Relevant bibliographies by topics / Choreography. Gender identity in dance

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Choreography. Gender identity in dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Choreography. Gender identity in dance"

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Aymamí Reñé, Eva. "Kissing the Cactus: Dancing Gender and Politics in Spain." Congress on Research in Dance Conference Proceedings 2012 (2012): 124–31. http://dx.doi.org/10.1017/cor.2012.16.

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In Bésame el Cactus (2004), Sol Picó, modern dancer and choreographer, simultaneously performs flamenco music and dance. Using her body, her shoes, castanets, and hands, she is integrating flamenco—as a cultural symbol of Spain—into a contemporary performance. In a Spain impacted by Franco's dictatorship (1939–1975), the peculiar ambiguous choice of using flamenco in a modern performance raises questions about the construction of national and gender identity, both during the dictatorship and now. Franco's regime promoted a centralized nationalism, and imposed it on the other cultures that were part of the Spanish state. These were cultural regionalisms linked to the historic communities of Catalonia, Galicia, and the Basque Country. During Francoism, popular and folk music and dances were employed as an effort to construct a unified Spanish culture. This paper will address the problems of gender and national construction in contemporary Spain through a close reading of this choreographic piece. A methodological analysis of Bésame el Cactus will be presented using applied performing arts theories. I will also draw upon interview material with the choreographer/performer, Sol Picó. In conclusion, this paper will illustrate the ways in which the heritage of Francoism still informs choreographers' choices, and thereby creates an artificial national music and dance in Spain.
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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.

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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.
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Wright, Emily. "Gender in American Protestant Dance: Local and Global Implications." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 247–51. http://dx.doi.org/10.1017/s2049125500000741.

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In the field of dance studies much discourse surrounds notions of gender identity and women's rights within Western dance traditions. One group of scholars asserts that early modern dance practice successfully resisted patriarchal notions. Another contends that early modern dance perpetuated traditional assumptions. A third perspective proposes that early modern dance realized a simultaneous reiteration and subversion of traditional gender roles. In similar fashion, this paper delineates the parameters of a growing subset in contemporary dance and religious practice, the field of contemporary professional Christian dance, and explores the ways in which these groups reify traditional gender roles through choreographed depictions of rigid gender binaries while simultaneously subverting them through the introduction of the female body and the female voice into the traditionally male-dominated Protestant worship space. In terms of its relevance to global feminisms, contemporary professional Christian dancers reify and subvert traditional gender roles on a global scale through international touring and arts-based missionary outreach programs.
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Drobysheva, Elena E. "Dancing in the Modus of Self-Identification." Observatory of Culture 17, no. 6 (February 10, 2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2020-17-6-638-647.

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The main idea of the article is to address the phenomenon of dancing as a type of creative activity in the modus of self-identification. Sociocultural (self-)identification within the framework of art is taken as the process and space of forming an outline — personal and collective — in relation to certain groups of values, norms and traditions, as a way to discover the boundaries of reflexivity and the possibility of their representation in an artistic act. Basing on the interpretation of reflection as self-directed thinking, this article solves the problem of showing the potential of art in general, and dancing in particular, in the aspect of formation and preservation of identity parameters. The identity is considered as the result of constructing metaphysical supports and methods of self-representation in the widest range: national, religious, ideological, gender, but above all — the actual artistic-stylistic one. In addition to the obvious value of beauty and harmony, the article highlights expressiveness and authenticity as the main axiological guidelines for the art of choreography. The author analyzes the high communicative potential of dancing as a type of artistic activity both at the professional and amateur levels. The article focuses on the specifics of self-identification procedures in the space of modern dance, interpreted in this context in a wide chronological field — from the emergence of “free dance” by Isadora Duncan to current trends in postmodern dance, “contemporary dance” and performative practices. The study concludes that dancing has a high axiological potential as an artistic activity that combines physical and metaphysical practices.
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Cabeen, Catherine. "Female Power and Gender Transcendence in the Work of Martha Graham and Mary Wigman." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 28–35. http://dx.doi.org/10.1017/s2049125500000479.

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This paper contrasts the iconic embodiments of empowered femininity characteristic of Martha Graham's choreographic work and the gender ambiguity found in Mary Wigman's early solos. These modern dance pioneers both emancipated the female body from dominant Western culture's insistence on binary gender definitions. However, their differing approaches to how a liberated female body looks, moves, and dresses provides an opportunity to examine modern dance as a forum for diverse shifts in gender representation. This research draws on my personal experience dancing with the Martha Graham company and historic research investigating Wigman's solo concerts in Germany from 1917 to 1919. This paper makes the claim that modern dance, as a conscious fusion of body and mind, can embrace the fluid complexity of personal identity and encourage both conceptual and embodied transcendence of hegemonic male/female paradigms.
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Meglin, Joellen A. "Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg's Transatlantic Collaboration in the 1930s." Dance Research Journal 41, no. 2 (2009): 52–75. http://dx.doi.org/10.1017/s0149767700000656.

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In 1933, the year Hitler was named chancellor of Germany, Ruth Page and Harald Kreutzberg launched a “new and rather surprising partnership” with a joint recital in Chicago. Page and Kreutzberg were, on the surface, unlikely artistic collaborators: she, an American ballerina and he, an exponent of the German new dance. Nevertheless, their partnership lasted four years—from 1932 through 1936—a fairly long term considering the usual obstacles to collaboration magnified by physical distance. With Chicago as the focal point they toured the Midwest and other regions of the United States, Japan, and Canada. The collaboration offered the two artists a number of advantages. Page had certain difficulties to surmount in achieving her goal of becoming a choreographic entrepreneur in the post-Diaghilev international ballet world: besides being a woman—a decided disadvantage when it came to being taken seriously as a choreographer, artistic director, and impresario in the ballet world—she lived in Chicago, outside the dance mecca of New York. She could parlay her collaboration with Kreutzberg into a cosmopolitan, modernist identity, thus preempting the threat of consignment to Midwestern obscurity. Kreutzberg, for his part, was in need of a continuous and widening stream of performance venues in which to develop his unique gifts as a solo performer; moreover, he had to contend with the rising fascism and homophobic militancy of the Third Reich as a gay man whose identity was antithetical to the nation-state of which he was ultimately to become a pawn.
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Candelario, Rosemary. "Performing and Choreographing Gender in Eiko & Koma's Cambodian Stories." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 43–48. http://dx.doi.org/10.1017/s2049125500000492.

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Eiko & Koma's 2006 piece Cambodian Stories: An Offering of Painting and Dance offers an opportunity to analyze the ways gender, the nation, and the global are choreographed and represented on an American stage. Gender is thoroughly implicated in each of the main themes raised by the piece: history (both personal and geo-political), Asian identity, and the relationship between visual art and the performing body. In what ways does this intercultural, intergenerational, and multidisciplinary work complicate our understanding of gender and the nation in the age of globalization? How can a performance such as Cambodian Stories be viewed as a site of (non-Western) feminist knowledge production? Might the movements of Eiko & Koma alongside nine young Cambodian painters be evidence of an agency not visible through the gaze of Western feminist theory?
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Cruz-Manjarrez, Adriana. "Danzas Chuscas: Performing Migration in a Zapotec Community." Dance Research Journal 40, no. 2 (2008): 3–22. http://dx.doi.org/10.1017/s0149767700000358.

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Danzas chuscas are parodic dances performed in indigenous and mestizo villages throughout Mexico. In the village of Yalálag, a Zapotec indigenous village in the state of Oaxaca, Mexico, danzas chuscas are performed during religious celebrations, a time when many Yalaltecos (people from Yalálag) who have immigrated to Los Angeles return to visit their families. Since the late 1980s, these immigrants have become the subject of the dances. Yalaltecos humorously represent those who have adopted “American” behaviors or those who have remitted negative values and behaviors from inner-city neighborhoods of Los Angeles to Yalálag. Danzas chuscas such as “Los Mojados” (“The Wetbacks”), “Los Cocineros” (“The Cooks”), and “Los Cholos” (“Los Angeles Gangsters”) comically portray the roles that Yalaltec immigrants have come to play in the United States. Danzas chuscas such as “Los Norteños” (“The Northerners”), “Los Turistas” (“The Tourists”), and “El Regreso de los Mojados” (“The Return of the Wetbacks”) characterize Yalaltec immigrants as outsiders and visitors. And the choreography in dances like “Los Yalaltecos” (“The Residents of Yalálag”) and “Las Minifaldas” (“The Miniskirts”) reflect changes in these immigrants' social status, gender behaviors, and class position. In other words, these dances embody the impact of migration on social, economic, and cultural levels. Through physical humor immigrants and nonimmigrants confront the tensions and uncertainties stemming from Zapotec migration into the United States: community social disorganization, social instability, and changes in the meaning of group identity as it relates to gender, class, ethnicity, and culture.
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Staniec, Jillian. "Remain True to the Culture?" Ethnologies 30, no. 1 (September 19, 2008): 59–76. http://dx.doi.org/10.7202/018835ar.

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Abstract A series of dance seminars was held in Ukraine and Saskatchewan from 1971 to 1991, hosted by a left-wing political and cultural organization, the Association for United Ukrainian Canadians. These seminars heavily influenced the development of Ukrainian dance in Saskatchewan and Canada by introducing new dance techniques, choreography, and costuming from Soviet Ukraine. They were also very controversial, challenging the definition of Ukrainian Canadian identity in Canada during the Soviet era.
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Krasner, David. "Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking." Theatre Survey 37, no. 2 (November 1996): 67–92. http://dx.doi.org/10.1017/s0040557400001629.

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Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.
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Dissertations / Theses on the topic "Choreography. Gender identity in dance"

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Hart, Alison. "Queering choreographic conventions| Concert dance as a site for engaging in gender and sexual identity politics." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527949.

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Three dances, On This Day, Panties and Pathologies , and Naked Spotlight Silver were choreographed and performed in fulfillment of the requirements to complete an M.F.A. degree in dance. The performances took place at the Martha B. Knoebel Dance Theater located on the campus of California State University, Long Beach. On This Day premiered October 2012, Panties and Pathologies premiered March 2013, and Naked Spotlight Silver premiered October 2013.

This thesis examines how each project investigates choreographic approaches used in concert dance to communicate issues of gender and sexuality as well as participate in a discourse on identity politics. The three dance pieces attempted to confront themes of marriage equality, representation and the marketing of femininity, and queer identity representations in performance. Each piece was unique in its methodologies and served as an explorative approach to political communication and artistic development.

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Picasso, Ailey Rose. "Unearthing edges : constructing gaps." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6835.

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In questioning the complexity of human identity, the multiplicity of the self is uniquely grounded within embodied experience. Unearthing edges : constructing gaps is the result of creative research centered on investigation of the following questions: What can practices of collaborative movement making bring to the process of illuminating, excavating, and perhaps reconciling these alternate versions of the self? In practices supporting the development of individual movement vocabularies and physical agency what can be learned of the complications of the self and identity? What can be revealed of self and community in collective movement practice and in sharing solo practice? How can improvisational work, practiced in the realm of rehearsal and performance, engage with these ideas? Through studio practice utilizing a range of methodologies, this project seeks to contend with ideas of the self, identity, alternate reality, spontaneity, empathy, agency, and community.
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Kosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.

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Pettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.

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Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.

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Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot-ic” passion.
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Greenberg, Maximanova O. "“Am I Sexy Yet?”: Contextualizing the Movement of Exotic Dance and Its Effects on Female Dancers’ Self-image and Sexual Expression." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/352.

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“‘Am I Sexy Yet?’: Contextualizing the Movement of Exotic Dance and Its Effects on Female Dancers’ Self-image and Sexual Expression” looks at exotic dancing in three contexts––a pole fitness studio, a strip club, and a college dance concert––and how the movement is experienced by the dancers in each space. It questions how the movement changes meaning for the dancers, audience, and mainstream culture based on the context and location, even with similar content. Specifically, it analyzes how the experiences of the dancers affect their self confidence, sexuality, and sexual expression. Then, it applies Audre Lorde's “Uses of the Erotic” to their experiences to show how this movement can be looked at through a different lens as deeper, more freeing, and more transgressive than it is usually thought to be.
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Morrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education /." Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59614.

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Morrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=59614.

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This thesis examines the intersection between masculinity and risk in educational settings. It draws on an intensive examination of the field of dance-education in Scotland and an extended period of research with YDance, Scotland’s only state-funded dance education company. Data was gleaned from a combination of qualitative and ethnographic methods including unstructured interviews, planned discussion groups and participant observation. The thesis synthesises the work of Ulrich Beck and with micro-level approaches popular in studies of gender and education through Bourdieu’s meso-level theories of society and social actors. It uses Bourdieu in new ways, both to reconcile these concerns of structure and action and to overcome key problems that have been identified with the work of authors like Butler and Connell. Substantively, the thesis draws attention to the risks which so-called ‘feminised’ activities like dance pose to young masculine identities and the role played by schools in reproducing and tacitly authorising inculcated assumptions about dance, gender and sexuality. The thesis also investigates the various ways in which dance educators attempt to challenge these reified associations and considers some of the unintended consequences of these practices. Despite ostensibly challenging gender stereotypes, many of the steps taken in order to engage boys in dance at school result in the reproduction of strong versions of masculinity and femininity. In attempting to recode dance as a ‘acceptable’ activity for young men, dance educators often disavow the contribution of gay and effeminate men to the art form, downplay the merits of genres like ballet which is perceived to carry particularly strong associations of femininity and homosexuality, and engage – albeit subtly – in misogyny and homophobia. Dance educators are often therefore unintentional agents of the reproduction of inculcated masculinities and gender inequality.
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Jae, Hwan Jung. "DANCING AMBIVALENCE: A CRITICAL ANALYSIS OF MARK MORRIS' CHOREOGRAPHY IN DIDO AND AENEAS (1989), THE HARD NUT (1991), AND ROMEO AND JULIET, ON MOTIFS OF SHAKESPEARE (2008)." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/167997.

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Dance
Ph.D.
Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world.
Temple University--Theses
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Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.

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Books on the topic "Choreography. Gender identity in dance"

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Hanna, Judith Lynne. Dance, sex and gender: Signs of identity, dominance, defiance, and desire. Chicago: University of Chicago Press, 1988.

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Stigma and perseverance in the lives of boys who dance: An empirical study of male identities in western theatrical dance training. Lewiston, N.Y: Edwin Mellen Press, 2009.

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Gard, Michael. Men who dance: Aesthetics, athletics and the art of masculinity. New York: Peter Lang, 2005.

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Ageing, gender, embodiment and dance: Finding a balance. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2012.

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Saikin, Magali. Tango y género: Identidades y roles sexuales en el tango argentino. Stuttgart: Abrazos Books, 2004.

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Tortajada, Margarita. Danza y género. Culiacán Rosales, Sinaloa [Mexico]: Colegio de Bachilleres del Estado de Sinaloa, 2001.

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Wong, Yutian. Choreographing Asian America: Club o'noodles and other mis-acts. Middletown, Conn: Wesleyan University Press, 2010.

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Wong, Yutian. Choreographing Asian America. Middletown, Conn: Wesleyan University Press, 2010.

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Embodied performances: Sexuality, gender, bodies. New York, NY: Palgrave Macmillan, 2011.

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Dance of the sexes: Art and gender in the fiction of Alice Munro. Edmonton, Alta., Canada: University of Alberta Press, 1990.

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Book chapters on the topic "Choreography. Gender identity in dance"

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Sellers-Young, Barbara. "Belly Dance, Gender and Identity." In Belly Dance, Pilgrimage and Identity, 109–28. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94954-0_6.

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Sörgel, Sabine. "Mistaken Identity: Deconstructing White Beauty and Gender Politics." In Contemporary African Dance Theatre, 89–128. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_4.

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Cornelissen, Job. "The therapists’ gender identity in dance movement therapy." In Arts Therapies and Gender Issues, 119–37. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: International research in the arts therapies: Routledge, 2019. http://dx.doi.org/10.4324/9781351121958-9.

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Nativ, Yael (yali). "Embodied Social Dimensions in the Creative Process: Improvisation, Ethics and Gender in Choreography Classes in Israeli High-School Dance Programs." In Creative Context, 51–61. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3056-2_4.

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Pakes, Anna. "Dance Identity." In Choreography Invisible, 161–82. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0008.

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Chapter 7 examines dance works’ repeatability, that is, their capacity to appear in/through multiple (and potentially quite diverse) performance events. The philosophical problem of identity is introduced as the challenge of explaining when and why two or more performances are of the same work. The chapter explores situations where repeatability seems compromised because the dancer’s own body or personality is deeply implicated in her dance: distinctions are made between various kinds of cases, and an argument is made for repeatability being circumscribed when a dancer’s identity is built into the action-structure of a work. The chapter examines how far notation and scoring practices enable independent articulation of works, considering how notation and ontological views which centre on it (such as those of Nelson Goodman and Graham McFee) struggle to anchor performance identity. The chapter ends with a brief consideration of choreographic copyright practices and disputes and their relationship to ontological concerns.
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Belling, Gareth. "Engendered." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0004.

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Regendered movement refers to a process where choreographic material is created or adapted with the intention that it may be performed by either male or female dancers with little or no change to the original steps. This practice-led research project investigated the choreographer’s creative process for regendering contemporary ballet choreography and the dancers’ experiences of the rehearsal process and performance, and audience perception of meaning in the ballets. The research project sought to investigate the “in-born” and “natural” gender binaries of classical ballet by applying gender theory (Butler 1990, 2004; Polhemus 1993; Wulff 2008) and feminist critique of classical ballet (Daly 1987; Copeland 1993; Anderson 1997; Banes 1998). A mixed method, studio-based action research methodology was employed. Recent critical debate on gender in dance (Macaulay 2010, 2013; Jennings 2013, 2014), existing contemporary ballet, and its impact on the creative process of the choreographer are discussed.
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Risner, Doug, and Shara Thompson. "HIV/AIDS in Dance Education." In Sexuality, Gender and Identity, 80–86. Routledge, 2018. http://dx.doi.org/10.4324/9781315715728-12.

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S’thembile West, C. "Black Bodies in Dance Education." In Sexuality, Gender and Identity, 87–92. Routledge, 2018. http://dx.doi.org/10.4324/9781315715728-13.

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"Janet Wolff: Dance Criticism: Feminism, Theory and Choreography." In The Routledge Reader in Gender and Performance, 267–72. Routledge, 2002. http://dx.doi.org/10.4324/9780203143926-54.

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Broomfield, Mark A. "Policing Masculinity and Dance Reality Television." In Sexuality, Gender and Identity, 75–79. Routledge, 2018. http://dx.doi.org/10.4324/9781315715728-11.

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