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19 Defining Dance, Creating Commodity: The Rhetoric of So you Think You Can Dance
Get accessAfter being a dancer and teacher at competitive studios for many years as well as a Regional Director for competition organizations, Alexis A. Weisbrod received her PhD in Critical Dance Studies from the University of California, Riverside. She has held positions as Lecturer in Global Studies at UC Riverside and Associate Faculty in Dance at Norco College. Currently Dr. Weisbrod is an Associate Faculty member at Mt. San Jacinto College. Alexis A. Weisbrod is an Associate Faculty member at Mt. San Jacinto College.
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Published:02 October 2014
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Abstract
This chapter examines how the rhetoric utilized in So You Think You Can Dance(United States) presupposes details of dance training, including the experience of certain types of bodies and the expectations of racial identity in regards to highly skilled bodies. The structure of the show emphasizes the language of the judges and producers over the work of the dancers. This language, which establishes values and comparisons between bodies, is used to train audience members to read dancing bodies. Examining these patterns of rhetoric, this chapter defines the term conceived body, identifying how it is constructed on both contemporary and hip-hop dancers during the course of the television show’s first eight seasons. Finally, the racialized construction of these dancing bodies is addressed in relation to the spectacle and commodification created by and on these bodies.
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