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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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Hebert, Carolyn. "Mini & Macho, Small & Sexy: The Perpetuation of Heteronormativity, Hegemonic Masculinity, and Femininity Within the Culture of Competitive (Jazz and Hip-Hop) Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 208–16. http://dx.doi.org/10.1017/cor.2016.28.
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This paper critically assesses the expectations of competitive jazz dance adjudicators and the effects of these expectations on the presentation of gendered and sexualized dance choreographies by private dance studios. Expectations for competitive dance students with regard to technical ability, execution of choreography, and age/gender (in)appropriateness are unclearly articulated by competitions and adjudicators throughout Canada and the United States. Nevertheless, parents and students enter into private dance studios with pre-conceived notions of what it takes to “win” at competition and demand that their training and choreography reflect this. The onus is on dance teachers and choreographers, then, to adhere to this rapidly evolving culture of dance competition, or otherwise risk losing customers and funds.This paper critically examines current trends in competitive jazz and hip-hop dance through interviews and conversations with three professional competition dance adjudicators. As a competitive dance studio choreographer and researcher, I question the role that competitive dance culture plays in the gendering and sexualization of amateur dancing bodies. Ultimately, what are the implications of the perpetuation of heteronormativity, hegemonic masculinity, and femininity through the dances created for competition on adolescent dancing bodies? What other options are available for private competitive dance studios wishing to simultaneously participate in and disrupt this culture without losing their businesses?
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Natarajan, Srividya. "social choreography: ideology as performance in dance and everyday movement." Feminist Review 84, no. 1 (October 2006): 151–54. http://dx.doi.org/10.1057/palgrave.fr.9400308.
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Dimopoulos, Konstantinos, and Vassiliki Tyrovola. "Dance, “Stereotypes,” and Gender Relations: The Case of Lowland and Mountain Communities of Karditsa (Thessaly)." Congress on Research in Dance Conference Proceedings 2016 (2016): 136–40. http://dx.doi.org/10.1017/cor.2016.19.
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Gender identity is the main topic within the field of anthropology of gender: it is an identity with a polysemic character. The present paper focuses on the identity of social gender, since gender is a field of negotiation and a criterion for the analysis of culture. Social gender is a result of social-cultural constructions, established through the repetition of stereotypical dance acts. In this context, dance functions as a symbol, and its study allows the understanding of social structures, and therefore, the understanding of gender identity. Every dance event can be approached as a conceptual field, in which participants act according to gender standards and experience themselves as gender subjects.The aim of this paper is to show the gender social structures and relations within dance and dance practices, as they are imprinted on the mountain and lowland areas of Karditsa (Thessaly), in combination with the predominant social structures. For this purpose, we made use of the theoretical model of Hanna, where dance and dance executions are fields of negotiation of gender identity, as well as Cowan’ s model, according to which social gender can be studied within the context of “dance events.”Through the analysis of these “events,” several discrepancies in social structures and relations were detected between the lowland and mountain communities. These differences are based on dance occasions, and participation or lack of participation of both genders in these occasions, according to dance norms, dance order, and dance types. The above discrepancies constitute gender diversity among lowland and mountain communities, as a result of local social structures and the performative acts.
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Belyakova, Irina G., and Anastasia L. Mileshko. "Art and Environmental Sustainability. Forming Environmental Identity by Means of Choreography." Observatory of Culture 17, no. 2 (June 30, 2020): 187–200. http://dx.doi.org/10.25281/2072-3156-2020-17-2-187-200.
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In connection with the environmental problems that have become more acute at the global level, it has been recognized the need for society to take the path of sustainable development, the main principles of which are focused on a decent standard of living for each member of society, reducing the anthropogenic burden on nature and preserving the environment, including for future generations, as well as the integrated solution of environmental, social and economic issues at the global and local levels. In the process of implementing this concept, a fundamental role of culture was revealed, and a specific role of environmental culture as well, which would ensure a harmonious development of the society and the environment. In particular, it is necessary to transform the worldview, re-evaluate the values and shift the emphasis in consumption from material benefits to spiritual ones.This research is relevant because of the need to promote the principles of sustainable development in all areas of society that determine the current level of culture and civilization. This work is aimed at analyzing the potential of dance art as a source of indirect influence on the environmental consciousness and thought, reasonable attitude to nature during the environmental culture formation.Environmental culture is expressed in people’s perception of themselves as a part of nature. One of the elements of environmental culture is environmental consciousness. Having the ability to influence the emotional sphere of a person, art, in particular dance, is a useful tool for effectively perceiving environmental information and motivating environmental activities. Due to its polyfunctionality, art can aid to form the environmental identity at the level of the following components: cognitive (informational, gnostical, educational function), emotional (compensatory, suggestive one), instrumental (social-transforming function).Based on the analysis of scientific literature and some musical and choreographic works from the standpoint of the ecocentric paradigm, the article suggests that choreography in environmentally oriented performances can serve as one of the effective means of evoking empathy at the deep kinesthetic level, environmental empathy. Choreography can play the role of an emotional component in the process of forming environmental identity, which will in general contribute to the environmental consciousness formation at the individual level.
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Klein, Gabriele. "Artistic Work as a Practice of Translation on the Global Art Market: The Example of “African” Dancer and Choreographer Germaine Acogny." Dance Research Journal 51, no. 01 (April 2019): 8–19. http://dx.doi.org/10.1017/s0149767719000019.
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Identity, difference, and translation are important theoretical concepts in the field of translation studies and postcolonial studies. It is a basic assumption of this text that aesthetic and cultural translation is exposed to the paradox of identity and difference and that this paradox is particularly evident in artistic performance practices such as dance and choreography. Focusing on the artistic work of choreographer and dancer Germaine Acogny (Senegal), the text addresses artistic translation practices under postcolonial conditions in the global art market of so-called “contemporary dance.” The aim is to illustrate how contradictory, hybrid, and fragmented the cultural and aesthetic translation process is, how the global art market shapes the artistic strategies of translation, and how aesthetic productivity lies in the impossibility of translating cultural experience artistically.
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Webster, Jamie Lynn. "The Budapest Ensemble's Csárdás! Tango of the East: Representational Mirrors of Traditional Music and Dance in a Postsocialist, Postmodern Landscape." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 219–24. http://dx.doi.org/10.1017/s2049125500000364.
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This paper explores performance choices made by choreographer Zoltán Zsuráfsky for the ethnic music and dance production, Csárdás! Tango of the East for American tours in 2000 and 2005. Unlike older socialist models that elevated nationalism through homogenized choreography, Zsuráfsky's Csárdás! celebrates interethnic traditions, alternatives to traditional gender roles, and individual expression. These choices elevate regional traditions and maintain stylistic specificity and performer creativity but subdue elements of nationalism, gender inequality, and top-down ensemble hierarchy.
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Whatley, Sarah. "Dance Identity, Authenticity and Issues of Interpretation with Specific Reference to the Choreography of Siobhan Davies." Dance Research 23, no. 2 (October 2005): 87–105. http://dx.doi.org/10.3366/drs.2005.23.2.87.
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Choreographers regularly make revisions to their work. Revisions that are made are sometimes significant and can radically alter the dance whilst other changes may be almost invisible to the viewer. In the case of Siobhan Davies, revising dances has become a regular feature of her work. This paper represents a case study, which is designed to shed some further light on this process.
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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (November 2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.
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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games ceremonies. Analysis of reviews by professional critics reveals how some stereotypes are disrupted as the cultural capital of hip-hop dance rises. Key themes, including the use of narrative, characterisation and the disruption of dominant gender expectations, are drawn from a Society for Dance Research Study Day on ZooNation Dance Company in 2011. *
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Ferro, Simone, and Meredith W. Watts. "Traditionalism and Modernity: Choreography and Gender Portrayal in the Brazilian Popular Dance Bumba-meu-boi." Congress on Research in Dance Conference Proceedings 2012 (2012): 51–62. http://dx.doi.org/10.1017/cor.2012.6.
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Dancers in the Brazilian folk celebration Bumba-meu-boi once performed in simple, repetitive, and predominantly circular movements. This structure promotes multigenerational participation, increases community interaction, and maintains a semi-intact historical legacy. Nevertheless, many groups are currently adopting choreographic steps and patterns familiar from popular entertainment culture and urban Carnival celebrations. This evolution is uneven, with many of the nearly 300 groups that perform in the federal state of Maranhão maintaining the older practices. Nevertheless, for groups embracing modern entertainment values, greater appeal to tourists and general audiences comes at the cost of the traditional form and content of the celebration described by field researchers only two or three decades ago. Gender presentations have been particularly affected, with the increased use of elaborate and skimpy costumes, younger and more athletic performers (mostly young women), and professionalized musical support. These changes are part of the modernization and urbanization of the festival, and they create an ambivalent dialectic in which women appear increasingly as leaders and major performing figures, but also as chorus line bodies with minimal narrative function. Our research includes visual documentation from several years of field research in Sao Luis (Maranhão), Brazil, available online at http://simoneferro.com. Albums of still photography are available at http://meredithwwatts.com.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.
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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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Stanich, Veronica Dittman. "Turning the World Upside Down." Dance Research 36, no. 2 (November 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.
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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship to the larger cultural picture. I find embodied in this transitional, upside-down movement not only postmodern dance's countercultural and eclectic inheritance but also the conflicted cultural space it occupies. Postmodern dance is old enough to have a tradition, but doesn't want to relinquish its maverick identity; meanwhile, its meaning-making codes are inaccessible to much of the general public even as it begs a bigger audience in order to thrive.
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Astuti, Fuji. "THE EFFECTIVENESS OF EXPLORING LOCAL WISDOM FROM YOUTUBE: AN INVESTIGATION ON THE INDONESIAN HIGHER EDUCATION STUDENTS’ DANCE PERFORMANCE ACROSS GENDER." Jurnal Cakrawala Pendidikan 40, no. 1 (February 23, 2021): 230–41. http://dx.doi.org/10.21831/cp.v40i1.32426.
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Technology-based media can increase students’ motivation more than equipping their teaching materials with traditional ones. This article aims to describe the difference between the dance performance of students taught by exploring local wisdom from YouTube and those who are taught by the conventional method. This quasi-experimental study describes whether local wisdom and technology via YouTube can effectively increase Indonesian students’ dance performance at the higher education level. A number of 205 students participated in this research. A dance performance test, two scoring rubrics, and a questionnaire were used. The result of statistical analysis shows that exploring the values of local wisdom from YouTube videos can give a significant effect on students’ dance performance with sig. = .000. In terms of gender, there is a significant difference between female and male students after being taught by exploring local wisdom from YouTube videos (sig. = .000). Moreover, females also achieve better than males in terms of creativity including fluency, flexibility, elaboration, and originality of their dance products. The results of the questionnaire reveal that students appreciate and feel helped by integrating local wisdom and YouTube videos in the choreography course and agree that the values of local wisdom direct their dance performance in terms of movement, attitude, costume, and creativity.
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Klein, Gabriele. "Passing on Dance: practices of translating the choreographies of Pina Bausch." Revista Brasileira de Estudos da Presença 8, no. 3 (September 2018): 393–420. http://dx.doi.org/10.1590/2237-266078975.
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Abstract: This text aims to analyze the process of passing on choreographies, as exemplified in the work of the Tanztheater Wuppertal Pina Bausch. It presents this process as a praxis of translation. The paper discusses the limitations and possibilities of translating choreography, as well as the specific potential inherent and visible in practices of translating choreographies by Pina Bausch. From a philosophical and sociological perspective of translation theory and based on a methodology of the ‘praxeological production analysis’ (Klein, 2014a; 2015a), I’m using data gathered during rehearsals and two years of interviews with dancers and collaborators of the Tanztheater Wuppertal Pina Bausch. The text will demonstrate that the translation of choreographies is characterized by a paradox between identity and difference.
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Margetts, Hope. "Frenzied Flappers: The Hysterical Female in Early Twentieth-Century Social Dance." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 339–50. http://dx.doi.org/10.1093/fmls/cqz022.
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Abstract It is widely acknowledged that the freer, more sexualized movements of social dancing in the early twentieth century (1900–1929) accompanied the beginnings of female emancipation both socially and politically. However, less explored are the similarities between the provocative, inelegant choreography of such social dances and the symptoms of female hysteria, a medical phenomenon that saw the body as a canvas for mental distress as provoked by social tensions. This essay will address the possible alignment of hysteria and popular social dance in relation to the evolving Modern Woman. It will examine the motivations of modern, ‘hysterical’ dances, and discuss their progressive status in terms of gender by considering perceived psychosomatic interactions within the female dancing body.
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Grzanka, Patrick R., Jake Adler, and Jennifer Blazer. "Making Up Allies: The Identity Choreography of Straight LGBT Activism." Sexuality Research and Social Policy 12, no. 3 (February 8, 2015): 165–81. http://dx.doi.org/10.1007/s13178-014-0179-0.
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Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).
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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: SUBBUDAYA DAN GAYA HIDUP HIBRID." Jurnal Sosiologi Reflektif 12, no. 1 (December 7, 2017): 55. http://dx.doi.org/10.14421/jsr.v11i2.1286.
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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle through the creation of Animal Pop Dance choreography. An Indonesian hip hop which is a hybridization process of hip hop grown in the United States by Africa-America is mixed with three local Indonesian dance (Javanese, Sundanese, Papuan) traditions of animal behavior. The results show Animal Pop Dance is a hybrid tradition and culture that aspires to escape from the grip of dichotomous thinking patterns in post-colonial contexts.
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Putcha, Rumya S. "The Modern Courtesan: Gender, Religion and Dance in Transnational India." Feminist Review 126, no. 1 (October 22, 2020): 54–73. http://dx.doi.org/10.1177/0141778920944530.
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This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies.
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Clignet, Remi, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Contemporary Sociology 18, no. 4 (July 1989): 602. http://dx.doi.org/10.2307/2073118.
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Jowitt, Deborah, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Dance Research Journal 20, no. 2 (1988): 57. http://dx.doi.org/10.2307/1478390.
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Koskoff, Ellen, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Ethnomusicology 34, no. 3 (1990): 457. http://dx.doi.org/10.2307/851631.
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Hughes-Freeland, Felicia, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance and Desire." Man 24, no. 4 (December 1989): 692. http://dx.doi.org/10.2307/2804306.
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CALLACI, EMILY. "DANCEHALL POLITICS: MOBILITY, SEXUALITY, AND SPECTACLES OF RACIAL RESPECTABILITY IN LATE COLONIAL TANGANYIKA, 1930s–1961." Journal of African History 52, no. 3 (November 2011): 365–84. http://dx.doi.org/10.1017/s0021853711000478.
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ABSTRACTThis article explores the relationship between understandings of youth sexuality and mobility, and racial nationalism in late colonial Tanganyika through a history of dansi: a dance mode first popularized by Tanganyikan youth in the 1930s. Dansi's heterosocial choreography and cosmopolitan connotations provoked widespread anxieties among rural elders and urban elites over the mobility, economic autonomy, and sexual agency of youth. In urban commercial dancehalls in the 1950s, dansi staged emerging cultural solidarities among migrant youth, while also making visible social divisions based on class and gender. At the same time, nationalist intellectuals attempted to reform dansi according to an emerging political rhetoric of racial respectability.
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Silverstein, Shayna. "The “Barbaric” Dabke." Journal of Middle East Women's Studies 17, no. 2 (July 1, 2021): 197–219. http://dx.doi.org/10.1215/15525864-8949443.
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Abstract This essay analyzes how dance, gender, and state power function together as a significant node of critique in recent cultural production that addresses authoritarianism in Syria. Identifying the symbolic trope of dabke, a popular dance ubiquitous in Syrian life, selected films, literature, and choreography, this essay argues that the discussed works dislodge dabke from its feminized association with authenticity, folk culture, and nationhood to instead represent dabke as a form of hegemonic masculinity that perpetuates sovereignty, patriarchy, and autocracy. Through the rendering of embodied acts of dabke performance, hegemonic and resilient modes of masculinity are equated with spectacles of violence attached to the state, repressive tactics by the police state, and performative complicity with the regime. This essay argues that sovereign and autocratic forms of power are not universal abstractions but are embedded in the gendered structures of the society in which such power is performed.
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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: Subbudaya dan Gaya Hidup Hibrid." Jurnal Sosiologi Reflektif 12, no. 1 (December 7, 2017): 55. http://dx.doi.org/10.14421/jsr.v12i1.1286.
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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle through the creation of Animal Pop Dance choreography. An Indonesian hip hop which is a hybridization process of hip hop grown in the United States by Africa-America is mixed with three local Indonesian dance (Javanese, Sundanese, Papuan) traditions of animal behavior. The results show Animal Pop Dance is a hybrid tradition and culture that aspires to escape from the grip of dichotomous thinking patterns in post-colonial contexts.Teori paska-kolonial melahirkan dua perspektif. Pertama, Said berpendapat kerangka-beton ideologi dan pengetahuan kolonial berdiri kokoh, rapi, dan sempurna tanpa retakan yang masih bercokol utuh. Bhabha berpendapat bangunan ideologi dan pengetahuan kolonial penuh retakan meniscayakan peluang kreatif menciptakan tradisi dan budaya hibrid yang bukan sekadar kepanjangan tangan kolonial semata, akan tetapi juga bukanlah bumiputera yang sesungguhnya: ambiguitas dan ambivalen. Artikel ini, pelacakan terhadap politik identitas yang mengkonstruksi sebuah subbudaya dengan gaya hidup tertentu melalui penciptaan koreografi Animal Pop Dance. Suatu hip hop Indonesia yang merupakan proses hibridisasi hibrid dari hip hop yang tumbuh di Amerika Serikat oleh kalangan Africa-America dicampuradukan dengan tiga tari tradisi lokal Indonesia (Jawa, Sunda, Papua) bertema perilaku binatang. Hasil penelitian memperlihatkan Animal Pop Dance adalah tradisi dan budaya hibrid yang berhasrat melepaskan diri dari cengkeraman pola berpikir dikotomi dalam konteks paska-kolonial. Keywords: politic of identity, animal pop dance, subculture, lifestyle, hybrid
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Johnson, E. Patrick. "Strange Fruit: A Performance about Identity Politics." TDR/The Drama Review 47, no. 2 (June 2003): 88–116. http://dx.doi.org/10.1162/105420403321921256.
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Each of the eight movements of Johnson's performance reflects a different aspect of his identity around which his queerness pivots. The movements range from drag to black masculinity to how Johnson negotiated race, gender, and sexuality in Ghana. Johnson's performance—utilizing slides, music, voice-overs, and dance— encouraged audience participation.
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Johnson, Chelsea Mary Elise. "“Just Because I Dance like a Ho I’m Not a Ho”: Cheerleading at the Intersection of Race, Class, and Gender." Sociology of Sport Journal 32, no. 4 (December 2015): 377–94. http://dx.doi.org/10.1123/ssj.2014-0091.
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Feminist sociologists of sport have critiqued cheerleading for perpetuating gendered divisions of labor and dismissing women’s athleticism. However, no research has centered the experiences of black college cheerleaders or cheerleaders with formal feminist education. Through ethnography and interviews with cheerleaders who attend a historically black college (HBCU) for women, this research reveals how race, class, gender, and ideological perspective mutually inform the HBCU cheerleading style and how cheerleaders interpret their own performances. Squad members deploy womanist language, adopt a sexual politics of respectability off the court, and emphasize the cultural constraint of choreography to negotiate a perceived contradiction between being upwardly mobile black college women and participating in sexualized extracurricular athletics. This intersectional analysis makes visible limits to the liberal feminist ideal of individual empowerment for women in sport and the importance of institutional context in race and gender theory.
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Thomas, Etalia. "The Dance of Cultural Identity: Exploring Race and Gender with Adolescent Girls." American Journal of Dance Therapy 37, no. 2 (October 16, 2015): 176–96. http://dx.doi.org/10.1007/s10465-015-9203-z.
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Liébana, Encarnación, Cristina Monleón, Raquel Morales, Carlos Pablos, Consuelo Moratal, and Esther Blasco. "Muscle Activation in the Main Muscle Groups of the Lower Limbs in High-Level Dancesport Athletes." Medical Problems of Performing Artists 33, no. 4 (December 1, 2018): 231–37. http://dx.doi.org/10.21091/mppa.2018.4034.
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Dancers are subjected to high-intensity workouts when they practice dancesport, and according to the literature, they are prone to injury, primarily of the lower limbs. The purpose of this study was to determine whether differences exist in relative activation amplitudes for dancers involved in dancesport due to muscle, gender, and type of dance. Measurements were carried out using surface electromyography equipment during the choreography of a performance in the following leg muscles: rectus femoris, biceps femoris, tibialis anterior, and gastrocnemius medialis. Eight couples of active dancesport athletes (aged 20.50±2.75 yrs) were analyzed. Significant gender differences were found in rumba in the tibialis anterior (p≤0.05) and gastrocnemius medialis (p≤0.05). Based on the different activations, it is possible to establish possible mechanisms of injury, as well as tools for preventing injuries and improving sports performance.
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Fairley, Jan. "Dancing back to front: regeton, sexuality, gender and transnationalism in Cuba." Popular Music 25, no. 3 (September 11, 2006): 471–88. http://dx.doi.org/10.1017/s026114300600105x.
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In this Middle Eight using ethnographic observation and interviews made in Cuba in May–July 2005 and March–April 2006 I problematise the new Latina/o dance music ‘reggaetón’ which in the USA is being heralded as ‘‘an expression of pan-Latino identity … the latest Latin musical style to sweep the world … the one with the most promise of finding a permanent, prominent place not just in US but in global popular culture …” (Marshall, 2006). Notably along with hip-hop with which it is now related in Cuban cultural politics, this is the first pan-Latin style of non-Cuban origin to have a strong presence in post-‘Special period’ 1990s revolutionary Cuba. I focus on the significance and possible history of the dance moves and the lyrics of two key songs, discussing possible political double meanings and implications within a Cuban context. While focusing particularly on issues of regeton in Cuba, I place regeton in Cuba in the larger context of reggaetón history in the Latin world and of Latin dance history and discuss it within the constant construction of an appropriate Cuban national identity. I pose open questions about gender, sexuality and generational attitudes. The overall theoretical context falls within the context of Järviluoma et al's work on ‘gender as cultural construction’ (2003). It builds on work on gender and dance which forms a small part of Fairley (2004).
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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.
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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.
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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.
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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.
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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.
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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.
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Deaux, Kay. "Review of Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Contemporary Psychology: A Journal of Reviews 34, no. 3 (March 1989): 296. http://dx.doi.org/10.1037/027824.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
Full textAbstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.
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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.
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Fair, Laura. "Identity, Difference, and Dance: Female Initiation in Zanzibar, 1890 to 1930." Frontiers: A Journal of Women Studies 17, no. 3 (1996): 146. http://dx.doi.org/10.2307/3346884.
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Abad Carlés, Ana. "BEYOND THE MYSTIQUE: THE EFFECT OF THE #METOO MOVEMENT IN DANCE." Acotaciones. Revista de Investigación y Creación Teatral 2, no. 43 (December 10, 2019): 45–74. http://dx.doi.org/10.32621/acotaciones.2019.43.02.
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This paper explores the effect of the #MeToo movement in dance and, more specifically, how the re-emergence of female cho-reography in ballet can attribute certain consequences in changes of aesthetics in the art form and the normalisation of women’s repertoire in major ballet companies to the movement. The paper takes a chronologi-cal look at the last three decades, focusing geographically in the United States and the United Kingdom in order to provide a framework that may explain the changes that have taken place in the sector in the last few years. Feminist and gender studies will provide the academic fra-mework to analyse the press and media articles that seem to have played a major role in this resurgence of female choreography and leadership in the sector. Academic studies regarding the lack of parity in the sector at the upper tier of major companies and the historical neglect of women’s contributions to the development of the art form will also be considered in the analysis of recent changes in the sector. Miranda Fricker’s theory on epistemic injustice will also provide valuable help in establishing the possible factors that may have contributed to this historical neglect and its present consequences. The analysis will be mainly qualitative through the internal and external analysis of the collected sources.
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Jacobs, Sue-Ellen. ": Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire . Judith Lynne Hanna." American Anthropologist 91, no. 1 (March 1989): 249–50. http://dx.doi.org/10.1525/aa.1989.91.1.02a00730.
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