Capital is the turbo engine: The commodification and transformation of private ballet education in China

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dc.contributor.advisor Rowe, N en
dc.contributor.author Wang, Miao en
dc.date.accessioned 2020-08-06T20:38:20Z en
dc.date.issued 2020 en
dc.identifier.uri http://hdl.handle.net/2292/52519 en
dc.description Full Text is available to authenticated members of The University of Auckland only. en
dc.description.abstract This thesis opens new considerations of the nexus of dance and the economy, by advancing discussions from the commercialization of dance education to the commodification of dance education. The key question prompting this research is: Why and how has commodification shifted the practice of ballet teaching? From this foundation further questions are also discussed, such as: How do dance educators perceive the injection of venture capital in private ballet education? How do neoliberal economic strategies present concerns for dance educators? How have consumer needs shifted teaching practices? What further concerns regarding the impact of commodification of dance education emerge from dance educators? This research critically reflects on the impact of neoliberalism on dance education, specifically focusing on the personal experiences of six dance educators and venture capitalists in Chengdu, China. These dance educators and venture capitalists describe shifts in the teaching of ballet teaching in response to concerns over business competition, market share, and customer satisfaction. These concerns have given rise to changes in how dance education addresses personal growth and aesthetic needs, have increased qualification and certification and emphasized transferable professional pathways. This ethnographic qualitative research was gathered over a year-long period that I, the researcher, spent travelling in Chengdu, China. Through in-depth personal interviews and a broad literature review, I illuminate how a free market economy can foster feelings of alienation as well as transformation. Dance educator’s experiences highlight how ballet teaching can be affected by a complex political-economic environment and reveal approaches that present commodification and cultural hegemony within pedagogic and economic practices. Through an articulation and critical analysis of the experiences and concerns of the six dance educators and venture capitalists, this research contributes to understandings of the interrelation between dance and economy in China. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Full Text is available to authenticated members of The University of Auckland only. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.title Capital is the turbo engine: The commodification and transformation of private ballet education in China en
dc.type Thesis en
thesis.degree.discipline Dance Studies en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The author en
pubs.elements-id 809862 en
pubs.record-created-at-source-date 2020-08-07 en
dc.identifier.wikidata Q112954232


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