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Glamour lessons: Race, class, and g...

McMains, Juliet Elizabeth.

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Glamour lessons: Race, class, and gender in the American dancesport industry.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Glamour lessons: Race, class, and gender in the American dancesport industry./
Author:	McMains, Juliet Elizabeth.
Description:	312 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2684.
Contained By:	Dissertation Abstracts International64-08A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3100627

Glamour lessons: Race, class, and gender in the American dancesport industry.
McMains, Juliet Elizabeth.

Glamour lessons: Race, class, and gender in the American dancesport industry. - 312 p.

Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2684.

Thesis (Ph.D.)--University of California, Riverside, 2003.

This dissertation performs a cultural analysis of the contemporary American dancesport industry, tracking production and consumption of its primary commodity: Glamour. In chapter one, I examine the structure of the competitive ballroom dance institution, revealing how participants from radically different social positions are seduced into a mutual fantasy of personal transformation. Despite promises of transcendence of limitations imposed by class, racial, ethnic, sexual, or gendered identity, Glamour's power is located in its ability to suspend consumers in unequal and often hierarchical social positions. I interrogate how the tension produced by the tantalizing intimacy and simultaneous distance which characterizes Glamour emerges out of and feeds back into other discourses of image and identity in American social life. In chapter two, I examine the relationship between social dance and competitive dance in the history of the American ballroom industry. I am particularly attentive to the role of improvisation in the standardization process—its continual erasure, elimination, control and reappearance. This genealogy also exposes the repeated projection of distinctions of race onto those of class and vice versa, an elision which likewise aided in the development of a distinctly white and upwardly mobile dance practice. Chapter three examines representations of Latin-ness in dancesport, looking specifically at the development of the “Latin” dances, the practice of brownface, and concurrent practices of salsa. I invoke comparison of the tanning creams used for Latin dancesport competition to blackface used in minstrelsy in order to reflect on the racial and potentially racist consequences of discourses enacted by dancesport. Chapter four revisits many of the problems created by the Glamour machine described in chapter one, exploring resistance found in choreographic projects that bring dancesport to concert stages and challenge the power of Glamour.Subjects--Topical Terms:

610547
Dance.

Glamour lessons: Race, class, and gender in the American dancesport industry.
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035 $a (UnM)AAI3100627
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100 1 $a McMains, Juliet Elizabeth. $3 1945332
245 1 0 $a Glamour lessons: Race, class, and gender in the American dancesport industry.
300 $a 312 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2684.
500 $a Chairs: Susan Leigh Foster; Susan Rose.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2003.
520 $a This dissertation performs a cultural analysis of the contemporary American dancesport industry, tracking production and consumption of its primary commodity: Glamour. In chapter one, I examine the structure of the competitive ballroom dance institution, revealing how participants from radically different social positions are seduced into a mutual fantasy of personal transformation. Despite promises of transcendence of limitations imposed by class, racial, ethnic, sexual, or gendered identity, Glamour's power is located in its ability to suspend consumers in unequal and often hierarchical social positions. I interrogate how the tension produced by the tantalizing intimacy and simultaneous distance which characterizes Glamour emerges out of and feeds back into other discourses of image and identity in American social life. In chapter two, I examine the relationship between social dance and competitive dance in the history of the American ballroom industry. I am particularly attentive to the role of improvisation in the standardization process—its continual erasure, elimination, control and reappearance. This genealogy also exposes the repeated projection of distinctions of race onto those of class and vice versa, an elision which likewise aided in the development of a distinctly white and upwardly mobile dance practice. Chapter three examines representations of Latin-ness in dancesport, looking specifically at the development of the “Latin” dances, the practice of brownface, and concurrent practices of salsa. I invoke comparison of the tanning creams used for Latin dancesport competition to blackface used in minstrelsy in order to reflect on the racial and potentially racist consequences of discourses enacted by dancesport. Chapter four revisits many of the problems created by the Glamour machine described in chapter one, exploring resistance found in choreographic projects that bring dancesport to concert stages and challenge the power of Glamour.
590 $a School code: 0032.
650 4 $a Dance. $3 610547
650 4 $a Sociology, Ethnic and Racial Studies. $3 1017474
650 4 $a American Studies. $3 1017604
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710 2 0 $a University of California, Riverside. $3 791122
773 0 $t Dissertation Abstracts International $g 64-08A.
790 1 0 $a Foster, Susan Leigh, $e advisor
790 1 0 $a Rose, Susan, $e advisor
790 $a 0032
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3100627