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Dancing on Shaky Ground: the Power-Laden Interactions Between Exotic Dancers and Their Customers Jensiné Martha Anahita Iowa State University

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Dancing on Shaky Ground: the Power-Laden Interactions Between Exotic Dancers and Their Customers Jensiné Martha Anahita Iowa State University Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2000 Dancing on shaky ground: the power-laden interactions between exotic dancers and their customers Jensiné Martha Anahita Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Social Psychology and Interaction Commons Recommended Citation Anahita, Jensiné Martha, "Dancing on shaky ground: the power-laden interactions between exotic dancers and their customers" (2000). Retrospective Theses and Dissertations. 16802. https://lib.dr.iastate.edu/rtd/16802 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Dancing on shaky ground: The power-laden interactions between exotic dancers and their customers by Jensine Martha Anahita A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Sociology Major Professors: Cynthia D. Anderson and Jacquelyn Litt Iowa State University Ames, Iowa 2000 11 Graduate College Iowa State University This is to certify that the Master's thesis of Jensine Martha Anahita has met the thesis requirements of Iowa State University Signatures have been redacted for privacy 111 TABLE OF CONTENTS CHAPTER ONE. GIVING THEM SOMETHING TO TALK ABOUT: INTRODUCTION Rhetoric About Exotic Dancing in Iowa in the 2 late 1990s Feminist Anxieties and Personal Conflicts 5 Nagging Question 9 Strip Club Environment 11 Roadmap to the Thesis 16 CHAPTER TWO. THEORETICAL AND EMPIRICAL PATTERNS: 20 REVIEW OF THE LITERATURE Discourse of Deviance 21 Feminist Perspectives 37 Dancers as Workers 58 CHAPTER THREE. WHAT'S A NICE GIRL LIKE ME DOING IN A 82 PLACE LIKE THIS? RESEARCH QUESTIONS AND METHODOLOGY Goals of the Research 84 Choice of Method: Ethnographic Field Study 86 Choosing the Research Sites 98 Getting Through the Door 99 Collecting the Data 107 Evaluating the Data Collection Process 113 Dates of the Data Collection 120 Approach to Analyzing the Data 121 Conclusion 127 CHAPTER FOUR. WORKING IT: INTERACTIONAL STRATEGIES TO 130 GENERA TE TIPS U sing Interactional Strategies 131 Capitalizing on Stage Performances 132 Capitalizing on Verbal Communication 145 Capitalizing on Eye Contact 161 Capitalizing on Fantasy Construction 164 Capitalizing on Emotional Manipulation ·172 Capitalizing on Gender Expectations 177 Conclusion 181 IV CHAPTER FIVE. MAKING THEM BEHAVE: INTERACTIONAL 183 STRATEGIES TO HANDLE NON-COMPLIANT CUSTOMERS Contending with Problem Customers 184 Talking to Customers 193 Relying on Symbolism 197 Reminding Customers of Other Powers 202 Teasing and Embarrassing Customers 206 Controlling Customers' Hands 209 Withdrawing Attention 212 Enlisting the Aid of Others 218 Hitting the Non-Compliant Customer 224 Conclusion 227 CHAPTER SIX. TEASING MEANINGS FROM THE TALES: 230 CONCLUSIONS Do Exotic Dancers Have Power? 230 Contributions This Work Makes 243 Limitations to My Research 246 Suggestions for Future Directions 247 A Return to Rhetoric 251 REFERENCES 253 APPENDIX 262 v ACKNOWLEDGEMENTS lowe an enonnous debt to many women and men. Cindy Anderson, Jackie Blount, and Jackie Litt, my thesis committee members, all inspired, challenged, and critiqued my work in important, though often unsettling, ways. You asked the really tough questions. I thank you all for your critical feminist and sociological insights, the lunches, phone calls, and hugs. Carol Rambo Ronai and Julia Hanns-Cannon both were influential at an early stage of my research. Thanks especially to Julia who convinced me that this work could be feminist. I owe Robin Leidner and Wendy Chapkis special thanks, though I have never met them, for pointing the way. Thanks also to Mike Bell, Dianne Bystrom, Jill Bystydzienski, W. Houston Dougharty, BeJae Fleming, Pat Hipple, Shaun Keister, Kevin Kettner, Kathy Kremer, Robert Perkins, Peg Petrzelka, and Yong Wang; you helped me past methodological and theoretical roadblocks. Thanks especially to Mike Bell for liberating my writing from the iron cage of academic stiffness. Other sociology graduate students were influential in my thinking and writing; thanks to members of Qualude, and the graduate students in Mike Bell's Qualitative Methods class. Thanks especially to the twelve exotic dancers who kindly consented to talk to me; this work would not have been possible without your gracious sharing of your time and your experiences with me. I said it to each of you, but I will say it again: you are amazing! I also owe a debt of gratitude to the two bouncers, three customers, and the police officer who granted me interviews. Thanks to the women bar managers who let me in the door of their establishment. Fooey on the many male owners and managers who denied me entrance. VI Family members supported me through what I am sure they see as just another weird interest of mine; thanks Mama and Tine. Marna, remember that I am the only one of your daughters who has been kicked out of a strip club. Had Daddy not left the planet too soon to see his eldest daughter write this, I am sure he would have been equally supportive, while shaking his head at my quirky interest. Kisses and pets to all of my four-legged family members who patiently endured my absence and my obsessions. The biggest debt of all lowe to Kayt Sunwood. Thanks, Kayt, for your warm and eternally supportive affection. You were there when I decided to do this, and you were the midwife to my ideas. Thanks also for accompanying me into that smoky, unnerving first night in the strip club. And for all of those hours spent on the phone deliberating over events, teasing out their meanings, I thank you. Kayt also read and commented on every draft of every chapter of this thesis. None of this work would have been possible without her loving, patient, and kind critical insights. She is the sun under which I bloom. CHAPTER ONE GIVING THEM SOMETHING TO TALK ABOUT: INTRODUCTION When I first contemplated graduate school, I thought that I would study prostitutes. I was fascinated with how sex-for-hire and feminism might mesh or might come into conflict with each other. Having been schooled over two decades by the radical feminist analysis of the evils of the patriarchal social system and the victimization of women who work within the sex industry, I believed that talking with prostitutes might illuminate my politics. I wanted to document my belief that prostitutes possessed personal power, in contrast to the radical feminist party line that emphasized their status as victims. However, difficulty in locating the underground world of prostitutes in the sparsely populated and staunchly conservative Midwestern state where I entered school forced me to look elsewhere for a topic. As I scrounged around for a new and more accessible population to study, exotic dancers seemed suddenly to burst into focus. Dancers had became the site for local, state, and even federal legislation and court challenges in the middle 1990s, and the Midwestern state where I was located was a central part of the debates. As a population, exotic dancers possessed all of the criteria that I had set for my thesis topic: they were considered to be sex workers, and many, perhaps nearly all, were female; there was little written specifically about exotic dancers in the sociological literature, and little that was positive about them in the feminist literature, so I would be able to plug existing holes; exotic dancers were even in the 2 upper Midwest, I discovered to my delight, and they provided me with the highly visible population that I was seeking. Thus, I began my exploration of the world of the exotic dancer with purely feminist and sociological intentions. Over the course of my work, however, my feminist credentials, as well as my sociological credentials, would be called into question. As I shall illustrate, the rhetoric that my associates used when challenging my research topic was echoed by the mainstream media, local politicians, neighborhood activists, and business owners. Rhetoric About Exotic Dancing in Iowa in the Late 1990s I first became interested in studying Midwestern exotic dancers when Big Earl Hamilton, owner of the strip club Big Earl's Goldmine, was gunned down in the parking lot of his Des Moines business in 1996 (Hoffman 1998). Three years later, his murder is still unsolved, despite the offer of a $21,000 reward for information on his killer (Alex 1998). The local police have bandied around several theories, and local newspapers have written dozens of articles on the murder and its famous victim. These newspaper accounts are disturbing to me in several ways. First, the articles often seem to be nearly mocking in their descriptions of Hamilton, his business, and the employees who worked for him. They contain double entendres in vain attempts to be humorous. The articles also are factually confusing. For example, one article equates streetwalking prostitutes with exotic dancers, although the two occupations are markedly different in terms of participants, job structure, legality, visibility, and other characteristics. The articles are also burdened with moral overtones, often with quotations not from friends and family members of the murdered businessman, but with quotations from 3 ministers and other business owners who decry the location of Hamilton's strip club near schools, other businesses, and churches. Words such as "pervert" and "immoral" are commonplace in articles about Hamilton's murder. Some of the articles seem to imply that Hamilton, as the owner of a strip club, got what he deserved. Meanwhile, all over Iowa in the 1990s, rhetoric about exotic dancing fueled attempts to shut down clubs and to put dancers out of business.
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