Performing in a night-time leisure venue: a visual analysis of erotic dance

Research output: Contribution to journalArticle

Abstract

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.
Original languageEnglish
Article number19
JournalSociological research online
Volume17
Issue number2
DOIs
Publication statusPublished - 31 May 2012

Fingerprint

leisure time
dance
labor
social research
management
aesthetics
interview
performance

Keywords

  • photo-elicitation
  • self
  • performance
  • emotional labour
  • aesthetic labour
  • erotic dance
  • visual methods

Cite this

@article{f8ec5dd5acba4f6e8253fd37b9090d9f,
title = "Performing in a night-time leisure venue: a visual analysis of erotic dance",
abstract = "This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. {\^A}{\circledC} Sociological Research Online, 1996-2012.",
keywords = "photo-elicitation, self, performance, emotional labour, aesthetic labour, erotic dance, visual methods",
author = "Katy Pilcher",
year = "2012",
month = "5",
day = "31",
doi = "10.5153/sro.2695",
language = "English",
volume = "17",
journal = "Sociological research online",
issn = "1360-7804",
publisher = "Sociological Research Online",
number = "2",

}

Performing in a night-time leisure venue: a visual analysis of erotic dance. / Pilcher, Katy.

In: Sociological research online, Vol. 17, No. 2, 19, 31.05.2012.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Performing in a night-time leisure venue: a visual analysis of erotic dance

AU - Pilcher, Katy

PY - 2012/5/31

Y1 - 2012/5/31

N2 - This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.

AB - This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.

KW - photo-elicitation

KW - self

KW - performance

KW - emotional labour

KW - aesthetic labour

KW - erotic dance

KW - visual methods

UR - http://www.scopus.com/inward/record.url?eid=2-s2.0-84863868736&partnerID=40&md5=e25f27220a6382df954662790afc9b2d

UR - http://www.socresonline.org.uk/17/2/19.html

U2 - 10.5153/sro.2695

DO - 10.5153/sro.2695

M3 - Article

VL - 17

JO - Sociological research online

JF - Sociological research online

SN - 1360-7804

IS - 2

M1 - 19

ER -