Assessment 2 - Strictly come dancing PDF

Preview

Summary

Download Assessment 2 - Strictly come dancing PDF

Description

Student number: 21505969

Assessment 2: Transnational media

How the British television show Strictly come dancing has become global through the shows television format and production? The nature of the British television show Strictly come dancing will be carefully analysed and critiqued to highlight how the program has become a huge global phenomenon (BBC Strictly come dancing, 2017 and Moran, 2009). Therefore, the creation of the shows format, the celebrities and their professional dancers, the judges, the presenters and the dancing on the show will each be analysed to determine how these elements have increased the shows globalisation (Moran, 2009: p88). Equally, a variety of methodologies and relevant theories will be scrutinised to inform how the format of Strictly come dancing has increased the show’s popularity and how the show has become a globalised product (Steemers, 2004). Over the last decade Strictly come dancing has become an internationally recognised television programme that airs in over fifty countries worldwide including Sweden, Japan, India and Mexico to name a few (BBC Worldwide, 2014). Strictly come dancing began in 2004 as a ballroom and Latin dancing competition that was commissioned by the British television channel BBC one (Moran, 2009: p87). Interestingly, Moran (2004) argues that broadcasters and producers of television shows rarely produce their own programmes due to insufficient ideas and resources to create an entertainment show (Moran, 2004 cited in Oren and Shahaf, 2013: p149). Moran (2004) expresses further that many television broadcasters buy licensed television programmes from the distributor of the original program and reproduce it into their own show which is referred to as format trade (Moran, 2004 cited in Steemers, 2004: p58). BBC entertainment produced and created Strictly come dancing using the foundation of an earlier show that was produced called Come dancing (1949-1998) aired on BBC one which shows that BBC entertainment have recreated the concept of a ballroom dancing competition show as a means of producing Strictly come dancing (Moran, 2009). Since the show Come dancing (1949-1998) BBC entertainment later came up with the idea that twelve celebrities would each be partnered with a professional dancer competing and learning how to dance on a live television show (Moran, 2009). This indicates that BBC entertainment have ownership of Strictly come dancing but this is subject to change when the show is sold to other countries because these countries will be licensed with a degree of ownership to create their own version of the show (Moran, 2009: p88). Furthermore, the show attracted 8.1 million viewers in 2004 which prompted Germany to become the first country involved in the format trade of the show (Oren and Shahaf, 2013: p149). The German television market were distributed with a license from BBC Worldwide to broadcast their own version of Strictly come dancing which has since led to up to fifty other countries seeking a license to broadcast

Student number: 21505969

Assessment 2: Transnational media

their own version of Strictly come dancing (Moran, 2009: p88). This shows that Strictly come dancing has become a globally transported product and sold internationally because it is a huge globalised show that countries have bought into the shows format (Oren and Shahaf, 2013: p64). This links to the term ‘globalisation’, Thompson (1995: p149) states that ‘globalization…refers to the growing interconnectedness of different parts of the world… a process which gives rise to complex forms of…. interaction and interdependency’. This reinforces that Strictly come dancing is globalised because it exchanges the shows format with countless countries around the world yet these countries adapt the show in accordance with their culture to ensure they remain independent from the original version of the show (Esser, Smith and Bernal-Merino, 2016). For example, the popularity of Strictly come dancing led to the development of Australia developing their version of Strictly come dancing and renaming their show to Dancing with the stars Australia in 2004 (Steemers, 2004). This has clear links to Roberston’s social theory on globalisation (1992) as Robertson ignited that the preconceived ideas within society regarding globalisation is that ‘bigger is better’ resulting in the locality of a globalised product lacking acknowledgement (Robertson, 1992 cited in Robertson, 1995: p26). For example, Dancing with the stars Australia made use of the same format as Strictly come dancing incorporating the same number of judges, presenters, professional dancers and celebrities on the programme (Steemers, 2004). This shows Dancing with the Stars Australia made use of the same format as Strictly come dancing which reinforces that the show has not been locally revised because the show is trying to replicate Strictly come dancing to ensure the show becomes a global phenomenon in their country (Esser et al, 2016). On the other hand, Robertson (1992) outlines further that time and space are required to enable the locality of a universalised product to become locally adapted by different cultures internationally (Robertson 1992 cited in Robertson, 1995: p26). This is referred to as the ‘glocal’ whereby the globalisation of a product becomes globally transported to different countries and the product changes meaning (Moran, 2009). Strictly come dancing has become increasingly ‘glocal’ overtime because of how globalised the show has become, although it did not take a long period for Strictly come dancing to become locally adapted by different countries around the world (Esser, Smith and Bernal-Merino, 2016). For example, Dancing with the stars in Brazil was released in 2005 and the show made use of the same format as Strictly come dancing yet the show made slight alterations along the way including changing the number of contestants on the show, changing the voting rules and making use of local talent in the community on the show (Oren and Shahaf, 2013: p63). This identifies that Brazil has adapted the original version of Strictly come dancing to ensure that the show is culturally modified to fit with their own culture (Oren and Shahaf, 2013: p64). The fact that Brazil have developed a different format to Strictly come dancing is a way of making sure that this local production is a success because it offers a

Student number: 21505969

Assessment 2: Transnational media

local production that the local community can appreciate and relate to (Oren and Shahaf, 2013: p64). Subsequently, Strictly come dancing has led to the rise of ‘glocal’ productions all over the world because of the shows original format which is why Strictly come dancing has had viewing success rates spanning over a decade (Esser et al, 2016). Nevertheless, the BBC incorporated several different format elements into Strictly come dancing back in 2004 and these are the elements that make it a recognisably global show (Esser et al, 2016). These included the twelve celebrity contestants and their professional partners, four expert judges, a scoring panel, two presenters, a live band and a live show (Moran and Malbon, 2006). This closely relates to the theory of cultural homogenisation which was argued by Tomlinson (1991) reinforcing that globalisation attaches itself to cultural homogenisation which is a term that refers to a lack of cultural diversity in society because of globalisation (Tomlinson, 1991 cited in Tomlinson, 2003: p269). Strictly come dancing tied into cultural homogenisation back in 2004 because many countries copied the shows format leaving a lack of room for these countries to develop their own cultural interpretation of the show (Moran, 2009 and Moran, 1998: p 47). Yet, the show has currently moved away from cultural homogenisation because Strictly come dancing incorporates the use of characterisation and culture in each dance (Esser et al, 2016). For example, Bollywood, Western and Argentinian dances have been explored on Strictly come dancing as means of promoting these cultures around the world (BBC Strictly come dancing, 2017). This illustrates that Strictly come dancing has become increasingly appealing for other countries to develop their own version of the show because the show amalgamates cultural diversity through dance (Oren and Shahaf, 2013). Equally, Strictly come dancing judge Len Goodman expressed in an interview on the Strictly come dancing after show that he admires the BBC because the show started off as a small independent ballroom and Latin dancing competition that was originally going to be aired on a weeknight to a small televised audience (BBC Strictly, It Takes Two, 2016). Goodman went on to discuss that the show has become a huge global phenomenon and it has increasingly grown through the introduction of show props such as exotic plants and trees, western themed barrels and hay stacks and Brazilian drums (BBC Strictly, It Takes Two, 2016). This demonstrates that Strictly Come Dancing has gained more razzmatazz and has developed a Hollywood feel in the last decade than it did when the show started back in 2004 (BBC Strictly come dancing, 2017). The show has increased in size and popularity leading to a bigger and varied format of the show which reinforces that the show has now become culturally heterogenized (Tomlinson, 2003: p269). Cultural heterogenization is a phrase used to describe the emphasis that is put on cultural diversity and difference as well as making cultures aware of their differences (Robertson, 1995). However, cultural heterogeneity cannot be formed if cultural homogenisation has not occurred

Student number: 21505969

Assessment 2: Transnational media

beforehand which is accurate of Strictly come dancing because back in 2004 the show lacked any form of cultural diversity because the show was solely focused on creating a ballroom and Latin dance competition (Moran and Malbon, 2006). Yet, because the show is aired in over fifty countries worldwide the shows attention to diversity and cultural traditions has become increasingly apparent (Esser et al, 2016). For example, the show features dancers such as the Argentinian tango, the Cuban cha-cha-cha and the American jive (BBC Strictly come dancing, 2017). The characterisation of dance in the show is the most culturally heterogenized aspect of the show because of the cultural diversity, aborigine and history behind it (Moran, 1998). In addition, the show celebrates and welcomes cultural diversity in many forms which has given rise to the programs global success (Esser et al, 2016). Likewise, the show has become increasingly hybrid in nature because the show can mix and combine American, African, Asian and European cultures together (Hjarvard, 2003: p241). Hybridity is a concept that was developed in the nineteenth century which gives rise to the mixture of cultures through both globalisation and localisation (Moran, 1998). For example, the samba is a dance that originates from Brazil, it is an upbeat carnival dance that the celebrity contestants and their professional dancers perform on the show (BBC Strictly come dancing, 2017). The Brazilian culture of the dance might be demonstrated through the contestants musical timing and rhythm when they dance yet the programme may also have a themed week such as Bollywood incorporated into the samba which would require the contestants and their professional partners to wear Bollywood themed costumes, dance to Bollywood music and engage with Bollywood props on set (Esser et al, 2016). This illustrates that the mixture of culture is evident in the characterisation of dance on the show which in turn creates both a global and local hybrid concept (Moran, 2009). Although, the audience will be unable to identify how the Brazilian samba and Bollywood dancing mix together and are interlinked through dance (Moran, 2009). It is also arguable as to how hybrid Strictly come dancing is in nature because Friedman (1995) argues that hybridisation promotes the mixture of different cultures through economic, political and cultural spheres (Friedman, 1995 cited in Hjarvard, 2003: p241). This suggests that Strictly come dancing does not focus on the belief system of different cultures to show how these cultures intertwine (Moran, 2009). Strictly come dancing is a dancing and live entertainment show which shows that hybridity within the show is difficult to engage with given the energetic nature of the show as it focuses on cultural dance not religion or politics of a culture/s (Esser et al, 2016). The professional dancers on the show play a vital role in representing the hybridity of the show because many of the dancers originate from a different country usually from a part of Europe as this is where ballroom and Latin dancing largely originates from (Esser et al, 2016). For example, some of the current professional dancers originate from Russia, Poland, Slovenia, Italy, Siberia, New Zealand and South

Student number: 21505969

Assessment 2: Transnational media

Africa to name several countries that some of the professionals originate from (BBC Strictly come dancing, 2017). This shows that the shows hybridity emerges from the professional dancers because the mixture of cultures widely varies between the professional dancers as their accents, their dance backgrounds and their cultural journeys will all be diverse (Moran and Malbon, 2006). The professional dancers on the show work together to perform routines that promote their individual cultural differences by fusing in dance movements that demonstrate elements within each of their cultural realms (BBC Strictly come dancing, 2017 and Steemers, 2004). For example, when professional dancer Anton Du Beke who is British dances a waltz with professional dancer Natalie Lowe who originates from Australia in one of the shows professional group dances (BBC Strictly come dancing, 2017). This reinforces the togetherness and hybridity of two cultures on the show because when the professional dancers join for a group dance the show reinforces cultural diversity in an impactful way to the audience as they become aware of the types of cultures that ballroom and Latin dancing originate from (Tomlinson, 2003: p55). This interlinks with Said’s discussion (2001) on contrapuntal presence which was developed in the nineteenth century whereby the combining of experience and cultural formation brings together two dimensions that form overall awareness of a concept (Silverstone, 2013: p85). For example, the professional dancers on Strictly come dancing tell their individual stories on occasion during pre-recorded rehearsals which relates to their individual dance culture and background (Esser et al, 2016). As a result, the professional dancers collective story is also being told simultaneously on screen meaning that the audience will learn about this professional dancer’s background and the cultural history within their country (Steemers, 2004). The Strictly come dancing judges are an integral part of the show as the four judges Len Goodman, Darcey Bussell, Bruno Tonioli and Craig Revel-Horwood are all from different dance backgrounds and different cultures (Esser et al, 2016). For example, Len is a British ballroom dancer and judge, Darcey is a British Ballerina and teacher, Bruno is an Italian dance choreographer and Craig is an Australian dancer with a pantomime background (BBC Strictly come dancing, 2017). However, the show has not always had these judges in place as there was Arlene Phillips and Alesha Dixon who both judged the show before Alesha Dixon was replaced by Darcey Bussell (Oren and Shahaf, 2013). Len Goodman has also left the show which means that Goodman is going to be replaced by another judge on the panel during the shows next series (BBC Strictly - It Takes Two, 2016). This conspicuously links to the term modernity which is a term that was developed between the mid eighteenth to late twentieth century as a means of expressing how distant events and arrangements effect and change human life (Giddens, 1998 cited in Moran, 1998: p78). Therefore, modernity changes the course of a concept through the reinforcement of time and space which is paramount in changing and rebuilding new ideas and concepts

Student number: 21505969

Assessment 2: Transnational media

(Moran, 1998). This highlights that Strictly come dancing has been modernised through the changes and replacements of the Strictly come dancing judging panel to provide a new and fresh dynamic on the show (Moran and Malbon, 2006). The changes made to the Strictly come dancing judging panel have become universalised as Dancing with the stars in America have replaced Len Goodman as a judge with Julianne Hough who was a former dancer on the show. (Esser et al, 2016). Arguably, the changes made to the judging panel is augmented to maintain and increase viewing figures because audiences thrive on change on a primetime entertainment show (Silverstone, 2013). The Strictly come dancing panel has also become a recognisable unit worldwide of four judges as it is evident that most cultures make use of a similar judging panel to Strictly come dancing (Steemers, 2004). For example, Dancing with the stars in Denmark, Croatia, Belgium, Austria and Argentina are just some of the shows that have imitated the Strictly come dancing judging panel by incorporating the use of four judges from different dance backgrounds (BBC Worldwide, 2014). This heightens Strictly come dancing’s success in terms of the shows judging panel because it shows that the interest other countries have taken in the format of the shows judging panel means that it is a global phenomenon that suits the show efficaciously (Silverstone, 2013). Though, this does not mean to say that other versions of the show around the world do not have the right to change their judging format to suit and acquire with their own culture needs (Moran and Malbon, 2006). Moreover, the Strictly come dancing presenters on the show are a pinnacle part of the Strictly come dancing format as the show began in 2004 with presenters Bruce Forsyth and Tess Daly with the duo complementing each other’s presentation of the show (Steemers, 2004). The programme currently has presenters Tess Daly and Claudia Winkelman since Bruce Forsyth stepped down from his position in 2013 (BBC Strictly come dancing, 2017). Yet, Bruce Forsyth is an iconic public figure who relayed slogans such as ‘let’s meet the stars of our show’ and ‘keep dancing!’ (Esser et al, 2016). This is a way of Strictly come dancing putting their own print and trademark on the show which links to the theory of networked individuality coined by Castells (2004) which is the idea that consumers of a universal product use their own individual authority to develop a new concept for the show (Castells, 2004 cited in Comunello, 2011: p31). Contrary to this, strictly come dancing have developed their own catchphrases to ensure that the show develops an independent identity as a show that has become increasingly global (Oren and Shahaf, 2013). Both network individuality and mass self-communication (Castells, 2007) refer to a new and revised method of social communication and this is a form of communication that reaches a mass audience (Castells, 2007 cited in Comunello, 2011: p33). Therefore, the catchphrases in Strictly come dancing will reach a mass audience across the United Kingdom and perhaps beyond to countries around the world but the catchphrases will certainly resonate with the mass

Student number: 21505969

Assessment 2: Transnational media

audience in Britain (Tomlinson, 2003). Yet, Castells (2004) continues to argue that network individualism is a narcissistic approach and framework whereby the structure of networked individuality becomes the primary focus (Castells, 2004 cited in Comunello, 2011: p31). Though, strictly come dancing is a live family entertainment show that incorporates light hearted humour between the presenters, the celebrities and the shows live audience (Silverstone, 2013). This demonstrates that Strictly come dancing is not competing in any wa...