Drawing on recent media portrayals and her own experience, author and dancer Caroline Joan S. Picart explores ballroom dancing and its more ‘sporty’ equivalent, Dance Sport, suggesting that they are reflective of larger social, political, and cultural tensions. The past several years have seen a resurgence in the popularity of ballroom dance as well as an increasing international anxiety over how and whether to transform ballroom into an Olympic sport. Writing as a participant-critic, Picart suggests that both are crucial sites where bodies are packaged as racialized, sexualized, nationalized, and classed objects. In addition, Picart argues, as the choreography, costuming, and genre of ballroom and Dance Sport continue to evolve, these theatrical productions are aestheticized and constructed to encourage commercial appeal, using the narrative frame of the competitive melodrama to heighten audience interest.
İçerik tablosu
List of Illustrations
Acknowledgments
1. The Contested Landscape of Ballroom Dance: Culture, Gender, Race, Class, and Nationality in Performance
2. Dancing through Different Worlds: An Autoethnography of the Interactive Body and Virtual Emotions in Ballroom Dance
3. Ballroom and the Movies
4. Paving the Road to the Olympics: Staging and Financing the Olympic Dream
5. Packaging Fantasy and Morality
6. Quo Vadis?
Ballroom-Dance-Related Organizations
Appendix: Filmography of Selected Dance Sport and Ballroom Films
Notes
Bibliography
Index
Yazar hakkında
Caroline Joan S. Picart captured second place at the 2005 United States Dance Sport Championships in the World Pro Am Cabaret Champion category, as well as second place at the Millennium National Pro Am Cabaret Championship. When not dancing, she is Associate Professor of English and Courtesy Associate Professor of Law at Florida State University, and is the author of many books, including
Remaking the Frankenstein Myth on Film: Between Laughter and Horror, also published by SUNY Press, and
Inside Notes from the Outside.
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