, 478
H’Doubler, Margaret, 302n37
Heidegger, Martin, 522
Heir, Uzer or Researcher: Basic Attitudes within the Norwegian Revival Movement (Bakka), 380
Henderson, Florence, 461
Hercules festival, Bucharest, Romania, 258–259, 277n26
Hergenröther, Thomas, 414–416
Hernández, Amalia, 148
Hewitt, Andrew, 300n13
Hill, Constance Valis, 209, 211, 218, 219, 220, 228n12
hilt-and-point sword dancing. See rapper (hilt-and-point sword) dancing
Hindu mythology, 331
Hines, Gregory, 209, 211
Hip Opsession, breaking international competition, 413, 424
hip-hop battles
on Amerca’s Best Dance Crew, 457
Arzumanova’s description, 180
awards/prize money, 473–474
Battle for Your Life battle, 482, 491n14
b-boys in, 473, 475f, 476, 478, 480f, 481–485
b-girls in, 486, 491n14
breaking and, 409–418, 420–423
choreographing faces of derision, 482–483
cinematic displays of, 179
commercial tv show competitions, 169
competition vs. participation, 486–490
confrontation in, 478, 480–481, 485
“cosign” hip-hop vernacular, 417
cultural identity and, 26
dance studio lessons, 47
displays of virtuosity, 170–171
“eyeing up” the competition, 477–479
facial expressions, loss of, 484–486
facial expressions in, 474–477
facial tactics of intimidation, 479–482
“freezes” mocking strategy, 482–483
The Gathering, 487f
global competitions, 38n4, 417
“grit” of competitors, 488–489
group formations, 169
growth of, 368
humor in, 482–483
on India reality shows, 333, 335
intimidation, derision, failure in, 473–492
King of the Ring battle, 491n14
Ladies of Hip Hop battle, 491n14
“Life Lessons in Hip-Hop” research project, 492n32
“losers” of, 473
For the Love battle, 491n14
mutual sharing through movement dialogue in, 487
in national competition, 57–58
physical dexterity of dancers, 168
pioneers of, 412
remix practice in, 338
Rhythmic Damage battle, 491n14
risk-taking in, 484
Second Sundae competition, 475f, 483
self-improvement opportunities in, 487
selling the dance, 41, 58
Silverback Open Championship, 491n14
610 Battle, 491n14
on So You ThinK You Can Dance, 388, 395
in studios, 47
Survival of the Illest battle, 477f, 491n14
tap dancing and, 225, 227
term (“hip-hop”) usage, 491n2
“uprocking,” confrontational dance, 480
version of Bizet’s Carmen, 132n6
virtuosic performances, 168, 170–171, 485
“hired body” model (Foster), 547
history, mnemonically dense periods, 374–375
(p. 643) History Network, American Pickers, 351
hodgepodge book, defined, 82n12
Hofman, Ana, 257, 276n20
Hogan, Ernest, 29, 31–32
Holland, Hugh, 68
Holland, Samantha, 174
Holman, Michael, 173
Holowchak, Andrew, 489
Homo Ludens (Huizinga), 557
Hoofers Club (Manhattan, New York), 218–220
Hoover, Lou Henry (Erica Mason), 360–362, 361f
Hope, Bob, 352
Hope, Donna, 237
hora/brâul, community chain dances, 262, 277n31
Horkheimer, Max, 413
hornpipe dance, 79–80, 82n11, 598–599, 602–604
Horrible Prettiness: Burlesque and American Culture (Allen), 393
“The Hottest Coon in Dixie” (Clorindy), 32–33
Hough, Derek, 464, 466
Hough, Julian, 464
How the US Funds the Arts (NEA), 104–105n8
Howard, Nellie, 614
Howard, Skiles, 74–75
Huizinga, Johan, 557
hula dance competition, 169, 368
Hung, William, 468n13
Hurston, Zora Neale, 34–36. See also Color Struck, play (1925)
Huxley, Michael, 300n8
“I Found You” (Wanted), 214
I Want to Be Ready (Goldman), 541
identity liberalism, 528n9
ideokinesis
as approach to corporeal knowledge, 293
body-mind acceptance and, 287
body-mind integrity of dancers and, 294, 297
Dempster’s analysis of, 285, 288, 291–292, 295–296
description, 299n3
ideation in, 302n36
integration/movement flow benefits, 294
role in dance practices, pedagogies, compositions, 288
somatic intelligence and, 297
Todd’s discussion of, 294, 302n30
I’m The One That I Want touring show (Cho), 455–456, 460
Immigration and Nationality Services Act (US), 90
Imperial Society of Teachers of Dancing (ISTD), 211, 217, 222, 223, 307, 309
In Cultural Reproduction and Social Reproduction (Bourdieu), 446n2
In Living Color, comedy tv show, 462
Inaba, Carrie Ann, 453, 460, 462–463, 465
India. See also Bollywood films, India; India, reality television dance shows
“All India Dance Competition,” 335
ananda tandavam (dance of bliss), 331
bhakti rasa (aesthetic desire), 332, 337
bhava-rasa (emotive-aesthetic system), 337, 338, 339, 341–342
Boogie Woogie, reality show, 332–336, 344
classical dances, 331, 333, 337, 341–342, 510n4
collegial dance competitions, 7
Dance India Dance (DID), reality show, 332, 335–337
dance-related reality shows, 331–344
filmee naach, dance form, 333, 344n5
globalization of culture in, 337
gurushishya parampara dance pedagogy, 337–338
Hindu mythology, 331–332
mudras (gestures), in dance, 336
remix of dance styles, 337–339
sexuality/women’s bodies discourse, 341–344
tandava nritya (Shiva’s cyclic dance of creative destruction), 331
(p. 644) India, reality television dance shows, 331–344
Boogie Woogie, 332–336, 344
Dance Bangla Dance, 335
Dance India Dance (DID), 332, 335–337
emergence of, 332
love and devotion as expressed on, 337
public discomfort with, 343
relation to Bollywood films, 339
song-and-dance sequences on, 339
womens’s bodies/sexuality discourse, 341–344
Indigenous cultures, 144. See also Dance of the Old Men of Jarácuaro; P’urhépecha Peoples
competition’s impact on, 190–191
“creative continuum” community development approach, 100
importance of authentication, 142
indigenous Irish performing arts, 189
political ineligibility for federal grants, 97
Individual Artist Fellowships in Dance grant, 95, 96–97
Inosanto, Guro Dan, 508, 512n24
Inosanto Academy of Martial Arts, 508
Inside the New China (Ayres), 510n3
Institution of a Young Man (Cleland), 71
Interagency Partnership Incentives (OMB), 99
International Ballet and Choreography Competition (IBCC), 429–430, 433, 441, 444–445
absence of subtle nuances, 433
awards/medals/prizes, 431, 435, 444–445
Beijing IBCC, 429–430, 441–442, 444–445
dancer participation requirements, 435–438
judging, 441
narrow focus of format, 437
Shanghai IBC, 436
varied motivations for participation, 438–439
International Ballet Competitions (IBC)
awards/medals/prizes, 431, 435, 444–445
budgeting for, 441–442
global rotation of, 430
Jackson, Mississippi, 430, 441
New York City, 432–433, 437
Prix de Lausanne, Switzerland, 431, 437, 440, 442, 445, 446n3
Russia, 2, 430–431, 440, 446n8
Seoul, Korea, 433
status of participating dancers, 441
International Conference of Dancing Masters (Berlin), 30
International Council for Traditional Music, 161n1
International Dancehall Queen Competition, 233–250. See also Dancehall Queen Competitions
audiences, 233, 234, 240, 246
Barbadian “wukking up” style, 241
“batty riders” shorts, 249n7
boundarylessness theory (Niaah), 235, 236–238, 245–246
bruk out style, 239–242
competition between styles, 245–246
contest and performance preparation, 236
creative instability of transnational performance, 247–248
crossover style, 246–247
“daggering” practice, 249
European Dancehall Queens, 243, 244, 249n5, 250n16
expanding global reach, 234–235
feminine identity construction at, 235–236
Guyanese Dancehall Queens, 243
hair weaves, 249n8
hyper-feminine/hyper-sexual styles, 236
Italian Dancehall Queens, 246–247
judging, 234, 240, 248
male moves, 243
positioning of, 233–235
relationship to Jamaican sociopolitics, 236–238
steps style, 242–244
An Introduction to Dance Aesthetics (Kaeppler), 374
investment funding regime (NEA, 2000-present), 89, 97–102
Ireland (Irish dance). See also sean nós dancing
An Coimisiún, step-dance organization, 206n4
An Comhdháil, step-dance organization, 206n4
challenge dancing, 597–598
complexity of footwork, elevation, 169
(p. 645)
Conamara Gaeltacht region, 190
Gaelic League, 190–192, 194, 196, 206n4
Gaeltacht civil rights movement, 195, 205
jig dancing, 3, 6, 22, 77, 82n11, 192
Oireachtas, sean nós dance competitions, 189–207
Rince Aonar ar an Sean Nós competition, 195–196, 207n11
rince foghlamtha dancing, 191
sean nós dancing, 189–207
step dancing, 277n27, 598, 603–604
types of social dances, 192
Irish Dancing World Championships, 6
irreverent dancing, 66
Isla, Camarón de la, 116
ISTD Theatre Branch, 222
It Gets Better Project (Savage), 466, 468n12
Italian Dancehall Queens, 246–247
Ivanova-Nyberg, Daniela, 274–275n2, 275n5, 278–279n51
Ivy, Poison, 360
Jackson, Janet, 169
Jackson, Michael, 169, 335
Jackson, Mississippi, ballet competitions, 430, 441
Jackson, Tamara, 591–592n12
Jackson 5, “Dancing Machine” performance, 173
Jaffrey, Javed, 333
Jamaica,. See also Dancehall Queen Competitions; International Dancehall Queen Competition
boundarylessness theory (Niaah) and, 235, 236–238
dancehall’s relationship to sociopolitics, 236–238
distinctive dancehall styles, 235
origination of dance hall queen competitions, 234
Japan
Dancehall Queen Competitions, 235
flamenco’s popularity in, 112, 115
international Olympic-like ballet competitions, 430
Jazz Parades documentary film, 591–592n12
Jazzoleá, flamenco fusion group, 125–126
jeet kune do (JKD), martial arts, 509n1
Jenkins, Henry, 389, 393–394, 395, 405n7
jig. See also challenge (jig) dancing in Antebellum America
Baroque gigue vs. Renaissance jig, 82n11
challenges, 599
female dancer costume, 616f
Irish jig, 3, 6, 22, 77, 82n11, 192, 604–605, 613
Kemp’s mastery of, 77
Negro jig dancing, 598, 603, 609–611, 617
Peel’s dancing outfit, champion belt, 612f
rapper dance and, 367
time signature, 603
Jig documentary film, 6
jitterbug, 3
the Johnny, Irish social dance, 192
Johnson, Charles E. (aka “Cakewalk King”), 28
Johnson, E. Patrick, 521
Johnson, Lyndon B., 90
Johnson, Ronald Paul, 517–518
Jones, Richard, 75
Jones, Ruthven, 600
Jooss, Kurt, 2
Journal of Physical Education, Recreation & Dance, 12n16
Joy, Jenn, 300n14
Juba, Master, 597, 601
judges (judging)
best fit model, 382–384
breaking battles, 409–426
Campeonato Mundial de Baile de Tango championships, 312, 314–321, 324, 326
choreography rubric, 46
considerations in ranking dancers, 284
constructive feedback by, 41–42
Dance of the Old Men, Zacán Contest, 159
Dancehall Queen Competitions, 234, 240, 248
decision-making by, 368
Go To Dance [link] , 224–225
international ballet competitions, 432–433, 437, 443–445
Miss Exotic World pageant, 349–365
Moldavia competitions, 274–275n2
New Orleans second line dancing, 573
perfect dance model, 380–381
rapper dance competitions, 367–384
reality television competitions, 387–406
real-time audio critiques, 50
(p. 646)
Romanian competitions, 253–254, 257, 259–274, 262f, 266f, 275n4
sean nós dancing, 191–192, 199–200
subjective rubric for judging, 46
tv show competition, 167–168
Judson Church, New York City, 529n21
Judson Dance Theatre, 302n37
“Just to Get a Rep” (Gang Starr), 426n8
Kaeppler, Adrienne, 374
Kaif, Katrina, 340
Kalani Kokonuts (Miss Exotic World, 2009), 350
Kalaria, Honey, 132n6
Kapoor, Geeta, 335
Katan, Einav, 549
Kazzum, dance crew, 169
Kedhar, Anusha, 344n3, 536, 542
Kelly, Gene, 220, 221
Kemiesse in Bruges ballet (Bourneville), 437
Kemp, William, 67, 78f
Kemps Nine Daies Wonder (Kemp), 67, 77–78, 78f
Kennedy, Douglas, 276n23
Kent, Julie, 446n3
Kershaw, Mathew, 615
Khan, Farah, 335, 341
Khan, Saroj, 335
Khandewal, Meena, 7
Kids Artistic Review Dance Finals (2015), 48–49
kinesthesia/kinesthetics
aspirational muscle tone and, 284, 285–287, 295
body’s mind (mind of the body) and, 296
body-schema mapping, 286
identity marker, for Conamara Gaeltacht, 196
ideokinesis and, 294, 296
kinesthetic dialogue, of Dancehall Queens, 241
kinesthetic mapping, 300n7
kinesthetic memory, 337
kinesthetic perception, 285–287
psychosomatic holding, 287
somatic practices, 286–287
somatization and, 302n34
Kinetz, Erika, 7
King, Alonzo, 100
King of the Ring, hip-hop battle, 491n14
Kochetkova, Maria, 446n3
Kombat Breakers, break dance crew, 169
Kool Herc, disc jockey, 412
Kool Lady Blue, 423
Koprivshtitsa National Festival, Bulgaria, 276n15
Korea
International Ballet Competition, 430, 433
International Modern Dance Competition, 2
Kronenfeld, Nathan, 72
La Fleur, Bambi, 364, 365n16
La Grange, Lizzie, 614
Labelle, Patti, 528–529n20
Lada cu Zestrea (the dowry chest) festival, Romania, 260
Ladies of Hip Hop battle, 491n14
Lake Pátzcuaro, Mexico, dance competitions
for locals, 151–152
for tourists, 149–150
L’Amour, Michelle, 351
Landesman, Rocco, 98–99
Lane, Pete, 617
Laniyan, Junior, 227n4
Lanteri, Joe, 60–61
LaPointe-Crump, Janice, 1–2, 5, 12n16
LaRue, Kitten, 362
Lavalle, Josefina, 148
Lawrence, Tim, 522
The League of Exotic Dancers: Legends from American Burlesque (Regehr), 364n6
Lee, Bruce, 504, 507–508, 512n24
Lee, Gypsy Rose, 352
Lee, Mary Ann, 607–609
Lee, Rachel, 455, 460
Legacy, street dance crew, 183n10
Legendary Twins, 412, 426n3
Legends’ Brunch/Legends’ Panel events (BHoF Weekender), 351
Legris, Manuel, 441
Lehman, Christopher P., 517
(p. 647) lesbian, gay, bisexual, transgender, queer (LGBTQ)
black LGBTQ communities, 524
tango competitions, 323–325
Lévi- Strauss, Claude, 479
Lewis, Sarah, 507
Lewis, Terence, 335
licentious dancing, 66
“Life Lessons in Hip-Hop” research project, 492n32
Lilla, Mark, 528n9
Limón, José, 437
Lisovskaya, Olga, 309f
The Little Colonel film, 221
Lloyd, Maude, 439
Lockers, hip-hop dance group, 169
Lomax, Alan, 591–592n12
López, Gervasio, 150
Lopez, Jennifer, 458
Lopez, Tata Gervasio, 153, 155
Lorde, Audre, erotic power concept, 235, 241–242, 244, 246
losing
breaking battles, 419
dance duels, 81n1
Duina’s study of, 12n7
Esquivel on, 81n1
fear of, in sean nós dance competitions, 202
hip-hop battles, 473–479, 482, 484–490
martial arts, 496, 501
in martial arts, 496, 501, 506–509
outcome-oriented model, 11
“Louange de la Danse” (Mantagut), 71
Louppe, Laurence, 285, 286, 298
The Loves of Carmen film, 115
Lowry, W. McNeill, 94
Lythgoe, Nigel, 387–388, 458
Macedonia, mask customs, 277n27
Mackenzie, R. Shelton, 604–605
Macri, Mauricio, 312
Mad Hot Ballroom documentary film, 6, 321
Madeira, Gayle, 324
Madison, Holly, 351, 357–358
Madison Square Garden, New York, cakewalking contests, 27, 28–29, 29f
Mahmood, Saba, 541
Mainwaring, Lynda M., 2
majismo movement, 113, 114
“A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s” (Haraway), 174
Mankekar, Purnima, 338
Manning, Erin, 405–406n14, 504, 511n27
Manning, Henry, 599
Mansbridge, Joanna, 355
“Maoist body” notion (Brownell), 440–441
María Benítez Company, flamenco dancing, 120
María de Buenos Aires tango-opera, 310
Maria Pagés Company, 117
Marion, Jonathan, 278n44
Marks, Bruce, 2
Martha Graham Center for Contemporary Dance, 335
Martha Graham Dance Company, 552n13
martial arts, 495–512
competitive pleasure vs. competitive spectacle, 496
confrontation in, 496–498, 504
controlled opposition meeting point, 501–506
failure, introspection, and amateurism, 505f, 506–509
inefficiency in, 497–499, 499f, 510n8
intersubjectivity and, 504–505, 510n2
mixed martial arts competitions, 495
politics of losing, 506–509
sparring, 11, 495, 497–499, 498f, 502, 504, 506, 510n5
sport fighting comparison, 498, 499, 501
sports and winning/work and play, 499–501
tap dance and, 209, 226
teacher honorifics in, 509n1
traditional, emphasis on “art” aspect, 510n8
Zen, beginner’s mind concept and, 507
Martin, Randy, 300n13
Martin, Ricky, 468n13
Martin, Trayvon, 520, 527n3, 528n8
Martinez, Jose Carlos, 446n3
Martini, Dirty, 355–357, 356f, 361
Martini, Midnight, 359–360, 359f
(p. 648) masculinity display
in Dancehall Queen competitions, 243
in galliard, 70–71, 77–78
in India dance reality shows, 332
in second line dancing, 575, 577–578, 584, 587, 589
on So You Think You Can Dance, 458–459
in West Side Story, 559
mask customs, Macedonia, 277n27
Mason, Erica (Lou Henry Hoover), 360–362, 361f
Mason, Hank, 614, 617
Mason, Johnny, 615
Mason, Sally, 614
Massey, Kyle, 461
Massinger, Philip, 67, 73–76
Mastrolorenzo, Hugo, 326–327, 327f
The Matrix Trilogy film series, 174
Mauss, Marcel, 175
Mayo, Mario, 123
Mayorov, Evgeniy, 309f
Mazurkas ballet (Limón), 437
Mazzarella, William, 337
McFee, Graham, 432
McRae, Steven, 446n3
The Meanings of Manhood in Early Modern England (Shepard), 80
meeting point, in martial arts, 501–506
Meglin, Joellen A., 300–301n18
The Melodramatic Field: An Investigation (Gledwill), 405n11
The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (Brooks), 405n11
Menon, Rajiv, 12n17
Mercé, Antonio (“La Argentina”), 122
Merimée, Prosper, 111
Merleau-Ponty, Maurice, 503
Merrygold, Aston, 224
Merryman, Ashley, 511n21
meta-bodies, choreographic device, 176–177
Mexican Revolution, 143, 145
Mexico. See also Purhépecha Peoples
Ballet Folklórico de México, 148
ballet folklórico displays and contests, 149, 153
convocatorias, call for contestants, 141, 150, 151–152, 156
Dance of the Old Men of Jarácuaro, 139–166
Danzas Auténticas Mexicanas (Authentic Mexican Dances) performances, 145
Festival and Contest of Music and Dance, 150
Indigenous authenticity, 145
Lake Pátzcuaro, for locals, 151–152
Lake Pátzcuaro, for tourists, 149–150
map, P’urhépecha region communities, 143f
map, with inset of Lake Pátzcuaro., 142f
nationalistic practices, 145–146
Night of the Dead (Island of Janitzio), 149–150
SEP book on dance contests, 148–149
traditional dances (danzas tradicionales), 150
Mhainnín, Róisín Ní, 204
Middleton, Thomas, 67, 73–76, 76–77
Midnight Martini, 359–360, 359f
Mihăilescu, Vintila, 257
milongas (public tango dances) form, tango, 306
Miloseska, Eli, 277n27
mind of the body, 296–297. See also body-mind
minstrelsy, 30–31, 611
Miss Exotic World pageant (aka Tournament of Tease), 349–365. See also neo-burlesque movement; specific title winners
Award Ceremony (2014), 350f
Best Boylesque category, 350, 360, 361
Best Debut category, 362, 363, 365n10
high grading for “classic burlesque” performances, 358
judging panel, 352, 355, 357–358, 360, 362–364
metrics of value and, 357–362
Midnight Martini competes at, 359f
Most Comedic category, 362
Most Innovative Category, 362
secondary awards, 361
titles given at, 350
Mizejewski, Linda, 455
Modern Ballet of Mexico (Ballet Modern de México), 162n22
Moes, Annemarieke, 132n6
(p. 649) “Mohe Panghat Pe Nandalal Cheed Gayo Re” (On My Way to the River Nandalal Teases Me), song-and-dance sequence, Mughal-E Azam Bollywood film, 339–340
Moiseyev model, for folk performance, 275n7
Moldova competitions, 274–275n2, 278n41
Molina, Rocio, 118–119
Molineaux, Aaron, 597, 613
Molineaux, Tom, 612f
Montagut, Barthélemy de, 71
Monteiro, Celena, 250n16
Monti, Andrea, 328n4
Moore, Melanie, 389, 392, 395–396, 400, 403–404, 406n16
Morca, Teo, 128
Morgan, Julia, 597, 614–615
Morita, Pat, 468n5
Morris, Geraldine, 432–433
morris dance, 77–78, 82n9, 384n3
Movers, Shakers, and Innovators Showcase (BHoF Weekender), 351
Mozzi, Gustavo, 323
Mr. T and Tina, American tv sitcom, 468n5
Murphy, Gillian, 446n3
Murray, Jess, 227n4
muscle tone, 284–287, 295–298
Museo del Baile Flamenco, museum of music and dance, 124
Muz, Julie Atlas, 353–354, 356, 364n6
Naharin, Ohad
Batsheva Dance Company director, 533
choreography piece rehearsal, 544f
dance background of, 537
description of Gaga classes by, 534
expectations of students of, 538
Gaga repertory lessons created by, 537–538, 543–545
leading of Gaga classes, 534f, 540f
Nakamura, Sifu Yori, 512n24
Naked Ladies Reading event (BHoF Weekender), 350
National Broadcasting Company (NBC), 458
National Centre for the Performing Arts (NCPA, China), 429, 430, 439, 441, 444
National Commission for the Development of Indigenous Peoples, 163n28
National Council on the Arts (NCA), 91, 93–95, 105n13, 106n19
National Endowment for the Arts (NEA), 87–107
appropriations, 92, 96, 99, 103, 104n5, 105n9, 105n22, 107n33
Art Works grant program, 99–100, 102, 106n27, 107n30
bailout by American Ballet Theater, 93–94
Biddle’s chairmanship, 92
Chu’s chairmanship, 87, 99, 101
contesting funder-imposed engagement, 102–103
Creative Placemaking grants, 100–101, 107n31
Creativity Connects initiative, 87, 104n2
dance grantee lists, 105n10, 105n16, 106n21
federal arts funding justification by, 98
funding initiatives, 88f, 91
funding restrictions, 91–92
grant competitions, 87–88, 89, 91
investment funding regime, 89, 97–102
limited political authority of, 90–91
Our Town grant program, 99, 100–102
philanthropic funding efforts, 88, 90, 93, 95, 97, 105n11
preservationist funding regime, 89, 92–97, 102–103
Trump’s call for funding cuts, 107n33
website organization, 97–98
year-end report to Congress (1965), 105n12
National Endowment for the Arts (NEA) Dance Program, 91, 95, 100, 104n5
National Foundation for the Arts and Humanities Act (1965), 90, 92
National Indigenist Institute (INI), 144, 151f
National Institute of Flamenco (Albuquerque, New Mexico), 129, 133n15, 133n21
National Registry of Dance Educators, 46
National Science Foundation (NSF), 90
(p. 650) National Student Dance Competition (Taiwan), 7
nationalism
Dance of the Old Men and, 145–146
fitness/virtuosic body and, 440
Hindu, 439–440
Norwegian, 276n24
Oireachtas festival and, 192
Quail on, 457–458
Romanian, in Transylvania, 256, 275n7
somatic, in Maoist China, 441
Spanish, 114
Native Americans, cakewalk roots, 22
NEA Magazine, 88f
Negri, Cesare, 67, 68, 71–72
Nekyia, Kristina, 354
neo-burlesque movement. See also Burlesque Hall of Fame (BHoF) Weekender; Miss Exotic World pageant
beautiful ugly performances, 353
“booms” (historical periods), 352
elements of performance, 353
emergence/growth of, 349–350, 352–357
erotic entertainment connections, 365n11
Florida Burlesque Festival, 364
Martini on dichotomy in, 355–356
profile of dancers, 351
revival communities, 353
term (neo-burlesque) derivation, 353
Toronto Burlesque Festival (2012), 354
types of performance explorations, 354–355
welcoming/celebration of difference, 355
neoliberalism
Borelli’s intervention against, 11
Brown’s discussion on, 98, 104n4
Clinton’s welfare restructuring project, 106n23
contradictions in Gaga Intensives, 533–552
deterritorialization and identities, 517–521
emergence/main elements of, 535–536
Foster’s view on, 7
globalization and, 4, 551n10
Harvey’s assertions on, 4, 527n4, 541, 550n5
Harvie’s description, 179–180
influence on social, cultural life, 4–5
NEA and, 89
Reagan’s/Thatcher’s policies, 12n6
Soul Train, deterritorialization, and identites, 517–521
Wilbur’s view on, 9
New Orleans second line dancing (second lining), 573–593
African/Afro-Caribbean dance influences, 577–578
Afro-Creole brass band traditions, 578, 591n10
Big Easy Footwork Competition origins, 575–576
complex/implicit criteria in, 576–577
Congo dance influence, 577–578
dancers’ reasons for dancing, 574, 575
double-dutch jump rope influence on, 575, 580–581, 586–587, 589
“do-watcha-wanna” approach, 576, 578, 582, 585, 589–590, 590n2
First Annual Big Easy Footwork Competition, 573, 574f, 577, 578–585, 580f, 588f
footwork of, 575–577
form and approach concerns of dancers, 590n1
gender divisions within, 575, 577–579, 591n11
impromptu battle face-offs, 577
judging, 573, 574–575
origins/description, 575–576
“second lining” defined, 576
social aid and pleasure clubs (SAPCs), 576, 579, 582–585, 591–592n12
trophy award, 573, 574f
New York City Breakers, b-boy crew, 169
New York City Dance Alliance (NYCDA), 60–61
New York City International Ballet Competition (IBC), 432–433, 437
New York International Ballet Competition (IBC), 432–433
New York School of Burlesque, 350
New York State Dance Olympics, 62
New York Times articles, 7
(p. 651) New York Times opinion piece, 528n9
Niaah, Sonjah Stanley, theory of boundarylessness, 235, 237–238, 245–246
Nieves, Maria, 322
Night of the Dead (Island of Janitzio), 149–150
Nine Times SAPC, New Orleans, 582–583
19 Entertainment, 388
Nino, Ashlee, 387–388
Nobiltà di Dame (Caroso), 67
non-competitive body states, 283–302. See also body disciplines; body-mind; Dempster, Elizabeth; Foucault, Michel; somatics (somatiization)
anatomical truth and, 293
attention, “sensory acuity,” and, 295–296
codified forms, of dancers’ bodies, 9–10, 284, 285–288, 292, 299–300n5
corporeal freedom, innovation, and, 297–299
(un)disciplining practice, 288–289
emancipatory self-surveillance, and, 294–295
Foucault, body disciplines, and self-surveillance, 289–291
kinesthetic perception, imitative and somatic, 285–287
mind of the body and, 296–297
subjection/subjectivity, discipline, attitude, and, 291
non-competitive ethos, 10, 534
Northrup, Solomon, 605
Norway, Halling dance, 276n24
Ó Hoibicín, Páraic, 192, 202, 204
Ó Neachtain, Seosamh, 204
Oancea, Claudia, 275n4, 278n49
Obama, Barack, 99
Obregón, Luis Felipe, 147–148
observation of peers
avoidance of, 58
benefits of, 48, 49f, 50–51, 53, 54f, 56
O’Connor, Barbara, 277n27
O’Connor, Donald, 221
Of Grammatology (Derrida), 404–405n3
“Of Nature in Men” (Bacon), 68
Office of Management and Budget (OMB), Interagency Partnership Incentives, 99
Ohno, Apolo Anton, 453, 454, 462–464, 466–467
Oireachtas festival, Ireland
audiences, 200–201
festival description, 193–194
Gaelic League establishment of, 192
importance to Gaeltacht communities, 194–195
judges (adjudicators), 199–200
Rince Aonar ar an Sean Nós competition, 195–196, 197f, 207n11
sean nós dance competitions, 189–207
social dimension of, 203
Steip Beo, tv broadcast of, 194, 198, 201, 203–206
The Old Law, or a New Way to Please You (Middleton, Rowley, Massinger), 67, 73–76, 80
“On My Own” (Labelle), 528–529n20
O’Neil, Kitty, 614, 616f
Ong, Aihwa, 535
Ópera Prima en Movimiento reality tv show, 161–162n6
Orchésographie (Arbeau), manual, 67, 68, 69f, 75
Orchestra (Davies), 70
The Order of Things (Foucault), 300–301n18
Original Lady Buckjumpers SAPC, New Orleans, 585, 591–592n12
Orleans, off-strip hotel (Las Vegas), 349–351, 357, 363
Orozcos of Jarácuaro, 148
Orpheum Theater, Kansas City, 17
Orr, Alison, 101
Osterweis, Ariel, 170, 172
O’Sullivan, Emma, 202
Our Town grant program (NEA), 99, 100–102
Owen, David, 354
Paganini, Niccolò, 170
Palin, Bristol, 461–462
Palmer, David, 170
Pancharis (Holland), 68
Paredes, Carlos Alberto, 312
Partington, Kate, 614
Partridge, Audrina, 461
Pasqual, Alida, 307
(p. 652) “pay to dance” system, 41
Peel, Tommy, 612f, 614
Pelham, R. W., 599
Pell, Claiborne, 92–93
Pell, G. W., 602
Peña, Andres, 124–125
perception step, rapper dance adjudication, 374–375
perfect dance, rapper dance adjudication model, 380–381
perfectionism, 2
performance psychology, 2
Peridot, dance crew, 168, 173, 174
Perón, Juan, 309–310
personhood, Western, 518, 527–528n5
Petipa, Marius, 437, 446n1
Petit, Roland, 132n6
Piazzolla, Astor, 310, 326
Pierre, Monsieur, 308
Pohren, Donn, 112
Poland
Festival of Mountain Folklore, 278n47
Golden Hatchet festival, 258
polyrhythms, West Africa, 22
Pope, Florence, 543
popping, animation technique, 173
Porter, Linda, 591–592n12
Porter, Naomi, 597, 614
Portman, Natalie, 537
Posey, Elsa, 46
postcolonial feminist theory, Dancehall Queen Competitions, 235, 241, 244–245, 248, 249n13
postmodern experimental dance (1960s), 529n21
Prahlad, Anand, 510n3
preservationist funding regime (NEA, 1965-1980), 89, 92–97, 102–103
Presley, Elvis, 116, 132n7
Prickett, Stacey, 221–222
private-sector dance education, 41, 56
Prix de Lausanne ballet competition (Switzerland), 431, 437, 440, 442, 445, 446n3
proficiencies, transferable, of competitions, 58–60
prohibitive self-surveillance, 290, 292
psychosomatic holding, 287, 300n8
Pugh, Megan, 25, 26–27
Pulse, street dance crew, 169
Pulse Collective. See also Ricca, Kane D.; Ross, Eilidh
dance styles of members, 212
Got to Dance [link] , tv show, 210–216, 210f, 225, 227n5
Ricca’s founding of, 212
twenty-first century tap choreography by, 226–227
use of space in choreography, 214–215
Purhépecha Peoples. See also Dance of the Old Men of Jarácuaro
Altars and Crafts contest, 163n24
convocatorias, call for contestants, 151–152, 156, 159f
Corpus Christi celebration, 146
dance and musical practices, 143–144, 146–147, 151–152, 159
Dance Competition (Concurso de Danza), 147
Dance of the Huacaleros, 150
description/historical background, 142–143
emigration to the US, 162n16
fiesta environment rivalry, 146–147
The Fish dance, 150
fishing net dances, 150
Kurpitis dance, 153, 163n31
map, P’urhépecha region communities, 143f
National Indigenous Institute contests, 151–152
songs and ensembles (pirekuas y orquestas), 150
Traditional Clothes and Costumes contest, 163n24
traditional dances (danzas tradicionales), 150, 152
Traveling Fisherman dance, 150
Zacán Artistic Contest, 139–140, 140f, 152–160, 154f, 157f, 158f
Quail, Christine, 457–458
Queen, Frank, 616
Queen, “We Are the Champions,” 459, 460, 468n10
(p. 653) The Queen of America Goes to Washington City (Berlant), 460
The Queer Art of Failure (Halberstam), 489
queer ballroom dancing, 465–466
queer presence/queer gesture, in Black expressive arts (DeFrantz), 520
queering of disco dancing, 522
Quinto Real, tango musicians, 310
raas garba song and dance competitions, 12n17
racism, racial inequalities, racial bias. See also #BlackLivesMatter movement
addressed in Color Struck, 34–36
all-white Charleston contest, 17
in American burlesque history, 360
Argentine tango and, 305, 319–320
in cakewalk competitions, 19, 25, 30, 34, 37
cakewalk dance and, 19, 20, 21–24, 26–27, 34, 36
Cho’s experience/criticism of, 454
competitions, socioeconomic status, and, 52
prize money issues, 17, 19, 22
in second line dancing, 587
in West Side Story, 559, 567
radical feminism, 241, 249n14
Rădulescu, Speranţa, 257, 275n4
ragtime dancing and music, 19, 26