An Investigation Into Audiences' Televisual Experience of Strictly
An investigation into audiences’ televisual experience of Strictly Come Dancing Karen Wood University of Manchester, UK Volume 7, Issue 2 (November 2010) Abstract This paper explores ten participants’ viewing experience of Strictly Come Dancing (BBC, 2009b) through personal, reflective diary writing. The main aim of the research was to investigate the concept of kinesthetic empathy and to see how this central concern in dance spectatorship might be theorised in relation to the active/passive debate in media audience research. Viewers’ motivation and commitment in how they watch Strictly will be explored to try and understand the range of viewing strategies adopted. From the research, areas that have been highlighted for particular attention are spectacle, emotional connection, admiration of skill and aspiration to dance. The conclusion will draw together discussion of moments of passivity, kinesthetic experience and active or passive engagement in relation to the concept of intuitive spectatorship. Keywords: Kinesthetic, empathy, active, passive, spectatorship, commitment, engagement The research presented in this paper is part of a wider project investigating kinesthetic empathy and screen dance audiences. The concept of kinesthetic empathy provides a framework to explore spectator responses to dance on screen, whether in terms of experimental dance film or popular dance on television. The aim of the research for this paper was to investigate the ‘why’ and ‘how’ of ten participants’ interaction with Strictly Come Dancing (including my own interaction as a self-confessed fan) and what motivates the viewing. The objective of this paper is to interweave debates in media audience research on Page 262 Volume 7, Issue 2 November 2010 active or passive spectatorship with those from dance scholarly discourse on kinesthesia with the ambition of reaching a refined understanding of spectatorship of dance on screen.
[Show full text]