Type of Document Thesis Author Young, Latika Linn Author's Email Address firstname.lastname@example.org URN etd-04052007-140622 Title Dorky Dance.Com: Dorky Dancing, Vlogging and the Rise of Self-Produced Dance on the Internet Degree Master of Arts Department Dance, Department of Advisory Committee
Advisor Name Title Sally Sommer Committee Chair John O. Perpener, III Committee Member Tricia Young Committee Member Keywords
- Ok Go
Date of Defense 2007-04-02 Availability unrestricted AbstractThis thesis traces a lineage from historical onscreen awkward dancing to contemporary online dorky dancing. This evolution encompasses Edison’s actualities, the stars of silent film, Charlie Chaplin and Buster Keaton, the expert awkward dancer, Donald O’Connor, and the more recent awkward dance stars, Pee Wee Herman and Napoleon Dynamite. This foundation contextualizes the rise of self-produced, “dorky dance” on the Internet, a form beloved for its genuineness and lack of fabrication and immensely popular due to “viralization” and transmission as “Internet memes.”
Dorky dance is further distinguished from awkward dance by examining the specific criteria that compose its definition. This investigation utilizes both movement analysis and socio-cultural studies, drawing particularly from gender studies and recent sociological theorizing about the Internet. The current role of Internet participation advocacy is linked to a long-standing precedent for participation-fuelled art-making, drawing from Walter Benjamin to the post-modern artistic collaborators of the 1960s and 1970s.
This study analyzes the impacts of the online dorky dance movement, including those personal in nature—either for the creator or the viewer, the new audience member—and those on a societal level, both the positive and potentially negative. Although participation in the dorky dance genre is still limited by the existing restrictions of the digital divide, the technology necessary to participate is rapidly becoming cheaper and more available. This greater accessibility is continuing to bring fascinatingly diverse examples of online dorky dancing.
Finally, the thesis explores the points of intersection between Internet dorky dancing and other arenas that it is permeating—the live concert dance stage, the cinema house, the video art realm, and the commercial world of advertisements and sponsorship.
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