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Books on the topic 'Dancing bodies'

Author: Grafiati

Published: 13 April 2024

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1

Dancing women: Female bodies on stage. Routledge, 1998.

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2

Society dancing: Fashionable bodies in England, 1870-1920. Palgrave Macmillan, 2011.

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3

Reading dancing: Bodies and subjects in contemporary American dance. University of California Press, 1986.

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4

Foster, Susan Leigh. Reading dancing: Bodies and subjects in contemporary American dance. University of California Press, 1986.

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5

Lisa, Doolittle, and Flynn Anne, eds. Dancing bodies, living histories: New writings about dance and culture. Banff Centre Press, 2000.

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6

1954-, Doolittle Lisa, and Flynn Anne 1955-, eds. Dancing bodies, living histories: New writing about dance and culture. Banff Centre Press, 2000.

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7

Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. Palgrave Macmillan, 2010.

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8

Mukherjee, Suroopa. Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. Palgrave Macmillan, 2010.

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9

Quebec), Estivale (2000 Montréal. Estivale 2000: Canadian dancing bodies then and now = Estivale 2000 : les corps dansants d'hier à aujourd'hui au Canada. Dance Collection Danse Press/es, 2002.

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10

Parviainen, Jaana. Bodies moving and moved: A phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art. Tampere University Press, 1998.

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11

Parviainen, Jaana. Bodies moving and moved: A phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art. Tampere University Press, 1998.

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12

Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.

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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. Th

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13

Burt, Ramsay. Dancing Bodies and Modernity. Oxford University Press, 2010. http://dx.doi.org/10.1093/oxfordhb/9780199545445.013.0032.

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14

Olejniczak, Adrian. Manner of Bodies: Dancing. Independently Published, 2019.

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15

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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16

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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17

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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18

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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19

Banes, Sally. Dancing Women: Female Bodies on Stage. Taylor & Francis Group, 2004.

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20

Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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21

Zubko, Katherine C. Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Rowman & Littlefield Publishers, Incorporated, 2016.

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22

Zubko, Ph.D., Katherine C. Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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23

Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. University of California Press, 1988.

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24

Burrill, Derek A., and Melissa Blanco Borelli. Dancing with Myself. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.027.

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This chapter acts as a video game battle or interaction between the two authors. It discusses how dance video games construct corporeality. It provides an overview of Microsoft Xbox 360Dance Central’srelationship to choreography, choreographers, and dance analysis. It also theorizes how bodies and corporeality function in a virtual world. Finally, the chapter considers how avatar bodies provide new ways of thinking about the relationship between technology and the body.

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25

(Editor), Lisa Doolittle, and Anne Flynn (Editor), eds. Dancing Bodies, Living Histories: New Writings about Dance and Culture. Banff Centre Press, 2000.

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26

Smith, Christopher J. Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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27

Reading dancing bodies and subjects in contemporary American dance - 1986. University of California Press, 1986.

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28

Smith, Christopher J. Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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29

Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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30

Walker, Claire. Dancing bodies in contemporary Hollywood cinema: Aspects of representational sexual differece. 1996.

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31

Kedhar, Anusha. Flexible Bodies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840136.001.0001.

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Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum

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32

Smith, Christopher J. Dancing Revolution. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.001.0001.

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This book is a social history, theorizing participatory dance in New World public spaces as a tool that has enabled subaltern communities’ political resistance to hegemonic control. Drawing upon musicology, ethnomusicology, iconography, anthropology, dance studies, and folklore, and spanning examples from the eighteenth through the twenty-first century, it identifies recurrent strategic patterns in the music, movement, and “noise” that political minorities--including persons of color, economic underclasses, women, gays, and other resistance movements--have employed to oppose, contest, and tran

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33

Daniel, Yvonne. Contredanse and Caribbean Bodies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0003.

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This chapter examines the varied meanings attached to social dance, with particular emphasis on contredanse-derived practices in the Caribbean islands. Drawing on fieldwork conducted in 2005–2006, it considers how Caribbean bodies dance sovereignty in front of world powers and the ways that they affirm island and regional integrity in the nonverbal communication of dance performance. After providing an overview of the historical patterns of Caribbean set dancing and the history of the Caribbean from the sixteenth to the eighteenth centuries, the chapter turns to practices such as Cuban contrad

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34

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an

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35

Zubko, Katherine C. Studies in Body and Religion : Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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36

Schwall, Elizabeth B. Dancing with the Revolution. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469662978.001.0001.

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This book aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. This history of staged performance in ballet, modern dance, and folkloric dance analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, it argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised consid

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37

Mukherjee, S. Surviving Bhopal: Dancing Bodies, Written Texts, and Oral Testimonials of Women in the Wake of an Industrial Disaster. Palgrave Macmillan, 2010.

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38

Mukherjee, S. Surviving Bhopal: Dancing Bodies, Written Texts, and Oral Testimonials of Women in the Wake of an Industrial Disaster. Palgrave Macmillan, 2016.

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39

Weisbrod, Alexis A. Defining Dance, Creating Commodity. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.021.

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This chapter examines how the rhetoric utilized inSo You Think You Can Dance(United States) presupposes details of dance training, including the experience of certain types of bodies and the expectations of racial identity in regards to highly skilled bodies. The structure of the show emphasizes the language of the judges and producers over the work of the dancers. This language, which establishes values and comparisons between bodies, is used to train audience members to read dancing bodies. Examining these patterns of rhetoric, this chapter defines the termconceived body, identifying how it

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40

Dunagan, Colleen T. Subjectivity and Performative Consumption. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0006.

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Chapter Five addresses how television advertising’s dancing bodies engage in the practice of theory, modeling concepts of subjectivity, authenticity, and performance. It examines how dance and choreographic form play a central role in advertising and create a philosophical locus that highlights advertising’s concepts of subjectivity and identity. The chapter argues that in advertising, the liveness, affect, and spectacle of the dancing body informs the construction of identity, directing viewers to see movement as a form of human agency. By highlighting the body’s ability to assume and discard

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41

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific d

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42

Gotman, Kélina. Translatio. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0004.

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Renegade physician Paracelsus compared St. John’s Day dances to earthquakes, epileptic tremors, and tics. This ecosophical and vitalist concept, according to which all sorts of bodies echo one another’s shaking motions, countered long-held academic prejudice against witchcraft; neither choreomaniacs nor witches were subject to supernatural forces. Rather, the ‘vital spirits’ caused limbs, like branches, to shake. What’s more, dancing was now thought to cure dancing, and municipal authorities keen to keep a Strasbourg dancing mania in check employed guards to help wear dancers out—while exorcis

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43

Siegmund, Gerald. Negotiating Choreography, Letter, and Law in William Forsythe. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0013.

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This chapter considers William Forsythe, an artist whose intellectual choreographies form a unique—and uniquely successful—part of Germany's dance culture. First, it takes a closer look at the relation between bodies and the law that regulates our status as citizens and as political bodies. The piece Human Writes is emblematic of what choreography does with bodies that engage with the letter of the law, a missed encounter that produces dance. Second, it takes Human Writes as exemplary of Forsythe's methodologies to create impossible choreographies that challenge the dancers and necessitate dec

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44

Carter, Julian B. Chasing Feathers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0006.

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This chapter puts Jerome Bel’s 2004 dance Veronique Doisneau in conversation with recent critical work on re-enactment to explore the complex temporal politics that emerge when postmodern dance draws on and restages classical forms. The chapter describes how such restaging can make time fold and pleat around dancing bodies and their audiences, soliciting embodied participation in the power structures of both past and present.

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45

Wells, Christi Jay. Between Beats. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.001.0001.

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Between Beats: The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music’s formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a “legitimate” art form better suited for still, seated listening. Through the concept of “choreographies of listening,” the book explores amateur and professional jazz dancers’ relationships with jazz music and

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46

Dunagan, Colleen T. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0007.

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The Conclusion introduces an area of research that the author has not undertaken but which lingers on the edges, occasionally inserting itself for brief moments as other lines of flight are pursued. Looking at three contemporary examples of dance in advertising, it raises the question of bodily labor in relation to concepts of authorship, copyright, and political economy within the advertising industry. The hope is that the chapter points to possible future lines of inquiry and encourages alternative approaches to studying how dancing bodies negotiate consumer culture and neoliberal capitalism

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47

Bosse, Joanna. Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0002.

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In this interlude, the author describes the events of a typical Friday night social dance at the Regent Ballroom and Banquet Center by sharing her own experience. She narrates how dancers greet each other warmly and tell stories of their week as they change into their dance shoes. The dancers then head to the dance hall. The early minutes of the dance exude a quiet romance not only reserved for newlyweds. The Friday night ballroom dance is date night for many couples in attendance. The author mentions Sylvia, a real estate agent with two adult children, and her husband Jimmy. The two met at th

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48

Borelli, Melissa Blanco. A Taste of Honey. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.015.

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This chapter examines the filmic representations of the mulatta body in the filmsSparkle(1976),Flashdance(1983), andHoney(2003). The main research aim is to unravel how the Hollywood filmic apparatus engages with signifiers of raced sexuality and hierarchies of dance styles to enforce and reify mythic narratives about dance, dancing raced bodies, and dance-making. By establishing a genealogy of the mulatta body in the US context through these dance films, the chapter illustrates how the mulatta subject develops from a tragic figure (inSparkle) to an independent and self-reliant one (inHoney).

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49

Srinivasan, Priya. Domesticating Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.27.

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This chapter examines three scenes of “movement”—from the 2004 Tamil film Chandramukhi, the controversial documentary India’s Daughter that aired on BBC in March 2015, and the Star Plus Television serial of the Mahabharata focusing on the “Draupadi Vastra Haran” in 2014—to question how women’s bodies continue to be domesticated to delegitimize the upwardly mobile woman’s desire for remaking herself. The chapter suggests that neoliberalism has specific choreographies of violence perpetrated against women’s bodies. In particular, the author argues that within the choreographies of neoliberalism,

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50

Gotman, Kélina. Choreomania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.001.0001.

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This book traces the emergence and spread of the choreomania concept through colonial medical and ethnographic circles, showing how fantasies of instability—and of the Oriental other—haunted scientific modernity. Scenes from the archives of medical history, neurology, psychiatry, sociology, religion, and popular journalism show how the discursive history of the ‘dancing mania’ moved and transformed with its translations throughout the colonial world. From antiquarian references to ancient Greek bacchanals and medieval St. Vitus’s dances, to scientific reperformances of early modern religious e

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