ABSTRACT This article employs a theoretical framework, utilizing cultural analysis, to explore how the intersection in the United States between competition dance, televised dance shows, and social media (which will be defined as consumer dance) is affecting the embodiment, pedagogy, and appreciation of dance, and contributing to the objectification and commodification of these dancers. Hegemonic constructions of gender and beauty populate consumer dance, giving birth to identities that are predominately reliant on the sense of sight due to technological changes that have plunged society into a nonstop visual world found on a screen. Engaging with the scholarship of Karen Schupp, Susan Foster, and Alexis Weisbord that examines competition dance, the current consumer dance model is analyzed for how it shapes the dancer’s body and psyche. As a researcher, I see an intersection of my identities as a figure skater, modern dancer, choreographer, educator, feminist, and the mother of two daughters who dance informing the trajectory of my research. This scholarship draws from different lenses delving into philosophy, dance studies, feminism, and psychology in order to reveal the complexity of the forces that create consumer dance.

中文翻译：

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消费者舞蹈身份：竞赛舞蹈、电视舞蹈表演和社交媒体之间的交集

摘要本文采用理论框架，利用文化分析，探讨在美国，竞技舞蹈、电视舞蹈表演和社交媒体（将被定义为消费舞蹈）之间的交叉如何影响体现、教学和欣赏。舞蹈，并为这些舞者的物化和商品化做出贡献。性别和美的霸权结构充斥着消费者的舞蹈，由于技术变革使社会陷入了一个在屏幕上发现的不间断的视觉世界，从而产生了主要依赖于视觉的身份。借助 Karen Schupp、Susan Foster 和 Alexis Weisbord 的奖学金，研究竞赛舞蹈，分析了当前的消费舞蹈模型如何塑造舞者的身体和心理。作为一名研究人员，我看到了我作为花样滑冰运动员、现代舞者、编舞家、教育家、女权主义者以及两个跳舞女儿的母亲身份的交集，这些身份为我的研究轨迹指明了方向。该奖学金从不同角度深入研究哲学、舞蹈研究、女权主义和心理学，以揭示创造消费舞蹈的力量的复杂性。