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Constructing Community: the Symbols of Social Power in Competitive Clogging in the Intermountain West of the United States

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Constructing Community: the Symbols of Social Power in Competitive Clogging in the Intermountain West of the United States Constructing Community: The Symbols of Social Power in Competitive Clogging in the Intermountain West of the United States Gary J. Larsen Supervisor: Dr Catherine E. Foley This thesis was submitted in accordance with the requirements of the University of Limerick for the Degree of Doctor of Philosophy Submitted to the University of Limerick June 2016 ii Abstract Constructing Community: The Symbols of Social Power in Competitive Clogging in the Intermountain West of the United States Gary J. Larsen This study, one of the few academic analyses of the socio-cultural aspects of contemporary competitive clogging, briefly summarises the history of group clogging from its rural beginnings in the Southeastern Appalachian Mountains to one of its many contemporary manifestations, that of competitive clogging in the Intermountain West of the United States. During its journey from a rural, local expression to a national practice, clogging experienced processes of standardisation, institutionalisation, transformation, appropriation and competition. These processes were influenced by cultural brokers, individuals and organisations that variously exerted social power in shaping the history, traditions, technique and the participatory and performative contexts of the dance. This objective of this study is to examine the America On Stage (AOS) organisation as a cultural broker by investigating its efforts to build and maintain a community of clog dancers in the Intermountain West. The principal findings of this study are grounded in the understanding that AOS is a competition-sanctioning organisation with stated motivations of spreading clogging and strengthening dance studios in the Intermountain West. In order to achieve success in these aims, AOS undertakes deliberate activities and initiatives to promote, stabilise, and energise perceptions of community and membership among participants. These include: 1) the creation and distribution of symbolic representations of identity, 2) the sponsorship of the means of production and mise en scene for pragmatic performance (competition), 3) the dissemination of culturally significant aesthetics through the All-Around Solo programme, and 4) the assignment of value to symbolic representations delivered therein (adjudication). As a cultural broker, AOS succeeds in creating an expansive, cohesive community in many ways; the appealing iconography it projects both internally and externally attracts young, technology-savvy dancers, and its awards structure is particularly motivating. However, AOS policies are limited in other significant ways, including: 1) an institiutionalised aesthetic and loss of regional diversity 2) the hierarchisation of competition 3) limited, sustained social interaction and ‘mutually affirming engagement’, and 4) an absence of recreational options that enable enduring participation and community reification. iii iv Declaration The work described in this thesis is, except where otherwise indicated, entirely that of the author and has not been previously published or submitted in any part for a degree at this or any other University. Signed: Gary J. Larsen Date: v vi Acknowledgement There are so many individuals that have earned my gratitude for their role in the completion of this work. It would be impossible to remember and acknowledge each individual that touched my life and influenced this work during its various phases, so I will not attempt a comprehensive list. However, there are many whom I wish to recognise formally. I offer my profound gratitude to my supervisor and mentor Dr Catherine Foley. Her tireless encouragement and honesty has taken me on a journey of both academic discovery and self-realisation. My thanks also go to Dr Orfhlaith Ní Bhriain and Dr Mats Melin for their advice and encouragement early in the process. Like a wise elder sister and brother, they provided a great example to me. I also acknowledge Dr Colin Quigley for his mentorship in guiding me to, and along, the path of Ethnochoreology and helping me to see that I can do it. Many, many thanks go to Greg Tucker, who spent countless hours with me in person, on the phone, and by email in formal and casual settings to help me better understand the complex cultural and organisational structures found in this dance community. His passion for clogging is second only for his love of helping others; for which I am truly indebted. I greatly appreciate the generous assistance of Bethany Hulse, Bryan Steele, Dennis Cobia, Judy Weymouth, Bill Nichols, Jeff Driggs, Scotty Bilz, Garland Steele, Susan Phillips, Tandy Barrett, James Kesterson, Shannon Edwards, Ed Austin, and the dozens of directors, adjudicators, dancers and parents who gave of their time and talents for this study. Special thanks and gratitude go to my administrators and colleagues at Brigham Young University-Idaho for their support of my research endeavours; it was so very appreciated. Finally, none of this would have been possible were it not for the loving support of my dear wife Mindy. Whether it was holding down the fort during busy writing times, congratulating me on my achievements, or consoling me in times of frustration, she has been my constant and unwavering strength throughout the entire journey. vii viii Dedication To Mom and Dad, for sacrificing so much to help me to succeed and follow my dreams. ix x Table of Contents Page Abstract ..................................................................................................................... iii Declaration ................................................................................................................. v Acknowledgement .................................................................................................... vii Dedication .................................................................................................................. ix List of Figures .......................................................................................................... viii List of Plates ............................................................................................................... x List of Tables ............................................................................................................. xi List of Appendices .................................................................................................... xii List of Abbreviations ............................................................................................... xiii Chapter 1 – Introduction ......................................................................................... 1 1.1 Introduction: Clogging as Expressive Culture ............................................... 1 1.2 Research Question and Focus ......................................................................... 5 1.3 Research Rationale ......................................................................................... 5 1.4 My Location in the Community ..................................................................... 6 1.5 My Role as Researcher in the Research Community ................................... 11 1.6 Research Methodology ................................................................................. 14 1.7 Thesis Chapter Outline ................................................................................. 17 Chapter 2 – A Review of Relevant Literature ..................................................... 18 2.1 Identity and Community ............................................................................... 18 Symbolic Map References ......................................................................... 20 Community Boundary Negotiation ........................................................... 22 The Pluralistic Nature of Self and Collective ............................................ 22 Defining Self, Defining Other ................................................................... 24 Dance as an Expression of Identity and Community ................................ 24 Community Enactment: The Theory of Cultural Pragmatics .................... 26 2.2 Social Power ................................................................................................. 29 Cultural Brokers: Primary Players in the Politics of Social Power ........... 30 2.3 History: ‘An Artful Assembly of Materials from the Past’ .......................... 31 2.4 Tradition: A Resource in the Construction of Community .............. 36 Building Community Through Tradition: Ritual, Homeland, and Pilgrimage .................................................................................................. 39 A Note on Participatory versus Presentational Events .............................. 40 2.5 Standardisation and Institutionalisation ....................................................... 41 Early and Recreation Clogging Standardisation ........................................ 45 Academic Scholarship on Clogging Standardisation ................................ 47 2.6 Transformation of the Dance Practice .......................................................... 49 Competition and its Transformative Ramifications in Expressive Culture52 2.7 Chapter Summary ..................................................................................................... 59 xi Chapter 3 – Historical Background ...................................................................... 60 3.1 Historical Contextualisation ........................................................................
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