Introduction
The intersection of disability and dance, as explored by Bailey Anderson in “Overcoming and Denial: “Disability and Modern Dance in the United States” and “Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader” edited by Julie Malnig provide a variety of perspectives on dance culture. Analyzing these writings together, one realizes common issues such as identity, representations, power relations, and the importance of togetherness. This reflective journey aims to reveal the intricate interweaving elements that make up the dance society with a deeper perception of what it entails.
Identity and Representation
Scrutinizing disability in modern dance creates an opportunity for critically reexamining power constructs in the dance setting. Anderson exposes that the refusal of disability in dance culture speaks on Julie Malnig’s questioning of commercialization and stereotyping of Latin dance in “Ballroom, Boogie, Shimmy Sham, Shake.” In their views, such issues have crucial relevance. Anderson highlights some of the barriers the community of disabled dancers faces and explains why it is essential to recognize disability as part of the dance community (Anderson 59). However, Malnig also explores what happens when specific dances are transformed into stereotyped categories that could take them away from their original cultural form (Malnig 316). These concurrent themes highlight the broader issues surrounding identities, identity negotiations, and authentic representation that marginalized groups face in the dance world, challenging existing approaches, practices, and policies.
Denial and Perception
It is compatible with Malnig’s work about stereotypes and commercialism’s influence on the interpretation of dance styles. The two texts bring out the realization that existing norms and perceptions in the field of dancing can result in either concealment or misrepresentation of specific identities. Anderson shows how this ableism sustains discriminatory portrayals that hinder the recognition of bodily plurality in dance landscapes (Anderson 58). On the other hand, Malnig asserts that commercializing dance can give false impressions that are not true to the culture of origin of the dance involved. The fusion between denial and perception calls for a richer and more comprehensive depiction of representation in the dance space, seeking a better understanding of the forces that shape these perceptions, such as cultural commodification stereotypes.
Power Dynamics and Cultural Appropriation
Anderson poses severe concerns regarding the power dynamics in the dance realm, specifically focusing on those individuals exercising supremacy to maintain or influence some standards. It corresponds well with Malnig’s examination of how some dances, such as Latin, are commercialized and taken (Malnig 305). The two texts showcase how power relations underplay dance in their depiction and perception. The relationship between power and its representation in dance through a general perspective is what Malnig studies. In “Ballroom, Boogie, Shimmy Sham, Shake,” the discourse on cultural borrowing emphasized the need to give credit where it is due and acknowledge that there is often a power asymmetry in intercultural relations.
Diversity in Dance Practices
Dance practices must be diverse; this sentiment runs across the two texts. Anderson calls for inclusion in modern dance, which challenges norms that debar individuals with disabilities. Through this survey of different social and pop dances, Malnig reveals the intricacy of the world dances and their wealth. Improvisational dexterity sets salsa dancers apart from most DanceSport competitors (Malnig 315). Diversity is reflected differently in each of these texts. Thus, Anderson advocates for diversified and all-encompassing landscapes in which persons with disabilities are included. Through her comprehensive reading, Malnig shows how diverse these dance practices are depending on cultures and contexts and reminds us of the importance of appreciating these diversities.
Conclusion
The merging of Julie Malnig’s socio-popular dance analysis and Bailey Anderson’s disability-focused approach provides a deeper understanding of the complexity of dance culture. The juxtaposition of these texts illuminates shared themes that transcend particular dance styles, enabling us to appreciate the complexity surrounding the field of dancing.
Work Cited
Anderson, Bailey. “Overcoming and denial: Disability and modern dance in the United States.” Dance Research Journal 52.3 2020: 58–75. https://www.cambridge.org/core/journals/dance-research-journal/article/overcoming-and-denial-disability-and-modern-dance-in-the-united-states/78E27AB6D19D6A82F4FE2FD8F68594C6
Malnig, Julie, editor. Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. University of Illinois Press, 2009.
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