Amanda Jane Olmstead (she/her) is a faculty member in the Theatre Arts Department at the University of Pittsburgh and in the School of Drama at Carnegie Mellon University in Pittsburgh, USA. She received her PhD in Theatre and Performance Studies from the University of Pittsburgh, her MA in Performance Studies from New York University, and her BA in Theatre with a minor in Dance from the Indiana University of Pennsylvania. Olmstead is also a choreographer for local Pittsburgh schools and the Pitt Stages Theatre Arts Department. Her publications include an article titled “Développé: Katherine Dunham’s Diasporic Dance” in the Studies in Musical Theatre Journal and a chapter titled “Dance as Narrative: Storytelling Through the Ensemble Body” for the collection titled Dance in Musical Theatre: A History of the Body in Movement.

• AcknowledgementsPrefaceSection One: Becoming BlankenbuehlerIntroduction1.0 Words with Andy: The Creative Process1.1 On Imagery1.2 On Style1.3 On Music1.4 On DocumentationSection Two: Extended Choreographic Analysis2.0 En Washington Heights: Staging Authenticity through the Individual Ensemble Body2.1 Luis Salgado: on Collaboration and Connection2.2 “Blankenbuehlerizing” Choreography and Staging Authenticity2.3 “In the Heights”: Staging Community, Establishing Vocabulary2.4 “Carnaval Del Barrio:” Staging Latinx Nationality through Social Dance2.5 Conclusion: Adapting Environments3.0 “We Ain’t No Cheerleaders:” Cheerleading Bodies, Hip-hopping Bodies, and the World of Bring it On: the Musical3.1 “What I Was Born To Do”—Truman High School: Producing whiteness through Cheerleading3.2 “Yo, hip-hop is our national pastime:” Hip-Hop and the Crew3.3 “We Ain’t No Cheerleaders” on a “Friday Night”—Jackson High School: Producing or Subverting Other through Hip-Hop3.4 “It’s All Happening”—Jackson High School: Turning a “Crew” into a “Squad”3.5 Welcome to Varsity Nationals: Cheerleading versus Hip-Hop3.6 Conclusion: Reparative Cheerleading4.0 Who Tells the Story?: Dialectic Activations of the Ensemble Body4.1 “Together We Can Turn the Tide:” Moving From and Between Individual and Collective Ensemble Body4.2 “We Move as One:” Synchronism and Hip-Hop4.3 “Alexander Hamilton:” Establishing the Omnipresent and Omniscient Ensemble4.4 “Helpless” / “Satisfied:” Subverting Patriarchal Practices4.5 “Yorktown (The World Turned Upside Down):” Communicating Revolution4.6 Conclusion: The World Is Wide EnoughSection Three: Continued Practice5.0 Blankenbuehler Beyond Miranda5.1 Bandstand5.2 Only Gold5.3 Nine6.0 Beyond Blankenbuehler: Collaboration and Stephanie KlemonsConclusion: Blankenbuehler and the Ensemble (Body)Bibliography

Amanda Jane Olmstead (she/her) is a faculty member in the Theatre Arts Department at the University of Pittsburgh and in the School of Drama at Carnegie Mellon University in Pittsburgh, USA. She received her PhD in Theatre and Performance Studies from the University of Pittsburgh, her MA in Performance Studies from New York University, and her BA in Theatre with a minor in Dance from the Indiana University of Pennsylvania. Olmstead is also a choreographer for local Pittsburgh schools and the Pitt Stages Theatre Arts Department. Her publications include an article titled “Développé: Katherine Dunham’s Diasporic Dance” in the Studies in Musical Theatre Journal and a chapter titled “Dance as Narrative: Storytelling Through the Ensemble Body” for the collection titled Dance in Musical Theatre: A History of the Body in Movement.

• AcknowledgementsPrefaceSection One: Becoming BlankenbuehlerIntroduction1.0 Words with Andy: The Creative Process1.1 On Imagery1.2 On Style1.3 On Music1.4 On DocumentationSection Two: Extended Choreographic Analysis2.0 En Washington Heights: Staging Authenticity through the Individual Ensemble Body2.1 Luis Salgado: on Collaboration and Connection2.2 “Blankenbuehlerizing” Choreography and Staging Authenticity2.3 “In the Heights”: Staging Community, Establishing Vocabulary2.4 “Carnaval Del Barrio:” Staging Latinx Nationality through Social Dance2.5 Conclusion: Adapting Environments3.0 “We Ain’t No Cheerleaders:” Cheerleading Bodies, Hip-hopping Bodies, and the World of Bring it On: the Musical3.1 “What I Was Born To Do”—Truman High School: Producing whiteness through Cheerleading3.2 “Yo, hip-hop is our national pastime:” Hip-Hop and the Crew3.3 “We Ain’t No Cheerleaders” on a “Friday Night”—Jackson High School: Producing or Subverting Other through Hip-Hop3.4 “It’s All Happening”—Jackson High School: Turning a “Crew” into a “Squad”3.5 Welcome to Varsity Nationals: Cheerleading versus Hip-Hop3.6 Conclusion: Reparative Cheerleading4.0 Who Tells the Story?: Dialectic Activations of the Ensemble Body4.1 “Together We Can Turn the Tide:” Moving From and Between Individual and Collective Ensemble Body4.2 “We Move as One:” Synchronism and Hip-Hop4.3 “Alexander Hamilton:” Establishing the Omnipresent and Omniscient Ensemble4.4 “Helpless” / “Satisfied:” Subverting Patriarchal Practices4.5 “Yorktown (The World Turned Upside Down):” Communicating Revolution4.6 Conclusion: The World Is Wide EnoughSection Three: Continued Practice5.0 Blankenbuehler Beyond Miranda5.1 Bandstand5.2 Only Gold5.3 Nine6.0 Beyond Blankenbuehler: Collaboration and Stephanie KlemonsConclusion: Blankenbuehler and the Ensemble (Body)Bibliography

Amanda Jane Olmstead (she/her) is a faculty member in the Theatre Arts Department at the University of Pittsburgh and in the School of Drama at Carnegie Mellon University in Pittsburgh, USA. She received her PhD in Theatre and Performance Studies from the University of Pittsburgh, her MA in Performance Studies from New York University, and her BA in Theatre with a minor in Dance from the Indiana University of Pennsylvania. Olmstead is also a choreographer for local Pittsburgh schools and the Pitt Stages Theatre Arts Department. Her publications include an article titled “Développé: Katherine Dunham’s Diasporic Dance” in the Studies in Musical Theatre Journal and a chapter titled “Dance as Narrative: Storytelling Through the Ensemble Body” for the collection titled Dance in Musical Theatre: A History of the Body in Movement.

• AcknowledgementsPrefaceSection One: Becoming BlankenbuehlerIntroduction1.0 Words with Andy: The Creative Process1.1 On Imagery1.2 On Style1.3 On Music1.4 On DocumentationSection Two: Extended Choreographic Analysis2.0 En Washington Heights: Staging Authenticity through the Individual Ensemble Body2.1 Luis Salgado: on Collaboration and Connection2.2 “Blankenbuehlerizing” Choreography and Staging Authenticity2.3 “In the Heights”: Staging Community, Establishing Vocabulary2.4 “Carnaval Del Barrio:” Staging Latinx Nationality through Social Dance2.5 Conclusion: Adapting Environments3.0 “We Ain’t No Cheerleaders:” Cheerleading Bodies, Hip-hopping Bodies, and the World of Bring it On: the Musical3.1 “What I Was Born To Do”—Truman High School: Producing whiteness through Cheerleading3.2 “Yo, hip-hop is our national pastime:” Hip-Hop and the Crew3.3 “We Ain’t No Cheerleaders” on a “Friday Night”—Jackson High School: Producing or Subverting Other through Hip-Hop3.4 “It’s All Happening”—Jackson High School: Turning a “Crew” into a “Squad”3.5 Welcome to Varsity Nationals: Cheerleading versus Hip-Hop3.6 Conclusion: Reparative Cheerleading4.0 Who Tells the Story?: Dialectic Activations of the Ensemble Body4.1 “Together We Can Turn the Tide:” Moving From and Between Individual and Collective Ensemble Body4.2 “We Move as One:” Synchronism and Hip-Hop4.3 “Alexander Hamilton:” Establishing the Omnipresent and Omniscient Ensemble4.4 “Helpless” / “Satisfied:” Subverting Patriarchal Practices4.5 “Yorktown (The World Turned Upside Down):” Communicating Revolution4.6 Conclusion: The World Is Wide EnoughSection Three: Continued Practice5.0 Blankenbuehler Beyond Miranda5.1 Bandstand5.2 Only Gold5.3 Nine6.0 Beyond Blankenbuehler: Collaboration and Stephanie KlemonsConclusion: Blankenbuehler and the Ensemble (Body)Bibliography