Acknowledgements
Preface

Section One: Becoming Blankenbuehler
Introduction
1.0 Words with Andy: The Creative Process
1.1 On Imagery
1.2 On Style
1.3 On Music
1.4 On Documentation

Section Two: Extended Choreographic Analysis
2.0 En Washington Heights: Staging Authenticity through the Individual Ensemble Body
2.1 Luis Salgado: on Collaboration and Connection
2.2 “Blankenbuehlerizing” Choreography and Staging Authenticity
2.3 “In the Heights”: Staging Community, Establishing Vocabulary
2.4 “Carnaval Del Barrio:” Staging Latinx Nationality through Social Dance
2.5 Conclusion: Adapting Environments
3.0 “We Ain't No Cheerleaders:” Cheerleading Bodies, Hip-hopping Bodies, and the World of Bring it On: the Musical
3.1 “What I Was Born To Do”-Truman High School: Producing whiteness through Cheerleading
3.2 “Yo, hip-hop is our national pastime:” Hip-Hop and the Crew
3.3 “We Ain't No Cheerleaders” on a “Friday Night”-Jackson High School: Producing or Subverting Other through Hip-Hop
3.4 “It's All Happening”-Jackson High School: Turning a “Crew” into a “Squad”
3.5 Welcome to Varsity Nationals: Cheerleading versus Hip-Hop
3.6 Conclusion: Reparative Cheerleading
4.0 Who Tells the Story?: Dialectic Activations of the Ensemble Body
4.1 “Together We Can Turn the Tide:” Moving From and Between Individual and Collective Ensemble Body
4.2 “We Move as One:” Synchronism and Hip-Hop
4.3 “Alexander Hamilton:” Establishing the Omnipresent and Omniscient Ensemble
4.4 “Helpless” / “Satisfied:” Subverting Patriarchal Practices
4.5 “Yorktown (The World Turned Upside Down):” Communicating Revolution
4.6 Conclusion: The World Is Wide Enough

Section Three: Continued Practice
5.0 Blankenbuehler Beyond Miranda
5.1 Bandstand
5.2 Only Gold
5.3 Nine
6.0 Beyond Blankenbuehler: Collaboration and Stephanie Klemons

Conclusion: Blankenbuehler and the Ensemble (Body)
Bibliography