Log in

Relevant bibliographies by topics / Belly dance Belly dance Belly dancers / Journal articles

To see the other types of publications on this topic, follow the link: Belly dance Belly dance Belly dancers.

Journal articles on the topic 'Belly dance Belly dance Belly dancers'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Belly dance Belly dance Belly dancers.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

Full text

Abstract:

This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.

APA, Harvard, Vancouver, ISO, and other styles

2

Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (June 1, 2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.

Full text

Abstract:

Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.

APA, Harvard, Vancouver, ISO, and other styles

3

Frühauf, Tina. "Raqs Gothique: Decolonizing Belly Dance." TDR/The Drama Review 53, no. 3 (September 2009): 117–38. http://dx.doi.org/10.1162/dram.2009.53.3.117.

Full text

Abstract:

Goth belly dance—or “raqs gothique”—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. Goth belly dancers want to reject or transcend the obvious roots of belly dancing in Orientalism, but how successful are they?

APA, Harvard, Vancouver, ISO, and other styles

4

Faidi, Maria. "Rolling and Trembling of the Abdomen: Movement as a Subaltern Subject in Colonial Egypt." Congress on Research in Dance Conference Proceedings 2016 (2016): 141–47. http://dx.doi.org/10.1017/cor.2016.20.

Full text

Abstract:

Accordingly to Shay and Sellers-Young (2005) “the term “belly dance” was adopted by natives and non-natives to denote all solo dance forms from Morocco to Uzbekistan that engage the hips, torso, arms and hands in undulations, shimmies, circles and spirals.” Dance historian Curt Sachs depicted the dance as “the swinging of the rectus abdominis” (Sachs 1963). This movement has been performed by many oriental dancers in the past century and has become part of the routine of oriental dancers worldwide. This movement has even named the dance “belly dance,” and become one of the most representative elements of contemporary Egyptian culture.This paper will be organized as follows: firstly, I am going to explain succinctly how I use the term “subaltern” in relation to dance and colonialism. Secondly, I am going to present the main scenarios, actors, and factors in which the rolling and trembling of the abdomen was danced, watched, desired and hated at the end of the nineteenth century, provoking strong love/hate reactions among the fin de siecle public. The discourse intermingles both dance and feminist analysis observing how movement constituted a metaphor of the unequal power relations between the metropolis and the colony within the particular historical context of British colonialism in Egypt.

APA, Harvard, Vancouver, ISO, and other styles

5

Egrikavuk, Isil. "SEEING THE BELLY DANCE AS A FEMINIST POSSIBILITY: GAZE, GENDER AND PUBLIC SPACE IN ISTANBUL." Cena, no. 33 (April 20, 2021): 144–54. http://dx.doi.org/10.22456/2236-3254.110694.

Full text

Abstract:

This paper discusses the ancient form of belly dance as an example to speak more in depth about the public spaces of Istanbul, where the female body is constantly under surveillance by the male gaze. Over thousands of years, the ancient dance form of belly dance has been transformed from a collective women’s ritual to a form of entertainment that serves the male gaze. This paper looks for the possibilities tore-define belly dance as a feminist counter strategy to revive its essence. Framed by the Muted Group Theory, this paper also exemplifies various artworks and strategies produced by female artists and analyze them in the light of this theory. It also searches for redefining the belly dance as part of a feminist identity and asks whether these artistic strategies could be pathways in re-defining belly dance as a feminist practice. KeywordsFeminism. Public Space. Belly Dance. Muted Group. Gender.

APA, Harvard, Vancouver, ISO, and other styles

6

Dox, Donnalee. "Dancing Around Orientalism." TDR/The Drama Review 50, no. 4 (December 2006): 52–71. http://dx.doi.org/10.1162/dram.2006.50.4.52.

Full text

Abstract:

The performance of belly dancing in the West embodies a central paradox: while invoking Orientalist tropes in its appropriation of Middle Eastern dances, it is cast as a celebratory form of women's empowerment that destabilizes Western patriarchy. Exploring these contradictory claims, the author situates the predicaments of gender and interculturalism that surface in discourses about Western belly dance.

APA, Harvard, Vancouver, ISO, and other styles

7

Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.

Full text

Abstract:

In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is customarily performed to this genre of music, which dancers acknowledge as an inseparable part of the dance. This study unravels how the Oriental dancer, in tandem with the music of Umm Kulthūm, engages with the audience to create the experience of tarab—a deeply emotional state generated by the invocation of personal, cultural, and public memories that is often collectively experienced by dancer, musicians, and audience. This study is based on interviews with four Egyptian dancers and four North American dancers who performed extensively in the Middle East. This research, while both building on and theorizing from the current ethnomusicological research on tarab music, foregrounds the dancer's voice and her experiences while embodying and performing to this music, offering a new analysis that brings the dancer into the discourse and expands our understanding of Oriental dance as a performance and aesthetic experience apart from the traditional notions of Orientalism.

APA, Harvard, Vancouver, ISO, and other styles

8

Eğrikavuk, Işık. "Seeing the Belly Dance as a Feminist Possibility: Gaze, Gender and Public Space in İstanbul." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 69–84. http://dx.doi.org/10.33831/jws.v19i2.253.

Full text

Abstract:

This paper discusses the ancient form of belly dance as an example to speak more in depth about the public spaces of Istanbul, where the female body is constantly under surveillance by the male gaze. Over thousands of years, the ancient dance form of belly dance has been transformed from a collective women’s ritual to a form of entertainment that serves the male gaze. This paper looks for the possibilities tore-define belly dance as a feminist counter strategy to revive its essence. Framed by the Muted Group Theory, this paper also exemplifies various artworks and strategies produced by female artists and analyze them in the light of this theory. It also searches for redefining the belly dance as part of a feminist identity and asks whether these artistic strategies could be pathways in re-defining belly dance as a feminist practice.

APA, Harvard, Vancouver, ISO, and other styles

9

Eğrikavuk, Işık. "Seeing the Belly Dance as a Feminist Possibility: Gaze, Gender and Public Space in İstanbul." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (October 10, 2017): 69–84. http://dx.doi.org/10.33831/jws.v18i2.253.

Full text

Abstract:

This paper discusses the ancient form of belly dance as an example to speak more in depth about the public spaces of Istanbul, where the female body is constantly under surveillance by the male gaze. Over thousands of years, the ancient dance form of belly dance has been transformed from a collective women’s ritual to a form of entertainment that serves the male gaze. This paper looks for the possibilities tore-define belly dance as a feminist counter strategy to revive its essence. Framed by the Muted Group Theory, this paper also exemplifies various artworks and strategies produced by female artists and analyze them in the light of this theory. It also searches for redefining the belly dance as part of a feminist identity and asks whether these artistic strategies could be pathways in re-defining belly dance as a feminist practice.

APA, Harvard, Vancouver, ISO, and other styles

10

al Musa, Maha. "Birth preparation using belly dance." Women and Birth 24 (October 2011): S29—S30. http://dx.doi.org/10.1016/j.wombi.2011.07.099.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Austin, S. "Belly dance—a therapist's perspective." European Eating Disorders Review 3, no. 1 (March 1995): 61–65. http://dx.doi.org/10.1002/erv.2400030114.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Kono, Ichiyo, Yoshihiro Ueda, Kuniharu Araki, Kenji Nakajima, and Hiroshi Shibasaki. "Spinal myoclonus resembling belly dance." Movement Disorders 9, no. 3 (1994): 325–29. http://dx.doi.org/10.1002/mds.870090309.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Moe, Angela M. "Beyond the Belly: An Appraisal of Middle Eastern Dance (aka Belly Dance) as Leisure." Journal of Leisure Research 44, no. 2 (June 2012): 201–33. http://dx.doi.org/10.1080/00222216.2012.11950262.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Łapińska, Joanna. "„Nie tańczysz sama przed lustrem. Oni na ciebie patrzą!”. Taniec brzucha jako afektywna strategia uczestnictwa w kulturze w filmie „Czerwony jedwab”." Prace Kulturoznawcze 20 (March 27, 2017): 143–53. http://dx.doi.org/10.19195/0860-6668.20.12.

Full text

Abstract:

“You’re not dancing alone in front of the mirror. They are looking at you!” Belly Dance as an Affective Strategy of Participation in Culture in Satin RougeThe article analyses the film portraits of women performing belly dancing Satin Rouge, 2002 Raja Amari. The film tells the story of awoman who after the death of her husband indulges in entertainment rather unsuitable for aGod-fearing Arab woman: belly dance in aTunis nightclub. The article focuses on dance as an affective strategy of participation in culture. Belly dance understood as aconscious work on one self and abody allows women to express their subjectivity and feel like an individual entity. Female dancing body has the power to affect — the ability to influence other bodies and to express oneself — and thus may create room for negotiation within the hegemonic discourse of men’s power over women in the Arab world.

APA, Harvard, Vancouver, ISO, and other styles

15

Shay, Anthony, and Barbara Sellers-Young. "Belly Dance: Orientalism—Exoticism—Self-Exoticism." Dance Research Journal 35, no. 1 (2003): 13–37. http://dx.doi.org/10.1017/s0149767700008755.

Full text

Abstract:

The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. (Said 1978,1)The past century has witnessed the phenomenon of belly dancing becoming a key icon of the Middle East in the West. This iconic representation often causes outrage, resentment, and even protest among Arabs who resent Westerners (mis)representing them by focusing on cabaret-style belly dance, a low-class and disreputable symbol for many in the Arab world, as a primary media image of the Middle East. Since the 1970s, millions of women and some men in the West have been attracted to belly dancing, investing millions of dollars and enormous time acquiring the basic skill of the dance in order to perform it. This essay will address several issues that are raised by the phenomenon of belly dancing and its transformation, globalization, and acculturation in the West; it is designed to develop a newly emerging area of performance/cultural research, drawing from the fields of dance and transnational studies.

APA, Harvard, Vancouver, ISO, and other styles

16

Lumbantobing, Hendri Parluhutan, Renny Sinaga, and Kandace Sianipar. "PENGARUH BELLY DANCE DIKOMBINASIKAN DENGAN PIJAT ENDORPHIN TERHADAP PENGURANGAN RASA NYERI PADA IBU BERSALIN KALA 1." Jurnal Ilmiah PANNMED (Pharmacist, Analyst, Nurse, Nutrition, Midwivery, Environment, Dentist) 15, no. 1 (April 27, 2020): 109–15. http://dx.doi.org/10.36911/pannmed.v15i1.660.

Full text

Abstract:

Physiologically, all women who give birth will experience pain during labor process and statistically, labor pain cannot be tolerated by two out of three mothers. Women who get massages during labor will experience a significant decrease in anxiety, reduction in pain, and shorter delivery time. No wonder that endorphin massage technique is important to be mastered by pregnant women and husbands who enter the gestational age of the 36th week. The second thing that can be done to deal with the labor pain besides the endorphin massage is dancing. Dancing is a performance art but also can heal and free someone, especially the pregnant women who suffer from psychological disorders. The purpose of this study was to determine the effect of belly dance combined with endorphin massage in reducing pain in the first stage of labor at the Beringin Health Center Tapian Dolok District, Simalungun Regency. The hypothesis in this study was belly dance and endorphin massage were effective in reducing pain in primiparous mothers. The type of this research was a quasi-experiment. The design of this study was pre and post-test design. The required number of samples was 16 + 1.6 = 17.6 or n = 18 samples, that was the sample size for the control group was 18 samples and the sample size for the treatment group was 18 samples, so the total number of samples needed in this study were n = 36 respondents. The results showed that there was an effect of endorphin massage combined with belly dance (asymp.sig 0.004) on reducing pain in first stage of labor. This study is expected to provide an education to pregnant women about the importance of the belly dance combined with endorphin massage in reducing pain in first stage of labor, so that pregnant women can do a belly dance combined with endorphin massage at home.

APA, Harvard, Vancouver, ISO, and other styles

17

Shomali, Mejdulene B. "Dancing Queens." Journal of Middle East Women's Studies 15, no. 2 (July 1, 2019): 135–56. http://dx.doi.org/10.1215/15525864-7490939.

Full text

Abstract:

AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women’s homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic “traditional” Arab culture. In this sense, the article recovers women’s nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women’s queerness that have been overlooked.

APA, Harvard, Vancouver, ISO, and other styles

18

Alkalay-Gut, Karen, and Elaine Feinstein. "In Belly-Dance Class/Schopenhauer/The Crab." Poem 1, no. 4 (January 2013): 68–70. http://dx.doi.org/10.1080/20519842.2013.11415412.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Inghilleri, Maurizio, Antonella Conte, Vittorio Frasca, Anna Elisabetta Vaudano, and Giuseppe Meco. "Belly dance syndrome due to spinal myoclonus." Movement Disorders 21, no. 3 (October 6, 2005): 394–96. http://dx.doi.org/10.1002/mds.20698.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Popp, Ashley M., and Chia-Ju Yen. "The Global Transformation of Belly Dancing: A Cross-Cultural Investigation of Counter-Hegemonic Responses." Physical Culture and Sport. Studies and Research 55, no. 1 (October 31, 2012): 17–29. http://dx.doi.org/10.2478/v10141-012-0002-7.

Full text

Abstract:

AbstractThe first part of this study, explored by Ashley Popp, presents an investigation into a relatively unexamined area of physical education: an analysis of a transcultural phenomenon in the history of dance. Data has been collected from primary sources and archival evidence to assess competing ideologies inherent in the transformation of a particular art form. In the analysis of the cultural migration through which belly dance was transferred from the Middle East to the United States, an adaptive reaction to the hegemonic relationships of culture, race, gender, and class has been observed. Beyond performance aesthetics, links have been made between the act of belly dancing and the building of women’s self-esteem, as researched by Chia-Ju Yen. The main purpose of her study was to explore how facial burn patients cope with disfigurement and the unfriendly attitudes of others, and examines the alteration of body image via inspiration provided by the performance of belly dance. This research was conducted from the perspective of an anthropologically thickdescription research method, and a case study was performed using in-depth interviews, including narratives by a woman who had suffered facial injuries. The results of the research showed that through family support, hard work and a decisive and studious personality, the patient was able to cope with the discriminatory attitude of others. The performance of belly dance not only made her emphasize her body, but also enriched her life.

APA, Harvard, Vancouver, ISO, and other styles

21

이언영 and 손이정. "Design Development According to Belly Dance Costumes Preference." Journal of Digital Design 10, no. 2 (April 2010): 471–78. http://dx.doi.org/10.17280/jdd.2010.10.2.046.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Marquis, Jenée, and Rachel Gurvitch. "Shake It Out! Belly Dance in Physical Education." Journal of Physical Education, Recreation & Dance 86, no. 8 (September 30, 2015): 14–21. http://dx.doi.org/10.1080/07303084.2015.1075920.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Cowan, Ruth. "Belly dance and its links to body psychotherapy." Body, Movement and Dance in Psychotherapy 11, no. 4 (February 12, 2016): 235–48. http://dx.doi.org/10.1080/17432979.2016.1145140.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Kraus, Rachel. "Abandoning Belly Dance: Leaving Female-Dominated Serious Leisure." International Journal of the Sociology of Leisure 3, no. 2 (February 14, 2020): 135–52. http://dx.doi.org/10.1007/s41978-020-00052-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Kraus, R. "They Danced in the Bible: Identity Integration among Christian Women Who Belly Dance." Sociology of Religion 71, no. 4 (November 21, 2010): 457–82. http://dx.doi.org/10.1093/socrel/srq077.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Carminatti, Micheli, Leonessa Boing, Bruna Leite, Fabiana Flores Sperandio, Thaina Korpalski, Tatiana de Bem Fretta, Melissa de Carvalho Souza Vieira, et al. "EFFECTS OF BELLY DANCING ON BODY IMAGE AND SELF-ESTEEM IN WOMEN WITH BREAST CANCER – PILOT STUDY." Revista Brasileira de Medicina do Esporte 25, no. 6 (December 2019): 464–68. http://dx.doi.org/10.1590/1517-869220192506220067.

Full text

Abstract:

ABSTRACT Introduction Breast cancer has innumerable consequences in women’s lives and physical activity can be beneficial during this period. Objectives To analyze the influence of belly dancing on the body image and self-esteem of women during and after breast cancer treatment. Methods Nineteen women diagnosed with breast cancer, divided into a control group (8 women) and a study group (11 women), who were under treatment or post-treatment at the Center for Oncological Research (CEPON), participated in the study. A questionnaire was used for data collection, divided into three blocks as follows: a) general information - sociodemographic and clinical characterization; b) body image - Body Image After Breast Cancer; and c) self-esteem - Rosenberg Self-Esteem Scale. The study group underwent a belly dance intervention consisting of 60-minute classes, twice a week, for a total period of 12 weeks. Women in the control group only maintained their routine activities. Results Significant changes were observed in the improvement of body image in the belly dance group in the pre- and post-intervention periods in the body stigma (p = 0.017) and transparency (p = 0.021) scales. There were no changes in regards to self-esteem. The control group had no changes in either body image or self-esteem. Conclusion The influence of belly dancing on the improvement of women’s body image was observed after 12 weeks of intervention. Thus, it is understood that physical activity may help these women after breast cancer, and should be encouraged by health professionals in this field. Level of evidence II; Therapeutic studies - Investigation of treatment results.

APA, Harvard, Vancouver, ISO, and other styles

27

Urbano, Igor, Anna Carolina Souza Marques, and Matheus Milanez. "Dance as a Supplementary Instrument for Cardiac Rehabilitation." International Journal of Art, Culture and Design Technologies 7, no. 1 (January 2018): 17–29. http://dx.doi.org/10.4018/ijacdt.2018010102.

Full text

Abstract:

Intrinsic socio-cultural and motivational dance aspects, physical demands,general and styles characteristics, may promote positive influence on cardiac rehabilitation programs development and progression, if dance is approached as a supplementary activity and resource for cardiac patients. The aim of this study was to conduct an integrative literature review to evaluate dance as a supplementary activity on cardiac rehabilitation, considering physical demands, dance socio cultural aspects and regular practice related effects on cardiac patients' health and quality of life. Classical ballet and modern dance are not supported by this revision as appropriated alternatives to improve cardiovascular capacities for cardiopaths However, belly dance, ballroom dance, emphasis on Samba, Samkya showed multiple positive effects: glycemia levels reduction, resting heart rate reduction, cholesterol (HDL, LDL) and triglycerides level regulation, BP reduction, cardio respiratory increment and body relaxation.

APA, Harvard, Vancouver, ISO, and other styles

28

Wright, Jan, and Shoshana Dreyfus. "Belly Dancing: A Feminist Project?" Women in Sport and Physical Activity Journal 7, no. 2 (October 1998): 95–114. http://dx.doi.org/10.1123/wspaj.7.2.95.

Full text

Abstract:

The notion of the body as “a medium of culture” (Bordo, 1990, p. 13), and specifically the female body as a site on which the oppression of patriarchy is inscribed or played out has been discussed by many feminist theorists (Bartky, 1988; Bordo, 1990; Dimen, 1989). More recently there has been increasing interest in the material body as a source of kinesthetic pleasure rather than, or simultaneously as, a site of inscription and oppression. In searching for new ways to think and talk about the body, there is a recognition that it cannot be seen simply as either a site of oppression or pleasure, but rather as a site where many apparently contradictory and opposing discourses can coexist and where interesting and complex mixes of pleasure and oppression can occur simultaneously (Shilling, 1993).In this paper we attempt to explore these complexities through a study of belly dancing. This is a form of physical activity with an increasingly large following. On one hand, it seems possible to conceive of belly dancing as ‘feminist project’ as it offers possibilities for challenging hegemonic constructions of femininity and for women’s empowerment; on the other hand, many of the practices associated with belly dancing work to construct discourses which sit uncomfortably with feminist understandings of the body. This paper then becomes an exploration of the complex meanings which constitute the contemporary practice of belly dancing, with reference to a specific dance class in a regional city in Australia.While we are using the description ‘feminist project’ as a guiding principle for this paper, we also recognize that this is not a totalizing concept and will be different for different women in different contexts. We also recognize that the attribute “feminist” is itself not unitary but that feminist theory takes many forms, takes up different issues and defines its objects of study in a variety of ways. In the paper we draw on feminist post-structuralist theory to examine the various discourses and social practices of belly dancing. This allows us to recognize that in talking about the dance, the women interviewed may draw on a wide range of discourses which are concerned with women and their bodies, and which in their different ways may be characterized as feminist. On the other hand, the consequences of taking up one discourse rather than another have implications for how women are located and locate themselves in relations of power. We are wary, for instance, of essentializing discourses which attempt to naturalize sexual differences in a context where male and female attributes are often seen as constituting the opposite sides of a binary where those attributes associated with women are regarded as of lesser value.

APA, Harvard, Vancouver, ISO, and other styles

29

Potuoğlu-Cook, Öykü. "Beyond the Glitter: Belly Dance and Neoliberal Gentrification in Istanbul." Cultural Anthropology 21, no. 4 (November 2006): 633–60. http://dx.doi.org/10.1525/can.2006.21.4.633.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Taga, Arens, Irene Florindo, Ariane Kiener, Tiziana Frusca, and Giovanni Pavesi. "Spinal segmental myoclonus resembling “belly dance” in a pregnant woman." Clinical Neurophysiology 128, no. 11 (November 2017): 2248–49. http://dx.doi.org/10.1016/j.clinph.2017.09.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Nugent, Marilee M., and Theodore E. Milner. "Segmental specificity in belly dance mimics primal trunk locomotor patterns." Journal of Neurophysiology 117, no. 3 (March 1, 2017): 1100–1111. http://dx.doi.org/10.1152/jn.00693.2016.

Full text

Abstract:

Belly dance was used to investigate control of rhythmic undulating trunk movements in humans. Activation patterns in lumbar erector spinae muscles were recorded using surface electromyography at four segmental levels spanning T10 to L4. Muscle activation patterns for movement tempos of 2 Hz, 3 Hz, and as fast as possible (up to 6 Hz) were compared to test the hypothesis that frequency modulates muscle timing, causing pattern changes analogous to gait transitions. Groups of trained and untrained female subjects were compared to test the hypothesis that experience modifies muscle coordination patterns and the capacity for selective motion of spinal segments. Three distinct coordination patterns were observed. An ipsilateral simultaneous pattern (S) and a diagonal synergy (D) dominated at lower frequencies. The S pattern was selected most often by novices and resembled the standing wave of activation underlying the alternating lateral trunk bending in salamander trotting. At 2 Hz, most trained subjects selected the D pattern, suggesting a greater capacity for segmental specificity compared with untrained subjects. At 3–4 Hz, there emerged an asynchronous pattern (A) analogous to the rostral-caudal traveling wave in salamander and lamprey swimming. The neural networks and mechanisms identified in primitive vertebrates, such as chains of coupled oscillators and segmental crossed inhibitory connections, could explain the patterns observed in this study in humans. Training allows modification of these patterns, possibly through improved capacity for selectively exciting or inhibiting segmental pattern generators. NEW & NOTEWORTHY Belly dance provides a novel approach for studying spinal cord neural circuits. New evidence suggests that primitive locomotor circuits may be conserved in humans. Erector spinae activation patterns during the hip shimmy at different tempos are similar to those observed in salamander walking and swimming. As movement frequency increases, a sequential pattern similar to lamprey swimming emerges, suggesting that primal involuntary control mechanisms dominate in fast lateral rhythmic spine undulations even in humans.

APA, Harvard, Vancouver, ISO, and other styles

32

Tournillon, Anne, and Isabelle A. Siegler. "Voluntary control of pelvic frontal rotations in belly dance experts." Human Movement Science 77 (June 2021): 102791. http://dx.doi.org/10.1016/j.humov.2021.102791.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Downey, Dennis J., Justine J. Reel, Sonya SooHoo, and Sandrine Zerbib. "Body image in belly dance: integrating alternative norms into collective identity." Journal of Gender Studies 19, no. 4 (December 2010): 377–93. http://dx.doi.org/10.1080/09589236.2010.514209.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Karayanni, Stavros Stavrou. "Sacred Embodiment: Fertility Ritual, Mother Goddess, and Cultures of Belly Dance." Religion and the Arts 13, no. 4 (2009): 448–63. http://dx.doi.org/10.1163/107992609x12524941449921.

Full text

Abstract:

AbstractThis essay examines belly dance movement as a mimetic ritual of universal significance in its representations of the birthing of the human race and the worship of the Mother Goddess. In this examination, the contested politics of female fertility and birthing rituals will be discussed. The essay's scope expands to include discussions of the popular tropes of “body memory” and “in the blood,” fascinating instances of identity definition and ideological location before originary questions of human embodiment, descent, and gender tensions. Movement is directly connected to identity. Movement and choreography may function as story telling—a narrative of the body's history, a fluid and kinaesthetic record of the individual body, and, by extension, the community and in some ways humanity itself.

APA, Harvard, Vancouver, ISO, and other styles

35

Kraus, Rachel. "STRADDLING THE SACRED AND SECULAR: CREATING A SPIRITUAL EXPERIENCE THROUGH BELLY DANCE." Sociological Spectrum 29, no. 5 (July 22, 2009): 598–625. http://dx.doi.org/10.1080/02732170903051383.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Kraus, Rachel. "Spiritual origins and belly dance: how and when artistic leisure becomes spiritual." Journal of Dance and Somatic Practices 4, no. 1 (August 30, 2012): 59–77. http://dx.doi.org/10.1386/jdsp.4.1.59_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Chang, Yuchi, Po-Hsiu Lin, and Tsuneo Sogawa. "Belly dancing as exercise: image-building of a foreign dance in Taiwan." Asia Pacific Journal of Sport and Social Science 6, no. 1 (January 2, 2017): 34–45. http://dx.doi.org/10.1080/21640599.2017.1286107.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Gurel, Perin. "Between Orientalism and Westernization: Belly Dance as a Transnational American Studies Case." Comparative American Studies An International Journal 13, no. 4 (October 2, 2015): 265–83. http://dx.doi.org/10.1080/14775700.2015.1178956.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Aslanabadi, Saeid, Ramin Azhough, Parviz Samad Motlagh, Shahram Hadidchi, Ali Dastranj Tabrizi, and Keivan Kashy Zonouzy. "Intramedullary spinal cord ganglioglioma presenting with abnormal abdominal wall movement." Neurosurgical Focus 17, no. 4 (October 2004): 1–2. http://dx.doi.org/10.3171/foc.2004.17.4.8.

Full text

Abstract:

The authors present a case of intramedullary ganglioglioma in a 6-year-old girl. Since the age of 4 months the patient had experienced a spontaneous wavy undulating movement of her anterior abdominal wall resembling a severe peristalsis. The movement was continuous even during sleep, and this symptom was named “belly dance.” Magnetic resonance images revealed an intramedullary tumor with ill-defined borders, and the lesion was partially resected. The patient made a good recovery, although 4 years postsurgery her scoliosis had progressed.

APA, Harvard, Vancouver, ISO, and other styles

40

Chang, Yuchi, and Alan Bairner. "Beautiful and good woman: gender role negotiation among Taiwanese women who belly dance." Sport in Society 22, no. 8 (June 4, 2019): 1326–45. http://dx.doi.org/10.1080/17430437.2019.1621843.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

MIRAFTAB, FARANAK. "Can You Belly Dance? Methodological questions in the era of transnational feminist research." Gender, Place & Culture 11, no. 4 (December 2004): 595–604. http://dx.doi.org/10.1080/0966369042000307988.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

OR, JIMMY, and ATSUO TAKANISHI. "EFFECT OF A FLEXIBLE SPINE EMOTIONAL BELLY DANCING ROBOT ON HUMAN PERCEPTIONS." International Journal of Humanoid Robotics 04, no. 01 (March 2007): 21–48. http://dx.doi.org/10.1142/s0219843607000935.

Full text

Abstract:

Recently, there has been a growing interest in human–robot interaction. Researchers in artificial intelligence and robotics have built various types of social robots which can express emotions through speech, facial expressions and hand gestures. Although some of these robots are able to interact with humans in interesting ways, they cannot move as naturally as we do because of the limited number of degrees of freedom in their body torsos (some of them do not even have a torso). Since we often express and perceive each other's emotions and motives at a distance using body language alone, it would be good for the next generation of humanoid robots to possess similar capabilities. As a first step towards this goal, we developed a 28-DOF full-body humanoid robot as an experimental platform. Unlike the current generation of humanoid robots, our robot has a flexible spine. This feature is very important because counterbalancing movements of the spine are required to maintain dynamic stability in humans and humanoid robots. Our robot can belly dance and communicate affective motions via full-body movements. Using a Central Pattern Generator (CPG) based controller, we generated rhythmic motions for the arms, upper and lower bodies. We then conducted psychological experiments using both the robot and a human actors. Statistical analyses were carried out to test our hypotheses on human perception of affective movements. Experimental results show that human subjects were able to perceive emotions from the robot based only on its body motions, sometimes as well as recognizing the movements being performed by the human actor. Our robot can be used to examine the relationship between the movement of the spine, shoulders, arms, neck and head when attempting to reproduce affective movements. Psychologists, actors, dancers and animators can benefit from this line of research by learning how emotions can be conveyed through body motions and knowing how body part movements combine to communicate emotional expressions.

APA, Harvard, Vancouver, ISO, and other styles

43

Kim, Dea-Eun, and Yong-Jin Yoon. "The Relationship among Body Image and Life Stress, Life Satisfaction of Belly Dance Participants." Korean Journal of Sports Science 27, no. 6 (December 31, 2018): 237–51. http://dx.doi.org/10.35159/kjss.2018.12.27.6.237.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hasan, Muhamad Fahmi, Nia Sri Ramania, and Samsul Bahri. "ANALISIS EFEKTIVITAS ZUMBA DAN BELLY DANCE TERHADAP VO2MAX, INDEKS MASSA TUBUH, DAN PERSENTASE LEMAK TUBUH." Jurnal Sains Keolahragaan dan Kesehatan 2, no. 1 (June 1, 2017): 13. http://dx.doi.org/10.5614/jskk.2017.2.1.4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Kraus, Rachel. "Transforming Spirituality in Artistic Leisure: How the Spiritual Meaning of Belly Dance Changes Over Time." Journal for the Scientific Study of Religion 53, no. 3 (September 2014): 459–78. http://dx.doi.org/10.1111/jssr.12136.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Ellison, Jenny. "Exercise for Every Body: Reviews ofWeightless, Belly Dance for Every Body,andBig Yoga Flex-Ability." Fat Studies 1, no. 1 (January 2012): 134–37. http://dx.doi.org/10.1080/21604851.2012.633472.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Dearey, Melissa. "‘Dark am I, yet lovely’: Tracing diabolical evil and femininities in gothic fusion tribal belly dance." Dance, Movement & Spiritualities 1, no. 3 (December 1, 2014): 373–91. http://dx.doi.org/10.1386/dmas.1.3.373_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Tiggemann, Marika, Emily Coutts, and Levina Clark. "Belly Dance as an Embodying Activity?: A Test of the Embodiment Model of Positive Body Image." Sex Roles 71, no. 5-8 (August 27, 2014): 197–207. http://dx.doi.org/10.1007/s11199-014-0408-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Kim, Eun-Jung, and Tae-Gi Gwak. "An Analysis of Middle-Aged Women's Involvement in Fashion and Beauty Depending on Their Participation in Belly Dance." Korean Society of Costume 62, no. 4 (June 30, 2012): 195–206. http://dx.doi.org/10.7233/jksc.2012.62.4.195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Castrillon, Tabitha, William J. Hanney, Carey E. Rothschild, Morey J. Kolber, Xinliang Liu, and Michael Masaracchio. "The effects of a standardized belly dance program on perceived pain, disability, and function in women with chronic low back pain." Journal of Back and Musculoskeletal Rehabilitation 30, no. 3 (May 5, 2017): 477–96. http://dx.doi.org/10.3233/bmr-150504.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!