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Journal articles on the topic 'Dance of darkness'

Author: Grafiati
Published: 19 February 2023
Last updated: 31 July 2025

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1

Dornfeld, Barry, and Edin Velez. "Dance of Darkness." Ethnomusicology 35, no. 3 (1991): 465. http://dx.doi.org/10.2307/851990.

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2

Simas, Rosy. "My Making of We Wait in the Darkness." Dance Research Journal 48, no. 1 (2016): 29–32. http://dx.doi.org/10.1017/s0149767716000073.

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Supendi, Eko, Jonet Sri Kuncoro, and Suroto Suroto. "Kolaborasi Karya Tari Suara Hati." Acintya Jurnal Penelitian Seni Budaya 15, no. 1 (2023): 11–19. http://dx.doi.org/10.33153/acy.v15i1.5059.

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Research on art creation entitled Suara Hati Dance Collaboration involving dancers (students) and children with visual impairments (disabilities) to answer concerns about how a dancer feels dancing in the dark. This research method is a collaboration between the potential of dancers and the artistic potential of blind children. The dancers’ explorations were inspired by the behavior of the character Gendari in the Mahabarata story, who closed his eyes all his life only to feel the same darkness as his husband, Destrarastra. Exploring the potential of blind children is an important part of this
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Gibson, Jennifer. "Couples Who Collaborate: James Ransome and Lesa Cline-Ransome." Children and Libraries 16, no. 2 (2018): 16. http://dx.doi.org/10.5860/cal.16.2.16.

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Married couple James Ransome and Lesa Cline-Ransome are a truly prolific pair. They have created a great number of award-winning picture-books together—titles like Satchel Paige, Young Pele, Quilt Alphabet, Before There Was Mozart, Words Set Me Free: The Story of Young Frederick Douglass, My Story, My Dance, and Light in Darkness.
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cian, paris cyan. "2323BlackLuna." Visual Arts Research 47, no. 1 (2021): 79–88. http://dx.doi.org/10.5406/visuartsrese.47.1.0079.

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Abstract 2323BlackLuna is an experimental moving image, embodied portal, honoring meditation with/in darkness, dark space. In this project, darkness serves as creative in/sight for the practice and spiritual processing of Black girl eroticism and love through dance and movement. 2323BlackLuna inundates the goings and magic of process, centering play within concepts of corporeality, liminality, and time-traveling. Alice Walker and Audre Lorde challenge, guide, and support the portal between the spiritual and the political, shaping the meditation of “love at its deepest meaning.” This work leans
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Camacho, Fidel. "The Earth Rumbles: Amerindian Mythology of the Ténabarim, Koyolim, and Sena’Aso, Three Musical Instruments of the Pajko’Ola." Encartes 7, no. 13 (2024): 17–42. http://dx.doi.org/10.29340/en.v7n13.364.

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During his dance, the Pajko'ola performs various percussion instruments by shaking (ténabarim, koyolim and senaaso). The analysis of each one cannot be separated from the mythology that underlies the character, associated with the Earth and telluric movements. Here the existence of a complex related to predominantly feminine entities and "wild beasts" -ancient women or ogres- of the "Old Men of the Dance" type and to nocturnal lepidoptera is proposed. The review of this approach is not exhaustive, but it allows us to locate aspects of mythology of Yuto-Nahuas groups and other linguistic affili
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Goodman, David G., and Susan Blakely Klein. "Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness." Monumenta Nipponica 44, no. 4 (1989): 512. http://dx.doi.org/10.2307/2384548.

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8

Lee, Jane. "A Study on Hijikata Tatsumi’s Ankoku Butoh (Dance of Darkness) by Analyzing Butoh Notation." Journal of Dance Society for Documentation & History 51 (December 31, 2018): 149–69. http://dx.doi.org/10.26861/sddh.2018.51.149.

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9

Salet, Newel, Marieke Visser, Cornelis Stam, and Yvo M. Smulders. "Stroboscopic light effects during electronic dance music festivals and photosensitive epilepsy: a cohort study and case report." BMJ Open 9, no. 6 (2019): e023442. http://dx.doi.org/10.1136/bmjopen-2018-023442.

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ObjectivesElectronic dance music (EDM) concerts are becoming increasingly popular. Strong stroboscopic light effects are commonly part of these shows, and may provoke seizures in individuals with photosensitive epilepsy. This study aims to examine the risk of epileptic seizures during EDM concerts.Setting28 EDM concerts taking place in The Netherlands.ParticipantsWe describe a young man who experienced a seizure during an EDM concert, and who later showed a positive electroencephalographic provocation test during exposure to video footage of the same concert. Subsequently, we performed a cohor
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10

Wessels, Michael. "Separating the Magical from the Real." Matatu 50, no. 1 (2018): 188–207. http://dx.doi.org/10.1163/18757421-05001005.

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AbstractZakes Mda’s novel She Plays with the Darkness has been characterised as a magical realist novel. It is notable, though, that the magical elements are reserved almost exclusively for the sections of the novel that relate to the major character, Dikosha, and her world of music, art and dance. Central to this world are the Barwa, better known as the Bushmen or San. This article is chiefly concerned with the novel’s representation of Dikosha’s relationship with the Barwa. It also examines the depiction of the Barwa way of life and the symbolic resonance they possess for the present.
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Metzer, David. "‘A wall of darkness dividing the world’: Blackness and whiteness in Louis Gruenberg's The Emperor Jones." Cambridge Opera Journal 7, no. 1 (1995): 55–72. http://dx.doi.org/10.1017/s0954586700004419.

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In Eugene O'Neill's The Emperor Jones, Brutus Jones undertakes a fatal flight through the jungle, near the end of which he stumbles into a clearing and ‘incoherently mumbles’: ‘What is – dis place? Seems like – seems like I ben heah befo’.’ He's right – he has been there. Jones's frantic run has brought him full-circle, leading him to roughly the same place where he began. However, Jones retraces his steps in more man just O'Neill's drama: he repeatedly rushes through die same jungle in the numerous adaptations of the play that followed its successful 1920 première. The first progeny of die Em
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Gilbert, Jonathan Ross, Marla B. Royne Stafford, Daniel A. Sheinin, and Kathrynn Pounders. "The dance between darkness and light: a systematic review of advertising’s role in consumer well-being (1980–2020)." International Journal of Advertising 40, no. 4 (2021): 491–528. http://dx.doi.org/10.1080/02650487.2020.1863048.

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13

Kosma, Maria, Nick Erickson, and Ashlynn Gremillion. "Physical Theater Class Experiences: Mental Health, Play, and the Love of Movement." IJASS(International Journal of Applied Sports Sciences) 35, no. 1 (2023): 10–27. http://dx.doi.org/10.24985/ijass.2023.35.1.10.

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Mental health issues, especially among young women, have significantly increased due to Covid-19 pandemic. Although movement activities in Kinesiology and performing arts can have countless health benefits, physical activity declines drastically among mainly freshmen and young females. The purpose of this study was to examine the effects of physical theater (e.g., dance, aerial dance, calisthenics, strength training, balance, coordination, flexibility, and bodily expression) on mental health, healthy lifestyles, play, and the love of movement among college students. This was a mixed-methods, p
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Biradar, Roopashri S. "Poetry and Mental Health Poetry as Therapy: Exploring the Healing Potential of Creative Expression." Shanlax International Journal of Arts, Science and Humanities 12, S4.May (2025): 182–86. https://doi.org/10.34293/sijash.v12is4.may.9180.

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Poetry makes people feel happy and hopeful. It is important to consider life as it truly is which spiritual leaders have believed and talked about for ages. Yes, indeed. They are more than just arranged words. they comfort those who feel alone, help those who are in need and are food for those without. Yes indeed. Poetry isn’t just words. The sound of a line of poetry is not its only value. It communicates more than what any ordinary word could express. Poems often influence people in a strong way. With poetry therapy, poetry assists people in their healing process. Cognitive behavior therapy
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Chittenden, Tara. "Sculpture in a Spin: Surfaces in Deformation in Mat Collishaw’s The Centrifugal Soul." Art and Perception 7, no. 2-3 (2019): 211–37. http://dx.doi.org/10.1163/22134913-20191111.

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In The Centrifugal Soul, Mat Collishaw utilises the principles of the zoetrope to create a sculpture where birds and plants appear as ghostly forms suspended outside of the sculpture’s tangible base. The technique of the zoetrope allows for the temporal aspects of a 3D-printed topology to transform perceptions of movement from space to space and from form to form as well as to choreograph an overall composition of space and the dance of display. The intersection of the material arts with optical and natural sciences encourages a sophisticated choreography of viewer perceptions that calls not o
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Nugent, Ann. "William Forsythe, Eidos:Telos, and Intertextual Criticism." Dance Research Journal 39, no. 1 (2007): 25–48. http://dx.doi.org/10.1017/s014976770000005x.

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At my first performance of Eidos:Telos, in Frankfurt in 1998, I discover a work of penetrating power that is both ordered and disordered. It is febrile at one moment and cool at the next. It is abstract but threaded through with symbolism, and its three acts exude darkness and mystery.There are no obvious divisions into time or place, and the weave of obscure and fragmented allusions means that dramas build and drop away. The dancing bodies create a mass of curves, lines, and angles with astonishing fluency but in few centrally organized patterns. I try to make sense of the diversity of abstra
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17

Traspe, Arlyn Carbon. "DEFINING PAG-IPAT: A MULTIMODAL SEMIOTIC ANALYSIS OF MAGUINDANAON’S HEALING RITUAL." International Journal of Asia Pacific Studies 20, no. 1 (2024): 77–97. http://dx.doi.org/10.21315/ijaps2024.20.1.4.

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Pag-ipat (ritual against disease) is a traditional healing ritual of the Maguindanaon people in the southern Philippines. Devoid of Islamic components, it is based on numerous ideas such as possession, invisible spirits, mythological history, and the offering of sacrifice. This study explores the signs and symbols incorporated in pagipat. Through a multimodal semiotic analysis, specifically ethnographic observation, this research determines the meanings conveyed by the semiotic resources used, expounds on how semiotic resources are orchestrated to communicate meaning, and rationalises the ideo
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18

Fredriksson, Daniel. "Från djävulsmusik till konstnärligt uttryck." Puls - musik- och dansetnologisk tidskrift 9 (May 22, 2024): 44–60. http://dx.doi.org/10.62779/puls.9.2024.23737.

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From Devil's Music to Artistic Expression. The Korpela Movement, Black Metal, and Cultural PolicyThis text explores Korpelarörelsen, a Black Metal band that presents an audiovisual performance depicting a religious movement in Tornedalen during the early 20th century. In 2020 they received prolific funding from the Swedish Arts Grants Committee to conceive, rehearse and tour with the band. The article describes the band's unique portrayal of local history through the use of black metal music, while also discussing the boundaries between art and music, its implications for arts funding and the
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19

Holm-Hadulla, Rainer Matthias. "Sympathy for the Devil - The Creative Transformation of the Evil." Journal of Genius and Eminence 4, no. 2020.01 (2020): 4–14. http://dx.doi.org/10.18536/jge.2020.01.01.

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Mythologies, religions, philosophies, and ideologies show that all cultures are concerned with human destructivity. The same is readily apparent in many modern creative works of eminence. In their famous song, “Sympathy for the Devil,” Mick Jagger and the Rolling Stones refer to Goethe’s Faust, where the Devil is characterized strangely as “a portion of that power/ which always works for the Evil and effects the Good … a part of Darkness which gave birth to Light”. These verses remind one of ancient myth but also of modern ideas of the interplay of creation and destruction. The poetry of Goeth
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20

Kirkpatrick, Robin. "Versions of Darkness: Dante and Eckhart (A Dialogue)." CounterText 7, no. 1 (2021): 115–28. http://dx.doi.org/10.3366/count.2021.0219.

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This paper does not offer an argument. Indeed, without calling into question the validity of traditional modes of theological and academic discussion (as in journal abstracts), these pages suggest that verse might encourage participation in a theological action. A trialogue is offered here in which extracts from Dante and Eckart are interspersed with choric passages reflecting the darkness in which the writer of this paper operates. And the reader is invited to join in the hermeneutic choreography.
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21

Розгон, О. В. ""Мовчазні твори", або інший погляд на зміст творів як об'єктів авторського права". Форум права 56, № 3 (2019): 67–76. https://doi.org/10.5281/zenodo.3240912.

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Встановлено існування категорії "мовчазні твори" як об’єктів авторського права. Ідентифіковано їх ознаки. Розглянуто варіанти форми та змісту різних творів мистецтва, які є об’єктами авторського права. Запропоновано класифікацію "мовчазних творів" за видами мистецтва. Автором доведено, що у творчості деяких письменників є тенденція до безпредметності у сюжеті, оскільки є нульовий текст, а у творах художників простежується відсутність зорових образів за допомогою фарб у площинній організації картини. Зауважується, що й у хореографічному мистецтві наявні спроби ст
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22

Kelly, Deana Basile. "The Hermeneutics of Conversion: Apostrophe, Reader Engagement, and the Medusa-Beatrice Binary." Quaderni d'italianistica 43, no. 2 (2023): 57–82. http://dx.doi.org/10.33137/q.i..v43i2.41151.

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This essay traces the parallels between Vita nuova 19 and the impasse at the gate of the City of Dis in Inferno in order to propose Medusa and Beatrice as diametrically opposed figures. Whereas Beatrice activates the intellect and catalyzes internal reflection and conversion, Medusa deactivates the intellect and obstructs reflection and conversion. Moreover, contextualizing the Medusa figure within the wider approach to the gate in Inferno 8 and 9 reveals the figure to be linked to the forging of the poet’s novel apostrophic mode of reader engagement inaugurated in those cantos. Dante weaves i
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Mamatov, Gleb M. "Konstantin Balmont’s concept of music and its embodiment in his book of verses A Gift to the Earth." Vestnik Tomskogo gosudarstvennogo universiteta, no. 498 (2024): 47–58. https://doi.org/10.17223/15617793/498/6.

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The article is dedicated to the theme of music in Konstantin Balmonts book of verses A Gift to the Earth. I analyze its symbols, mythopoetics, and composition. This theme is primarily described in the poet’s theoretical works, in his books of travels (Sun Power, Snake Flowers, Land of Osiris, “Light-Sound in Nature and The Light Symphony’ of Scriabin”, Poetry like Magic). In Balmonts aesthetical position, music is the cosmogony power, which participates in the creation of the world. It is created by the Sun and the Moon and correlates with the theme of cosmogony, Space, with World Symphony and
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24

Agarwal, Megha. "Scrounging and Salvaging: Literary Guidance and the Descent into the Underworld in the Inferno, Paradise Lost, Frankenstein and Heart of Darkness." Comparative Critical Studies 14, no. 2-3 (2017): 133–53. http://dx.doi.org/10.3366/ccs.2017.0232.

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Socrates, in Phaedo, posits that the route to Hades is far from ‘straightforward’, and that it is riddled with ‘crossroads’ that demand the presence of a vigilant guide. The possibility of multiple routes culminating in the underworld, and the necessity of guidance, form the bedrock of the interwoven analysis of the Inferno, Paradise Lost, Frankenstein, and Heart of Darkness. Amidst the profusion of pathways, the Inferno and Paradise Lost gesture towards a direction that is replicated and repudiated in Mary Shelley and Joseph Conrad's versions of the descent voyage in Frankenstein and Heart of
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Pascerini, Maria Cristina. "El conocimiento en la Divina Comedia de Dante Alighieri: un viaje extraordinario hacia la visión divina." Mediaevalia Textos e estudos 41 (2024): 293–302. http://dx.doi.org/10.21747/21836884/med41a20.

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Dante Alighieri’s Divine Comedy can be read as a journey of human knowledge from the darkness of evil to the bright vision of God. In this sense, it is a journey that culminates in a divine contemplation for which the soul has to prepare itself by moving away from evil and cleansing itself of all imper-fections caused by sin. For this reason, before contemplating God in Paradise, Dante must know evil in Hell and purify himself of it in Purgatory. It is a journey that is at the same time, knowledge of oneself, that is knowledge of one’s own limits and possibilities, moral knowledge, that is kno
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Snir, Reuven. "The Emergence of Palestinian Professional Theatre After 1967: al-Balālīn's Self-Referential Play al-עAtma (The Darkness)". Theatre Survey 46, № 1 (2005): 5–29. http://dx.doi.org/10.1017/s0040557405000025.

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Palestine, as an Ottoman province, was distanced from the main Arab cultural activities of the nineteenth and the beginning of the twentieth centuries; no literature bearing distinctive marks of Palestinian national identity was to be found before the First World War. After the war there was some national cultural revival, but it was mainly poetry, not fiction or theatre, that was traditionally perceived as a possible national weapon against external threats. The national revival however also covered folklore and religious culture, both of which combined some semitheatrical dimensions—the shad
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Philippovsky, German Y. "The legacy of the European Romantics and the motif of a traveler in the night (A. S. Pushkin and M. Y. Lermontov)." Verhnevolzhski Philological Bulletin 1, no. 28 (2022): 8–16. http://dx.doi.org/10.20323/2499-9679-2022-1-28-8-16.

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This article examines European origins of Pushkin's and Lermontov's romantic motif 'wandering in the night' in the works of German and English Romantic poets. The image of the night as an «echo» of the day held an important place in the hierarchy of «universal empathy» in the Romanticist poetic thinking («the light also shines in the night», interpret-ing the biblical text: «and the light shines in darkness, and darkness has not embraced it» (John 1:5). In the famous works by Pushkin and Lermontov, «The Winter Road», «The Possessed», and «I Go Out Alone on the Road...», wander-ing in the night
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Roy, Anjali Gera. "Fiction into Film 7." Crossings: A Journal of English Studies 9 (August 1, 2018): 7–16. http://dx.doi.org/10.59817/cjes.v9i.99.

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R. K. Narayan’s The Guide, considered a masterpiece, was made into an equally successful film. Guide was made in two versions — an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski to introduce Dev Anand to Western audiences and the Hindi version directed by Dev Anand’s younger brother, Vijay Anand. Despite being warned by all and sundry not to touch the project and his brother’s strong reluctance to direct, Anand persisted with the film, which went on to fetch awards in almost all categories and remains a landmark in Indian Cinema. R. K. Narayan was most unha
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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire hi
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Hellsten, Laura. "Dance as a liberating practice into divine darkness?: A systematic theologian re-reads Philo of Alexandria’s descriptions of dance." postmedieval, August 21, 2023. http://dx.doi.org/10.1057/s41280-023-00284-0.

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AbstractIn this article, I show how a deeper understanding of Lived Theology can enrich discussions about historical dance practices. I elaborate on the teachings of Philo of Alexandria (c. 20 BCE–50) and how his descriptions of dancing indicate that such practices may be understood as worship and contemplation. I further suggest that dancing in Philo’s texts, especially On the Contemplative Life, can be understood as an exegetical practice. I describe how a supersessionist logic insensitive to traditions of Lived Theology has operated in the theological discourse on Philo and thus has been un
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McNaughton, Susan. "Revealed By Fire, One Woman's Narrative of Transformation." InTensions, September 1, 2010. http://dx.doi.org/10.25071/1913-5874/37352.

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On the morning of June 23, 1985, Flight 182, en route from Toronto to Bombay, India disappeared from all radar screens and subsequently was lost to a mid-air explosion over the Atlantic Ocean, 100 miles from the southwest coast of Ireland. It was the largest aviation disaster in Canada’s history. Of the 329 passengers aboard the flight, 156 were Canadian, three of whom were Canadian choreographer Lata Pada’s husband and two daughters. This essay is an account of Pada’s artistic process in the creation of Revealed By Fire, a bharatanatyam performance choreographed by Pada for her dance company
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Hrga, Iztok. "Luminous skins: Costume as a central element of a swarm-based scenography." Leonardo, August 3, 2023, 1–19. http://dx.doi.org/10.1162/leon_a_02449.

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Abstract Luminous skins are interactive light-costume hybrids that reimagine the boundaries of the performers’ physical bodies, broadcast their feelings and alter environment. They are the central element of a performance that requires no stage space, no fixed lighting, no wall outlets and no lighting technicians. The performers manage to dance through the darkness with the light they wear. The costumes are equipped with sensors and actuators and communicate wirelessly and in real time with other scenographic elements. Together, they form a swarm-based scenography that involves close coordinat
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Dos Reis Dos Santos, Jennifer. "Hidden Voices and Gothic Undertones: Slavery and Folklore of the American South." eTropic: electronic journal of studies in the tropics 18, no. 1 (2019). http://dx.doi.org/10.25120/etropic.18.1.2019.3672.

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African American folklore embodies themes of the Tropical Gothic. It has an air of mystery as it has a deeper meaning underneath the different layers of plot. Folklore of the American South represents the darkness of the slavery period and its implications for African Americans. This article discusses two folklore collections: Uncle Remus, His Songs and His Sayings: The Folk lore of the Old Plantation by Joel Chandler Harris, and From My People: 400 Years of Folklore by Daryl Cumber Dance. Both collections illuminate the ways in which West African oral tradition became a source of empowerment,
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"THE RELEVANCE OF EMOTION, COGNITION, AND CREATIVITY IN INNOVATIVE ART EDUCATION AND PEDAGOGY FOR THE YOUNGER GENERATION: A STUDY." GAP BODHI TARU - A GLOBAL JOURNAL OF HUMANITIES 3, no. 4 (2020): 117–20. http://dx.doi.org/10.47968/gapbodhi.340026.

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Education is a term which is to draw out the innate abilities and talents of children leading them out of the darkness of ignorance to the light of knowledge about our surroundings, art, and culture. As J. J. ROUSSEAU said "Plants are developed by cultivation and men by education" not simply physically but also spiritually. Homo Sapiens or our species are the beings who think, also the beings who learn, and the beings who simultaneously experience a rich variety of affective emotional states, including a selected suite of emotional states specifically and directly related to learning. In this
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Mohrem, Boubaker, Ahmed Seif Eddine Nefnouf, Walid Messaoudi, Noureddine Derki, Otmane Abdelkader Drissi, and Hassan Ali Abdullah Al-momani. "Challenging the Dichotomy of Self and Other: A Critical Study of Colorism in Toni Morrison's The Bluest Eye and its Societal Implications." AKRA Kültür Sanat ve Edebiyat Dergisi, November 1, 2024. http://dx.doi.org/10.31126/akrajournal.1550552.

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Toni Morrison's The Bluest Eye is a powerful exploration of colorism and its impact on self-identity and societal norms. This critical study delves into the interplay of self and otherness in the novel, challenging the dichotomy of lightness and darkness that characterizes colorism. The study analyzes the experiences of the novel's characters, including the protagonist Pecola, and their interactions with each other and their environments. Through a critical examination of the novel, the study reveals how colorism perpetuates systemic inequality and affects individuals' mental health and well-b
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Kuppers, Petra. "“your darkness also/rich and beyond fear”: Community Performance, Somatic Poetics and the Vessels of Self and Other." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.203.

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“Communicating deep feeling in linear solid blocks of print felt arcane, a method beyond me” — Audre Lorde in an interview with Adrienne Rich (Lorde 87) How do you disclose? In writing, in spoken words, in movements, in sounds, in the quiet energetic vibration and its trace in discourse? Is disclosure a narrative account of a self, or a poetic fragment, sent into the world outside the sanction of a story or another recognisable form (see fig. 1)?These are the questions that guide my exploration in this essay. I meditate on them from the vantage point of my own self-narrative, as a community pe
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-, Dr Sonu Kumar, Sunita Devi -, Shakun Seth -, and Madhu Sharma -. "Balancing Perspective of the Woman Protagonist Between Traditional Approach and Economic Independence in Manju Kapur’s Novel: Home." International Journal For Multidisciplinary Research 5, no. 3 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i03.3077.

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The place of women in her household and within her society has always been persisted a matter of conflict not only in Indian environment but throughout the world civilization since the very primitive times of human enlightenment. The spiritual ideologies of every religion and the constitution of India inspired by the different religions generally advocates that every person must have the equality in every sphere of life and some essential rights of their own to live their respective lives with self-respect and self-reputation, being a member of his/her corresponding community. But the social c
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Fredericks, Bronwyn, and Abraham Bradfield. "‘I’m Not Afraid of the Dark’." M/C Journal 24, no. 2 (2021). http://dx.doi.org/10.5204/mcj.2761.

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Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be hig
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Downing, Brenda, and Alice Cummins. "The Catastrophe of Childhood Rape: Traversing the Landscape between Private Memory and Public Performance." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.590.

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She lies helpless and fragmented, limbs leaden with story, forced ever further into herself by the viscous shame that suffocates and disables her. Fleshed lips cling to each other, tongue recoils from the sharp taste of the narrative of her body. Within the impotent portal of her mouth, her story sits, an impenetrable oral hymen. — Brenda DowningRape is, without doubt, a catastrophic experience.When rape is experienced in childhood and is also silenced, it can have devastating consequences that carry through to adulthood.In what ways then can the catastrophic memory of silenced childhood rape
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Starrs, Bruno. "Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.834.

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The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: th
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Weigel, Margaret. "Mastering the 'Visual Groove'." M/C Journal 5, no. 4 (2002). http://dx.doi.org/10.5204/mcj.1973.

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The implications of digital media have been partly responsible for re-energizing debates concerning multiples, repetition and loops. But in fact, looping media dates back to the days of revolving stereoscopes and other mechanized Victorian amusements first employed as laboratory tools. In the following article I suggest that, much like grooves in music, the repetitious nature of an animated electronic bulb sign's "visual groove" can, over time, encourage a certain level of cognitive mastery of the material. Furthermore, since such signs are wedded to their environment, they can become both an
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Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi
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Gibson, Prue. "Body of Art and Love." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.474.

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The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this i
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Berger, Arthur Asa. "The Meanings of Culture." M/C Journal 3, no. 2 (2000). http://dx.doi.org/10.5204/mcj.1833.

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Culture: Its Many Meanings One of the problems we encounter in dealing with culture is that there are so many different meanings and definitions attached to the term. We think of culture two ways: first, in terms of aesthetic matters (relative to thearts) and second, as a concept used by anthropologists to describe the way people live. There are, so I understand, something like a hundred different definitions of culture used by anthropologists. The Origins of the Term "Culture" The word 'culture' comes from the Latin cultus, which means 'care', and from the French colere which means 'to till'
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Collins-Gearing, Brooke. "The Threads That Weave Me." M/C Journal 26, no. 6 (2023). http://dx.doi.org/10.5204/mcj.3016.

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Fig. 1: A Start. I could write or I could weave.I could write or I could weave…Write, weave. Weave.Then a colleague and friend says to me: why do you weave?I weave to put myself back together again.I weave the pieces of me that are shattered and broken.I weave because the rhythm, flow, feel, pattern and solidity comforts me.I weave because my body tells me to.I weave to breathe more slowly, more deeply.I weave because the threads that create the strands of my life need a language.… This article reflects on my relationship with weaving and what it offers to the remaining threads of my life. Wea
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Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl
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Subramanian, Shreerekha Pillai. "Malayalee Diaspora in the Age of Satellite Television." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.351.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian
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Dela Cruz, Luisito. "Bridging the Discipline and Practice of Public Administration in Philippine Governance: Concerns and Prospects of the National College of Public Administration and Governance." Scientia - The International Journal on the Liberal Arts 9, no. 2 (2020). http://dx.doi.org/10.57106/scientia.v9i2.122.

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Knowledge generated no matter how intellectual and pedagogic without any aim to improve the conduct of lives of men is like having a nuance of perpetual light without any single idea of darkness. Hence, academic research in educational institutions must not only display epistemological, substantial, and methodological prowess but it must always keep abreast to man’s preoccupation no matter how mundane and worldly. While it is the aim of educational institutions to unveil ‘abstract’ elucidations pertaining to human existence it is also its duty to make the same man enjoy existence life without
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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2715.

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 Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the d
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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.22.

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the galle
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