Through these distancing techniques, according to the researchers, "dancers are able to triangulate and map and identity for themselves through a very treacherous terrain which makes available less than perfect resources for accomplishing biographical work" (115).
Also, an analysis of other factors, such as race and sexuality, and how these factors limit or expand the choices afforded to dancers, is a necessary tool when evaluating the working conditions of strippers.
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Although Brooks contends that dancing was helpful to improve her negative self-image (part of which was induced by her skin color), her essay is demonstrative of the way in which issues of race complicate notions of personal agency for strippers.
In "Dancing Toward Redemption" by Meredith McGhan, she describes herself as "…a middle-class white chick…who's far shorter and heavier then the buff Demi Moore in Striptease or the lean, leggy Elizabeth Berkley of Showgirls" (Body Outlaws, 166).
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Although this essay was premised on the study discussed above, and intended as supplementary, much of Ronai's subjective thought seems to invalidate the sense of control she accords to exotic dancers.
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When discussing her research with her professor, she states: "I turned into a dancer last night, I was there only for the money at the end, and I'm having a hard time maintaining my objectivity" (121).
Ballet is viewed as the basis for all great dancers
Thus Ronai effectively incorporates structural factors in her interrogation of strippers' resistance strategies; she is both eager to afford these women the agency they deserve, but careful to remind readers of the limited options for a livable income afforded to these women.
In "The Reflexive Self Through Narrative, A Night in the Life of an Exotic Dancer/Researcher," (1992) Carol Rambo Ronai writes a subjective essay about her experiences as an exotic dancer (briefly described above).
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Others felt degraded and out
of control (282).
It is obvious from the statement above that many women felt a sense of empowerment but that this did not necessarily hold true for all dancers.
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Rambo and Ellis suggest that there are a number of strategies that dancers use to "feel out" the customers, such as eye contact, flirting, or feigning a sense of "realness" that might be unexpected by the customer, and that these strategies are used to determine which customers will pay the most during table dances.