Eyeing the Scene: The Uses and (RE)uses of Surveillance Cameras in an Exotic Dance Club

Egan, R. Danielle

doi:10.1163/156916304323072125

Cited by 31 publications

(36 citation statements)

References 5 publications

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“…On the other hand, some studies report exotic dance's challenges to patriarchy, male dominance, and social control (Egan, 2004;Hanna, 2009;Montemurro, 2001). The female sex is power and the unknown, and the male fears castration in Manderson's (1992) view.…”

Section: Striptease Exotic Dancementioning

confidence: 99%

Dance and Sexuality: Many Moves

Hanna

2010

Journal of Sex Research

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This literature review of dance and sexual expression considers dance and religion, dance and sexuality as a source of power, manifestations of sexuality in Western theater art and social dance, plus ritual and non-Western social dance. Expressions of gender, sexual orientation, asexuality, ambiguity, and adult entertainment exotic dance are presented. Prominent concerns in the literature are the awareness, closeting, and denial of sexuality in dance; conflation of sexual expression and promiscuity of gender and sexuality, of nudity and sexuality, and of dancer intention and observer interpretation; and inspiration for infusing sexuality into dance. Numerous disciplines (American studies, anthropology, art history, comparative literature, criminology, cultural studies, communication, dance, drama, English, history, history of consciousness, journalism, law, performance studies, philosophy, planning, retail geography, psychology, social work, sociology, and theater arts) have explored dance and sexual expression, drawing upon the following concepts, which are not mutually exclusive: critical cultural theory, feminism, colonialism, Orientalism, postmodernism, poststructuralism, queer theory, and semiotics. Methods of inquiry include movement analysis, historical investigation, anthropological fieldwork, autoethnography, focus groups, surveys, and self-reflection or autobiographical narrative. Directions for future exploration are addressed.

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Section: Striptease Exotic Dancementioning

confidence: 99%

Dance and Sexuality: Many Moves

Hanna

2010

Journal of Sex Research

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“…I add to preexisting research on social control in strip clubs by emphasizing spatial and ecological considerations. Instead of social control being deployed through bouncer masculinity (DeMichele and Tewksbury 2004) or surveillance cameras (Egan 2004)-both forms of club control that are purposefully installed by club superordinates-at Mell's Belles and similar clubs, actors self-police drug behaviors through strategic use of space. They do this in order to avoid direct conflicts with control regimes and to manage impressions of their drug use.…”

Section: Resultsmentioning

confidence: 99%

If You Want It, You Can Get It Right Here

Lavin

2014

Humanity & Society

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There is a burgeoning body of sociological literature that focuses on strip clubs and the club actors therein; most notably, strippers. Most of this scholarly work has emphasized interactions between strippers and customers, the deployment of stigma management strategies in order to neutralize deviantizing interactions and identities, gender performances and hierarchies, power, inequality and social control, and socialization processes associated with becoming dancers. While scholars have paid some attention to drugs and alcohol in the locale, they have paid little attention to how drug and alcohol use relates to the spatial organization and material culture of the strip club, the relationship between stigma and where club actors use illicit drugs, and how using certain drugs contributes to discreditable identities of already stigmatized workers. By centralizing accounts of setting actors through interviewing to supplement my complete participant fieldworker role, I build ideas about context-specific drug and alcohol use, power, and the ecology of drugs.

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“…In my study, some informants, such as April, shared that the boundary between the dancer self and real self grew blurrier the longer they performed. In other words, the "counterfeit" intimacy generated by the dancer persona had the potential to become "real" to the performer (Egan 2006;Queen 1997).…”

Section: Counterfeit or Real Intimacy?mentioning

confidence: 99%

Managing the Toll of Stripping

Barton

2007

Journal of Contemporary Ethnography

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This article examines three psychospatial boundary-setting strategies exotic dancers rely on to manage the difficulties of working in strip bars: what the author elaborates as the "toll" of stripping. These include setting personal rules, "othering" of fellow performers, and creating a dancer persona. Dancers set rules to personally determine the amount of sexual and emotional contact they are willing to have with customers to prevent workplace exploitation and manage the toll of stripping. Othering involves constructing oneself as superior to one's peers, and the dancer persona provides an internal boundary that separates the "authentic" from the stripper self.

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Eyeing the Scene: The Uses and (RE)uses of Surveillance Cameras in an Exotic Dance Club

Cited by 31 publications

References 5 publications

Dance and Sexuality: Many Moves

Dance and Sexuality: Many Moves

If You Want It, You Can Get It Right Here

Managing the Toll of Stripping

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