Tickets will be available 30 days prior to this event.
You may attend this program in the Historic Asolo Theater or virtually via Zoom. Seating will allow for social distancing. Note: In the event of rising COVID cases or safety concerns this event is subject to be moved outdoors or cancelled. Ticket holders will be notified upon any changes made and refunded if the screening is canceled.
Learn from a Grad is a Lecture Series at The Ringling featuring recent graduates from the FSU American Dance Studies program to speak at the Historic Asolo Theater. Each spring a newly graduated Master's Degree student will present on their defended thesis project. The lectures are designed to be programs where recent graduates can share with guests on topics of special interest related to dance. The focus of the Master of Arts (American Dance Studies) is on the critical study of dance. Committed to scholarly and embodied research, the program investigates the significance of emergent and historical movement practices across stage, street, screen, and social dance forms. From the study of dance history and historiography to cultural criticism and dance ethnography, coursework emphasizes diverse approaches to the role of dance in cultures across the hemispheric Americas and each new grad will be able to share their focus and experience with the Ringling audience.
In this lecture, Carlee Sachs-Krook, an MA candidate in Florida State University’s American Dance Studies program, dives into the world of the USPSF’s Pole Classique competition to consider the race and class politics of women’s sexual self-display in the age of “raunch culture.” She strips away the judging criteria to expose the aesthetic hierarchies wrapped around this form of pole and considers the politics enacted by Classique competitors’ performances as they propose what is classic and classy about pole as they flaunt and saunter. To do so, she shares videos and engages in movement analysis of select Classique routines by Ray Ray Wang, Anna Nikki Repko, and S.T. Shimi, which slide between sticking to and confounding the logic governing the judging criteria. Her exploration of this subculture brings together theories related to post-feminism, “raunch culture,” and solo performances of fun, sexy, self-display most identified with neo-burlesque. In doing so, she invites the audience to reflect on the stakes of standardizing and hierarchizing performances of sexual self-display and the potential of flexible bodies to contort around and within seemingly rigid power structures to turn them on their head.