From Ballroom to DanceSport: Aesthetics, Athletics, and Body Culture

Notes

139 Notes 1. THE CONTESTED LANDSCAPE OF BALLROOM DANCE 1. Carrie Stern,“Shall We Dance?:The Participant as Performer/Spectator in Ballroom Dancing” (PhD diss., NewYork University, 1999); Mary Lyn Ball,“An Analysis of the Current Judging Methods Used in Competitive Ballroom, Including Comparisons to Competitive Pairs Figure Skating and Ice Dancing” (master’s thesis, Brigham Young University, 1998). 2. Daniel Long’s master’s thesis “Qualifying for Olympic Status:The Process and Implications for Competitive Ballroom Dance” (Brigham Young University , 1999) is an invaluable source for “insider” information concerning the various organizational skirmishes involved in the road to the Olympics. Though I draw some of the context from it, I sketch a much broader cultural picture, going beyond a detailed summary of the posted minutes of various meetings, which is what Long’s thesis does. Juliet McMains’s dissertation “Race, Class, and Gender in the American DanceSport Industry” (University of California, 2003) comes closest to my project. Though I draw from the notion of “brownface” that she develops (that privileged groups appropriate rhetorically significant identifying characteristics from less privileged groups in order to imbue their cultural profiles with more diverse characteristics, without endangering their whiteness or their class-based privilege), our conclusions and methods differ significantly. She ultimately advocates DanceSport becoming an artistic forum and draws from her experiences as an experienced DanceSport competitor and teacher to argue for this position. I ultimately make the argument that creating multiple opportunities for funding— some arts based; others, competition and sports based—is probably the most realistic option available, and I draw not only from autoethnographic and ethnographic methods derived from my own experiences and field work, but also formal and thematic tools of film criticism. 3. Brenda Dixon Gottschild, Waltzing in the Dark:African AmericanVaudeville and Race Politics in the Swing Era (New York: St. Martin’s Press, 2002). 4. Gerald Jonas, Dancing: The Pleasure, Power and Art of Movement (New York: Harry N. Abrams, Inc. 1992). 5. Julie Malnig. Dancing Till Dawn:A Century of Exhibition Dance. Reprint. (New York: New York Univeristy Press, 1995). 6. Caroline Joan Picart, From Ballroom to DanceSport:Aesthetics,Athletics, and Body Culture (SUNY series on Sport, Culture, and Social Relations). (Albany: State University of New York Press, 2005). 7. John Lawrence Reynolds, Ballroom Dancing: The Romance, Rhythm and Style (San Diego: Advanced Global Distribution, 1998). 8. Dorothy A. Truex, The Twenty Million Dollar Give-Away: An Expose of Competitive Ballroom Dancing (Philadelphia: Xlibris Corporation, 2001). 9. Chaim Perelman, The Realm of Rhetoric (Notre Dame, Ind.: University of Notre Dame Press, 1982); Chaim Perelman and Lucie Olbrechts-Tyteca, The New Rhetoric: A Treatise on Argumentation (Notre Dame: University of Notre Dame Press, 1969). 10. Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylvania Press, 1997), xv. 11. Prior work on the insider-outsider concept has been published in “Living the Hyphenated Edge: Autoethnography, Hybridity and Aesthetics,” in Ethnographically Speaking: Autoethnography, Literature, and Aesthetics, eds. Arthur P. Bochner and Carolyn Ellis (Walnut Creek: AltaMira Press (Rowman and Littlefield), 2002), 258–273. See also Inside Notes from the Outside (Lanham, MD: Lexington Books (Rowman and Littlefield), 2004). 12. Maria Lugones “On Borderlands/La Frontera: An Interpretative Essay,” Hypatia 7 (1992): 34. 13. Gloria Anzaldua, Borderlands/La Frontera. (San Francisco:Aunt Lute Books, 1987). 14. Lugones, 35. 15. For a prior example of work published in this area, refer to: Caroline Joan (Kay) S. Picart,“Dancing Through Different Worlds:Virtual Emotions and the Gendered Body in Ballroom Dance,” Qualitative Inquiry, 8 (2002): 348-361. 16. Brenda Dixon Gottschild, “Some Thoughts on Choreographing History ,” in Meaning in Motion: New Cultural Studies in Dance, ed. Jane C. Desmond (Durham, N.C.: Duke University Press, 1997), 169. 17. Elizabeth Burns, Theatricality: A Study of Convention in the Theatre and in Social Life (New York, NY: Harper & Row, 1973). 18. Erving Goffman, The Presentation of Self in Everyday Life (NewYork, NY: Anchor Books, 1959). 19. Barbara Browning, Samba: Resistance in Motion (Bloomington, IN: Indiana University Press, 1995); Jane K. Cowan, Dance and the Body Politic in Northern Greece (Princeton: Princeton University Press, 1990); Diane Freedman, “Wife, Widow, Woman: Roles of an Anthropologist in a Transylvanian Village,” in Women in the Field: Anthropological Experiences, ed. Peggy Golde (Berkeley: University of California Press, 1968), 333–358; Sally Ann Ness, Body, Movement, and Culture: Kinesthetic and Visual Symbolism in a Philippine Community (Philadelphia : University of Pennsylvania, 1992). In addition to her earlier work on 140 NOTES TO CHAPTER 1 [3.135...