Abstract
Americans first experienced and embraced dance marathons in 1923, after which these events quickly gained popularity. But the dance marathon that burst upon the scene as yet another fad in keeping with the ebullient nature of the 1920s was dissimilar in form and intent from the dance marathon as it would evolve during the depression years of the 1930s. Within a decade, dance marathons were quickly transformed into a combination of contest and entertainment, replete with spectacle, humor, horror, romance suspense, and drama. By applying Victor Turner’s rites of passage and social drama theories to these contests, the dance marathon circuit is revealed to have been a society within, and to a great degree separate from, the larger American society. This viewpoint serves to demonstrate why and how the marathon developed as it did. The specific social drama that developed within the marathon was a smaller reflection of the nation’s larger Meta drama – establishing the micro within the macro of society. Viewed from this perspective – as a secondary or alternate society – social drama is confirmed to be the main utility in its development.
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