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Journal articles on the topic 'Dancing and Reading'

Author: Grafiati

Published: 5 September 2021

Last updated: 29 July 2025

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1

Snoeyenbos, Milton H., and Susan Leigh Foster. "Reading Dancing." Journal of Aesthetic Education 22, no. 3 (1988): 118. http://dx.doi.org/10.2307/3333062.

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Summers-Bremner, Eluned. "Reading Irigaray, Dancing." Hypatia 15, no. 1 (2000): 90–124. http://dx.doi.org/10.1353/hyp.2000.0011.

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Summers-Bremner, Eluned. "Reading Irigaray, Dancing." Hypatia: A Journal of Feminist Philosophy 15, no. 1 (2000): 90–124. http://dx.doi.org/10.2979/hyp.2000.15.1.90.

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Summers-Bremner, Eluned. "Reading Irigaray, Dancing." Hypatia 15, no. 1 (2000): 90–124. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01081.x.

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My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

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5

Sackville-Ford, Mark, and Gabrielle Ivinson. "Tables Dancing." Paragrana 28, no. 2 (2019): 83–94. http://dx.doi.org/10.1515/para-2019-0025.

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Abstract This article is written in response to Method Lab #2, reacting to and reading scenes from the theatre and the school classroom. We responded to ‘The table and the dancer’ by Carla J. Maier with drawings by Janna R. Wieland, and ‘The book and the authors reading’ by Elise v. Bernstorff and Carla J. Maier. Our responses are within the ontological turn and specifically posthuman studies and new material feminism(s). We move beyond representational thinking to explore vibrant matter and experiment with what more the text, scenes and pictures can become.

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6

Nightingale, Andrea W. "Three Social Contexts that Produce Catharsis in Aristotle: Mystery Rites, Tragic Performances, Readings of Tragic Texts." Helios 51, no. 1 (2024): 1–28. https://doi.org/10.1353/hel.2024.a950041.

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Abstract: This essay examines three social contexts that generate catharsis in Aristotle's Politics 8 and Poetics : (1) the Dionysian and Corybantic mystery rites, (2) performances of tragedies at the theatre, and (3) private readings of tragedies. These contexts attracted different groups of people: mostly women in #1; mostly non-aristocrats in #2; and mostly aristocratic males in #3. In context #1, initiates dancing to sacred aulos music at the mystery rites experienced "healing and catharsis." In #2, an audience member hearing the music in a tragic performance has "a kind of" catharsis. In

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7

Chaleff, Rebecca. "Dancing and Reading across Difference, with love." Performance Research 27, no. 2 (2022): 91–92. http://dx.doi.org/10.1080/13528165.2022.2125189.

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8

Abbas, Mohsen. "Dancing and Remembering: A Contextual Reading of Brian Friel’s Play Dancing at Lughnasa." مجلة البحث العلمی فی الآداب 22, no. 21 (2021): 177–211. http://dx.doi.org/10.21608/jssa.2021.77264.1264.

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9

Syaifullah, Muhammad, Nailul Izzah, and Hernisawati Hernisawati. "Penerapan Metode Bamboo Dancing Untuk Meningkatkan Hasil Pemahaman Teks Materi Qiro’ah Mahasiswa." An Nabighoh: Jurnal Pendidikan dan Pembelajaran Bahasa Arab 22, no. 01 (2020): 1. http://dx.doi.org/10.32332/an-nabighoh.v22i01.1940.

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The purpose of Qiro'ah (reading) lessons is to train students to be able to understand texts individually. The application of an exciting and enjoyable learning strategy by a Lecturer that involves students actively in the process of understanding the reading content, either independently or in groups. Current learning models such as contextual learning and cooperative learning can also be adapted for learning to read. Improving students' Qiro'ah (reading) mastery results is a general objective of this study with a cooperative dancing type approach. The specific objectives of this study are (1

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10

Nygren, Anna. "TRANS-LATE / MISS-SPELL-ING / AUTISTIC MAGICAL WOR(L)DING." Landing, no. 1 (February 21, 2025): 37–44. https://doi.org/10.37522/2k3qvh60.

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Anna Nygren deploys neurodiverse sensing to shift the hegemony of the written word, offering poetic mis-steps in an autoethnographic series of anecdotes. Reading becomes the event of reading aloud, dancing towards both animal and morphological kingdoms.

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11

Hasty, Olga Peters. "Dancing Vowels: Mandelshtam in the Mouth." Slavic and East European Journal 59, no. 2 (2015): 212–28. http://dx.doi.org/10.30851/59.2.003.

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This article centers on Osip Mandelstam’s reading of his 1922 lyric «Я по лесенке приставной», which I consider in light of declamation studies of the time and the subsequent observations on vowels made by linguists who discounted those studies. I first provide a sketch of the work of Sergei Bernshtein and Sofia Vysheslavtseva, two declamation theorists who were personally acquainted with Mandelstam and whose work both informed and was, in turn, informed by his declamations. I then go on to reflect on what we can glean from the way Mandelstam reads his lyric. Taking my cue from Bernshtein’s an

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12

Stone, Dylan Jonas. "Queer Tango." European Journal of Life Writing 13 (December 17, 2024): C44—C52. https://doi.org/10.21827/ejlw.13.42391.

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In ‘Queer Tango’, Dylan Jonas Stone reflects on learning the art of tango and its dancing movements, alternating between steps into the past and into the present, in ways reflecting the memory work of diary writing, reading and re-reading. For Dylan, the intimacy of tango expresses - and sometimes confounds - expectations around sexualities.

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13

Gardner, Sally. "The Dancer, the Choreographer and Modern Dance Scholarship: A Critical Reading." Dance Research 25, no. 1 (2007): 35–53. http://dx.doi.org/10.3366/dar.2007.0018.

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This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Su

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14

Sparshott, Francis, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." Dance Research Journal 19, no. 2 (1987): 42. http://dx.doi.org/10.2307/1478171.

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15

Goldberg, Marianne, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." Theatre Journal 39, no. 4 (1987): 546. http://dx.doi.org/10.2307/3208278.

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16

Auslander, Philip, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." TDR (1988-) 32, no. 4 (1988): 7. http://dx.doi.org/10.2307/1145884.

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17

Schmitz, Nancy Brooks. "Reading dancing: Bodies and subjects in contemporary American dance." New Ideas in Psychology 10, no. 2 (1992): 269–71. http://dx.doi.org/10.1016/0732-118x(92)90038-2.

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18

Watts, Victoria. "Dancing the Score: Dance Notation and Différance." Dance Research 28, no. 1 (2010): 7–18. http://dx.doi.org/10.3366/drs.2010.0002.

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This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-w

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19

Beaucé, Patrick. "Dancing, drawing, designing." Drawing: Research, Theory, Practice 8, no. 2 (2023): 281–93. http://dx.doi.org/10.1386/drtp_00121_1.

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This paper describes and analyses a drawing practice in a research project on corporeality and gesture, with a view to designing objects and spaces. This research, carried out at the École nationale supérieure d’art et de design de Nancy (France), questions our presence with things and others, the sharing of space and the world, by questioning the gestures that underpin them. Drawing is one of these gestures. Its pedagogical aims are pragmatic and practical: to question our physicality in artistic training and to provide prescriptive elements, i.e. methods and techniques of looking, reading, w

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20

Colliander, Tuire. "Drawn into Dancing and Danced into Drawing: Exploring Deleuze’s Lines of Flight through Dancing–Drawing Approaches in Early Childhood Dance Pedagogies." Nordic Journal of Dance 15, no. 2 (2024): 40–51. https://doi.org/10.2478/njd-2024-0011.

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Abstract This article explores Deleuze and Guattari’s (1987) notion of ‘lines of flight’ as a philosophical concept and a phenomenon in dance pedagogical learning events by focusing on approaches combining dancing and drawing in an early childhood educational context. I share how the enquiry has been guided not only through the concept of thinking with theory (Jackson and Mazzei 2023) but also through dancing with theory through a series of creative approaches. This study is situated in the field of artistic research, with its theoretical framework in post-human theories (Barad 2007), intra-ac

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21

Gluyas, Sophia Davidson. "Dancing Federation Steps: A (queer) lesbian reading of Strictly Ballroom." Assuming Gender 4, no. 1 (2014): 24. http://dx.doi.org/10.18573/ipics.66.

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22

Comm, Lisabeth. "Experiencing Mythology and the Bible: Reading, Writing, Looking, and Dancing." English Journal 78, no. 7 (1989): 34. http://dx.doi.org/10.2307/817952.

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23

Power-Sotomayor, Jade. "Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs." Performance Matters 6, no. 2 (2021): 43–59. http://dx.doi.org/10.7202/1075798ar.

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Afro-Puerto Rican bomba, the island’s oldest extant genre of drum, dance, and song, is a fundamentally sonic practice. Unique in the tight relation between the execution of movements and the simultaneous sounding of the lead drum, bomba dance enacts a challenge to the Western focus on the visual spectacle of dancing and draws attention to what Ashon Crawley calls the “choreosonic,” or the inextricable linking of movement and sound. Bomba dance attends to creating rhythmic variation through specific movement choices strategically placed within and simultaneously producing the sonic framework of

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24

Hall, Joshua Maloy. "Imaginatively Grounded Figures: Dancing with Castoriadis." PhaenEx 13, no. 1 (2019): 86–115. http://dx.doi.org/10.22329/p.v13i1.5054.

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This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (which suppl

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25

Mackey, Reuben. "Reading Brian Castro's Shanghai Dancing at the Bottom of the Sea." Antipodes 34, no. 1 (2020): 101–12. http://dx.doi.org/10.1353/apo.2020.0012.

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26

Hunter, J. F. M. "Pleasure." Dialogue 26, no. 3 (1987): 491–500. http://dx.doi.org/10.1017/s0012217300047302.

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What is pleasure? Don't we all know? How could so many of us pursue it so eagerly otherwise? Or how could we so readily and confidently say whether this, that and the other are pleasures? Having one's back rubbed, dancing, listening to a Bach flute sonata and eating a cheese soufflé are pleasures, while having a cold, smelling rotten eggs and reading Hegel are not. We may not be able to define pleasure, but if we can readily say what is a pleasure and what is not, must we not know what it is, just as we know what a chair is if we can correctly identify chairs, distinguishing them from stools,

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27

Brown, Katrina. "circling, tumbling, dancing around: Back pieces." Choreographic Practices 13, no. 2 (2022): 145–63. http://dx.doi.org/10.1386/chor_00048_1.

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This article consists of six text–image pieces that share practical research into modes of moving, perceiving and thinking through the back and extended notions of dorsality. Since 2019, through workshops, studio residencies, presentations and collaborative moving, conversational, drawing and writing practices, I have been developing physical exercises and choreographic devices for tuning into the back, bringing attention to and exploring the unseen surfaces and axial technologies of the back. These dorsal practices are evolving through movement and sensory research as well as opening a wider

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28

Hügel, Karin. "King Davidʼs Exposure while Dancing: A Queer Reading of 2 Samuel 6". Scandinavian Journal of the Old Testament 30, № 2 (2016): 249–60. http://dx.doi.org/10.1080/09018328.2016.1226414.

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29

Hall, Joshua Maloy. "Self-Mimetic Curved Silvering: Dancing with Irigaray." Journal of French and Francophone Philosophy 22, no. 1 (2014): 76–101. http://dx.doi.org/10.5195/jffp.2014.644.

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In lieu of an abstract, here is the opening paragraph of the essay:One of Luce Irigaray’s many important contributions to philosophy consists in invoking dance more frequently than any other canonical Western philosopher. Unfortunately, however, her treatment of dance has rarely been treated substantively in the secondary literature, especially in regard to her most influential commentators, including Judith Butler, Elizabeth Grosz, and Margaret Whitford. Accordingly, I will begin my first section by situating the theme of dance in Irigaray’s work in the context of that of the latter three phi

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30

Su, Yi-Ching, Antonella Sorace, Yuki Hirose, Keiko Mochizuki, Makiko Hirakawa, and Mineharu Nakayama. "Microvariation in L2 acquisition of backward anaphora: Mandarin versus Japanese." Journal of Japanese Linguistics 40, no. 2 (2024): 181–207. http://dx.doi.org/10.1515/jjl-2024-2014.

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Abstract There are crosslinguistic variations for backward anaphora coreference readings although the languages, such as English, Italian, Russian, and Mandarin, that have been experimentally studied are constrained by Principle C. English allows backward anaphora coreference readings between the pronoun and the antecedent NP for sentences like “While he was dancing, Kermit ate the pizza”, but languages like Russian, Mandarin, and Japanese prohibit the coreference readings for some types of temporal subordinate clauses. In addition to the macrovariation between the English type of languages ve

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31

Mackey. "Reading Brian Castro's Shanghai Dancing at the Bottom of the Sea." Antipodes 34, no. 1 (2020): 101. http://dx.doi.org/10.13110/antipodes.34.1.0101.

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32

Kirillina, Larissa V. "The Dancing Prometheus: Beethoven and Ballet." Contemporary Musicology, no. 3 (2023): 63–81. http://dx.doi.org/10.56620/2587-9731-2023-3-063-081.

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Beethoven’s music has frequently appeared in ballet productions in the 20th and early 21st centuries. However, his only full-scale ballet, Die Geschöpfe des Prometheus (1801), remains outside of the theatrical mainstream. Meanwhile, this work was important for both of its creators: the great choreographer Salvatore Viganò and Beethoven. The ‘Promethean’ line in Beethoven’s and Viganò’s legacy continued after the ballet’s premiere in 1801. A number of Beethoven’s works from 1801–1804 are united by the so-called ‘Promethean theme’ (the quotation or reminiscence from the final counterdance of the

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33

Wilson, Peter. "Dancing for Free: Pindar's Kastor Song for Hieron." Classical Antiquity 38, no. 2 (2019): 298–363. http://dx.doi.org/10.1525/ca.2019.38.2.298.

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This article studies a neglected melic poem by Pindar, a hyporcheme for Hieron of Syracuse. It places the work in the context of vigorous poetic production associated with Hieron's foundation of the city of Aitna in 476/5 and assembles the relevant fragments, arguing for the inclusion of frr. 105ab, 106, 114 S-M, and for the relevance of sch. Aelius Aristeides Panathenaikos 187, 2 Dindorf. It analyzes and accepts as likely the evidence of the Pindaric sch. vet. Pythian 2.127 Drachmann that this hyporcheme was referred to by Pindar as a Kastoreion or “Kastor song,” and weighs the significance o

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34

Nur’aini, Nur’aini, Misdahwati Lubis, and Dita Azzahra. "Program Kegiatan Taman Baca Masyarakat (TBM) Ridha Di Kelurahan Teladan Kota Kisaran Kabupaten Asahan untuk Menarik Perhatian Masyarakat." Ilmu Informasi Perpustakaan dan Kearsipan 11, no. 2 (2023): 143. http://dx.doi.org/10.24036/124589-0934.

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This study aims to find out the program of activities at the Ridha Community Reading Center (TBM) and ways to educate the Asahan community by making people like reading and improving the quality of reading interest in Teladan Village, Kisaran Regency. The method used in this research is qualitative research with a descriptive approach. Data collection techniques were carried out by means of observation, interviews and documentation. In the data analysis section using data reduction, data presentation and drawing conclusions. The validity of the data in this study used source triangulation, tim

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35

Mayberry, Susan Neal. "Inside/Outdoor Sign Savvy in Morrison’s “Recitatif” and Paradise." South Central Review 41, no. 1 (2024): 46–63. http://dx.doi.org/10.1353/scr.2024.a926132.

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Abstract: In her 1993 Nobel Lecture in Literature , Toni Morrison asserts: “We die. That may be the meaning of life. But we do language. That may be the measure of our lives” (22). The Dancing Mind (1996), her extended meditation on the art of reading and writing, laments language proficiency as an imperiled survival skill. A Mercy ’s (2008) Florens confirms, however, that locating “[w] hich is the true reading” matters less than the reading itself since language itself is “a way” (139). If we adopt a neo-domestic/eco-critical approach, we not only address Morrison’s disparagement toward a sta

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36

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

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37

Drapało, Kamila. "The power of imagination In The Red Shoes." Studia z Teorii Wychowania XIV, no. 2 (43) (2023): 295–307. http://dx.doi.org/10.5604/01.3001.0053.9099.

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In the 1948 movie The Red Shoes, the power of imagination and artistic vocation are metaphorically represented as a pair of red dancing shoes. Just as in Andersen’s fable, the shoes are enchanted: they can open up new horizons and possibilities of existence and artistic expression to the one that wears them. But their inexhaustible power can also possess her, demand complete devotion, or even dance her to death. A hermeneutic reading of the three key scenes from the movie inspires a reflection on the dialectics of the power of imagination and its productive as well as destructive potential.

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38

Parhan, Muhamad, Cindy Anugrah Pratiwi, Rika Agustina, and Salsa Nurul Aini. "Penari Berhijab dalam Perspektif Masyarakat sebagai Ajang Dakwah melalui Kesenian." Abdi Seni 13, no. 1 (2022): 79–90. http://dx.doi.org/10.33153/abdiseni.v13i1.4161.

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This article provides an overview of the implications of Islamic science and art. Not many dancers wearing hijab when dancing, because it is considered something unusual. Various stigmas appear in the perspective of society when they see dancers wearing hijab. One of the stigmas given is that women or girls wearing hijab are not supposed to dance because often the movements performed can invite lust, for instance, through erotic movements that could trigger lust especially in men who are not family members of the women. The dancers wearing hijab, on the other hand, appear to be conveying an im

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Sujiatmi, Sujiatmi, Nazla Maharani Umaya, Pipit Mugi Handayani, and Muhajir Muhajir. "Karakter Tokoh dalam Novel Dancing in the Rain Karya Tisa TS dan Stanley Meulen dalam Pembelajaran Bahasa Indonesia di SMA." Sasindo 11, no. 2 (2023): 335–52. http://dx.doi.org/10.26877/sasindo.v11i2.16160.

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This study aim was to describes the types of characters found in the novel Dancing in the Rain by Tisa TS and Stanley Meulen. The results of the research are then used as content for learning materials at the high school level. This research is descriptive qualitative. The data collection technique used in this research is reading and note-taking technique. The data analysis technique was carried out qualitatively. Presentation of data is presented in the form of words as a description of the data obtained. Based on the results of the analysis found 3 types of character characters include: (a)

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40

Min,Byung-Lock. "A Study of the Masala Film of India -Analyzed Through a Reading of Dancing Muthu-." Film Studies ll, no. 37 (2008): 143–73. http://dx.doi.org/10.17947/kfa..37.200809.006.

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41

Nirupama, Suneetha. "The Malayali Diaspora in the US: A close reading of Mira Jacob." Kiraṇāvalī 16, no. 1-4 (2024): 235–41. https://doi.org/10.5281/zenodo.14681809.

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It is indeed paradoxical that Kerala, with its long history of immigration, has very little to show as immigrant writing. This paper examines Mira Jacob, a Keralan woman writer who grew up in the U.S, Her parents had migrated to the US from Kerala in the late 1960s. <em>The Sleepwalker’s Guide to Dancing</em> (2014) narrates the life of an Indian immigrant family in New Mexico and the dilemma of two generations of immigrants who resist assimilation. In contrast, <em>Good Talk: A Memoir in Conversations</em> (2019) explores the writer's inner life as an American first-generation

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42

Bhattarai, Kedar. "Mortality Anxiety and Aesthetic Engagements: A Reading in Katherine Anne Porter's Pale Horse, Pale Rider." BMC Research Journal 3, no. 1 (2024): 14–22. http://dx.doi.org/10.3126/bmcrj.v3i1.69172.

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The article analyses the effect of performance arts (dance, music, and writing) on the central character Miranda in Katherine Anne Porter's novella Pale Horse, Pale Rider. The study situates itself within the discourse of pandemics and the discourse of expressive arts. In addition to establishing the correspondence between mortality anxiety and aesthetic engagements, it explores the testimonies of performance arts in Pale Horse, Pale Rider and its impact on its central character Miranda who lives a stressful life induced by the Spanish influenza of 1918 and World War I. Dancing, singing, and w

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43

Ravelhofer, Barbara. "Burlesque Ballet, a Ballad and a Banquet in Ben Jonson's The Gypsies Metamorphos'd (1621)." Dance Research 25, no. 2 (2007): 144–55. http://dx.doi.org/10.3366/drs.2007.25.2.144.

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In summer 1621, George Villiers, then Marquess of Buckingham, invited the king and an exclusive circle of courtiers to inaugurate his newly restored countryside residence Burley-on-the-Hill in Rutland, Lincolnshire. On this occasion, he commissioned Ben Jonson with a masque, The Gypsies Metamorphos'd, in which he himself and various friends performed as dancing, pick-pocketing and palm-reading gipsies. The Gypsies Metamorphos'd was a risqué piece which experimented with innovative features, some of them outrageous. In particular, Jonson and his collaborators drew upon French-style ballet and b

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44

Kelly, Michelle. "Grace, the Body, and the Aesthetic in J. M. Coetzee’s Foe." Nordic Journal of English Studies 23, no. 1 (2024): 145–65. http://dx.doi.org/10.35360/njes.2024.23314.

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This essay revisits J. M. Coetzee’s representation of Friday’s body in his 1986 novel Foe in the context of his long-standing interest in the idea of grace. Through a reading of Friday’s dancing in Foe, I argue that Coetzee’s representation of Friday consistently invokes grace as a physical and aesthetic concept, rather than the theological emphasis that has prevailed in critical discussions to date. The reading is amplified by evidence from the Coetzee Papers at the Harry Ransom Center, which points towards Coetzee’s engagement in the early 1980s with the work of German writer Heinrich von Kl

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Obamakin, Olabisi. "Yoruba Girl Dancing: a Nigerian/British Women’s Reading of Herodias’s Daughter in Mark 6:17–28 and Matthew 14:3–12." Horizons in Biblical Theology 47, no. 1 (2025): 45–71. https://doi.org/10.1163/18712207-12341497.

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Abstract This article seeks to offer a Nigerian/British women’s reading of Herodias’ daughter’s dance in Mark and Matthew by reading it alongside Simi Bedford’s Yoruba Girl Dancing. In this article, the dominant Western interpretation of Herodias’s daughter’s dance being erotic is shown to have been heavily influenced by hypersexualised art reception history in the face of no biblical evidence. By combining insights from Simi Bedford’s novel (which depicted Yoruba dance on British soil to be a public statement of resistance against European colonialism), and the important role that dance playe

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Heil, Johanna. "Dancing Contact Improvisation with Luce Irigaray: Intra‐Action and Elemental Passions." Hypatia 34, no. 3 (2019): 485–506. http://dx.doi.org/10.1111/hypa.12479.

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This article takes as its point of departure Luce Irigaray's Elemental Passions, in which a woman‐speaker tries to make her lover and the discipline of philosophy understand that she is not how they have imagined her to be; that she is not at all but that she keeps becoming through perpetual movement. The article investigates Irigaray's investment in a form of materialist difference feminism that offers conceptual links to the posthumanist work of Karen Barad's agential realism, especially her theorization of intra‐action. The link between Irigaray and Barad is established via a diffractive re

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Doolittle, Lisa. "The Trianon and on: Reading Mass Social Dancing in the 1930s and 1940s in Alberta, Canada." Dance Research Journal 33, no. 2 (2001): 11. http://dx.doi.org/10.2307/1477801.

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Hamdan, Mohammed. "Mobility and Disability in Toni Morrison's “Recitatif”: An Anti-Racial Reading of “Dancing” and “Sick” Bodies." Explicator 77, no. 3-4 (2019): 119–23. http://dx.doi.org/10.1080/00144940.2019.1667746.

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Palmer, Clive, and David Torevell. "‘The Sweet Pain of Life’ - Dancing Metaphysical Longing: A Theological Reading of Matthew Bourne’s Swan Lake." International Journal of Social Science Studies 8, no. 2 (2020): 63. http://dx.doi.org/10.11114/ijsss.v8i2.4722.

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The performing arts offer opportunities for the creative representation of spiritual and moral values and serve an important function in contemporary culture. Dance, and in particular ballet, has the potential through its somatic dynamics centred around graceful movement and stylised gesture, to offer an alluring spectacle of beauty and value to any audience. What we offer in this article is a philosophical, theological and spiritual reading of Matthew Bourne’s 2018 production of Swan Lake. The dance revolves around the longing of one male swan for another and the obstacles they encounter due

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Ishab, Mishra. "Stress, Anxiety and Ambivalence: Reading Maternal Experiences and PPD in Dancing on The Edge of Sanity." International Journal of Arts, Humanities and Social Studies 5, no. 1 (2023): 34–38. https://doi.org/10.5281/zenodo.7638031.

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During 1960’s and 1970’s a sharp increase in the representation of motherhood experience was seen in both popular and academic literature. <em>M</em><em>otherhood memoirs </em>or <em>mommy memoirs,</em> or, even shorter, <em>momoirs</em> emerged to accommodate the varied aspects of mothering and motherhood experiences. These writings contest the popular notion that motherhood is a joyful and fulfilling experience by foregrounding the implicit aspect, i.e., the <em>dark side</em> of motherhood demonstrating mothers’ pain and suffering. Instead of highlighting the glorified sid

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