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Journal articles on the topic 'Danmei'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Liu, Qi. "Reflection of the Development of Female Subject Consciousness: Based on the Tendency of Gender Role Division in Danmei Literature." Lecture Notes in Education Psychology and Public Media 42, no. 1 (2024): 159–65. http://dx.doi.org/10.54254/2753-7048/42/20240823.

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"Danmei" culture is an important part of contemporary youth subculture, among which "original Danmei literature" is a form of online literature that can reflect the level of female subject consciousness. This article starts from the development history of Danmei literature, takes the tendency of the artificial division of gender roles in Danmei works as the theme, and analyzes the classic seme-uke model that appears in Danmei literary works and the further division of gender roles in the ABO worldview. Under the trend of gender role division in Danmei literature, the two protagonists, who are

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2

Lowe, JSA. "Danmei and/as Fanfiction: Translations, Variations, and the Digital Semiosphere." Humanities 13, no. 1 (2024): 20. http://dx.doi.org/10.3390/h13010020.

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Since the late 1990s, Chinese internet publishing has seen a surge in literary production in terms of danmei, which are webnovels that share many of the features of Anglophone fanfiction. Thanks in part to recent live-action adaptations, there has been an influx of new Western and Chinese diaspora readers of danmei. Juxtaposing these bodies of literature in English in particular enables us to examine the complexities of how danmei are newly circulating in the Anglophone world and have become available themselves for transformative work, as readers also write fanfiction based on danmei. This pa

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3

NIM, EVGENIYA G. "Bromance as a Masquerade: Adaptation and Reception of Chinese Danmei Fantasy." Art and Science of Television 18, no. 3 (2022): 105–43. http://dx.doi.org/10.30628/1994-9529-2022-18.3-105-143.

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The article discusses danmei (or boys love, BL), a fiction genre which occupies a special place in Chinese pop culture. Despite the fact that these entertainment stories are characterized by a love line between male characters, the authors and consumers of Chinese BL are primarily heterosexual women. Danmei has become popular not only in China itself, but also in many other countries, which adds relevance to the study of its reception by the Russian audience. First of all, this applies to web series television adaptations of network BL novels available to the world audience. The research focus

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Wang, Aiqing. "Contemporary Danmei Fiction and Its Similitudes with Classical and Yanqing Literature." JENTERA: Jurnal Kajian Sastra 10, no. 1 (2021): 127. http://dx.doi.org/10.26499/jentera.v10i1.3397.

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Danmei, aka Boys Love, is a salient transgressive genre of Chinese Internet literature. Since entering China’s niche market in 1990s, the danmei subculture, predominantly in the form of original fictional creation, has established an enormous fanbase and demonstrated significance via thought-provoking works and social functions. Nonetheless, the danmei genre is not an innovation in the digital age, in that its bipartite dichotomy between seme ‘top’ and uke ‘bottom’ roles bears similarities to the dyad in caizi-jiaren ‘scholar-beauty’ anecdotes featuring masculine and feminine ideals in literar

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Wang, Aiqing. "Cliché-ridden Online Danmei Fiction? A Case Study of Tianguan ci fu." Acta Asiatica Varsoviensia 35 (2022): 281–314. http://dx.doi.org/10.60018/acasva.iray5065.

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Popular literature online is often misconstrued as being cliché-ridden and formulaic, and has thus not attained as much critical attention as ‘serious’ literature. I propound that popular literature published in China’s cyberspace deserves more attention and hermeneutic scrutiny, and I place an emphasis on danmei (耽美) fiction that features male-male romantic and/or erotic relationships and is predominantly published on a female-oriented website called Jinjiang Literature City. In this research, I investigate an online danmei novel entitled Tianguan ci fu (天官赐福) that concerns a homosexual roman

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Ge, Liang. "Problematizing heteronormativity: Performativity, resignification and A/B/O fiction in Chinese danmei literature." East Asian Journal of Popular Culture 7, no. 2 (2021): 241–54. http://dx.doi.org/10.1386/eapc_00051_1.

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The literary form of danmei, in which male–male romance and/or erotica is portrayed, is a flourishing genre in China which has received significant attention from academia in recent years. This article focuses on a notorious subgenre of danmei, A/B/O fiction, which introduces three additional sexes, alpha, beta and omega, into mankind, alongside the male/female binary sex/gender system. By focusing on a popular but atypical example of this subgenre, this study aims to contribute to the understanding of how female danmei writers constantly question the hierarchical and heteronormative system in

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Wang, Aiqing. "Xiazhui: The Real Person Slash Novel that Triggers the Blockage of AO3 in China." Language Circle: Journal of Language and Literature 17, no. 2 (2023): 228–41. http://dx.doi.org/10.15294/lc.v17i2.35356.

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Owing to its dual correlation with homosexuality and eroticism, danmei (Boys Love) in China is subject to state censorship, so in a hit online serial The Untamed adapted from a popular danmei novel, the male-male relationship between protagonists has been expurgated. Obsessed with the romance in the original narrative yet dissatisfied with the officially sanctioned adaptation, fangirls create fanfiction, including real person slash (RPS) based on the leading actor Xiao Zhan and his co-star from the The Untamed. Xiao’s fans reported a piece of RPS titled Xiazhui and Archaic of Our Own (AO3) tha

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Wang, Aiqing. "Xiazhui: The Real Person Slash Novel That Triggers The Blockage of AO3 in China." Journal Communication Spectrum 13, no. 1 (2023): 13–29. http://dx.doi.org/10.36782/jcs.v13i1.2159.

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Owing to its dual correlation with homosexuality and eroticism, danmei (Boys Love) in China is subject to state censorship, so in a hit online serial The Untamed adapted from a popular danmei novel, the male-male relationship between protagonists has been expurgated. Obsessed with the romance in the original narrative yet dissatisfied with the officially sanctioned adaptation, fangirls create fanfiction, including real person slash (RPS) based on the leading actor Xiao Zhan and his co-star from the The Untamed. Xiao’s fans reported a piece of RPS titled Xiazhui and Archaic of Our Own (AO3) tha

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9

Wang, Aiqing. "‘Rotten’ Boy Readers of Danmei Fiction: Masculinity and Escapism." İSTANBUL AYDIN ÜNİVERSİTESİ INTERNATIONAL JOURNAL OF MEDIA CULTURE AND LITERATURE 8, no. 1 (2015): 1–28. http://dx.doi.org/10.17932/iau.ijmcl.2015.014/ijmcl_v08i1001.

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10

Madill, Anna, Yao Zhao, and Liheng Fan. "Male‒male marriage in Sinophone and Anglophone Harry Potter danmei and slash." Journal of Graphic Novels and Comics 9, no. 5 (2018): 418–34. http://dx.doi.org/10.1080/21504857.2018.1512507.

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WANG, Aiqing. "Censorship and Circumvention in China: How Danmei Writers ‘Drive a Car’ on Jinjiang." İSTANBUL AYDIN ÜNİVERSİTESİ INTERNATIONAL JOURNAL OF MEDIA CULTURE AND LITERATURE 6, no. 2 (2015): 137–68. http://dx.doi.org/10.17932/iau.ijmcl.2015.014/ijmcl_v06i2003.

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12

Yang, Ling, and Yanrui Xu. "Danmei, Xianqing, and the making of a queer online public sphere in China." Communication and the Public 1, no. 2 (2016): 251–56. http://dx.doi.org/10.1177/2057047316648661.

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Chao, Shih-Chen. "Grotesque eroticism in the Danmei genre: the case of Lucifer's Club in Chinese cyberspace." Porn Studies 3, no. 1 (2016): 65–76. http://dx.doi.org/10.1080/23268743.2015.1119991.

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Wang, Aiqing. "‘Farming Writing’: An Innovative Subgenre of Internet Literature." Humanis 25, no. 4 (2021): 396. http://dx.doi.org/10.24843/jh.2021.v25.i04.p01.

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As an innovative subgenre of Internet literature, ‘farming writing’ has attained popularity in contemporary China’s cyberspace, which, in a narrow sense, denotes narratives pertaining to agronomic theories and agrarian practices. Disparate from cliché-ridden web romances that deploy authorial ‘golden finger’ to equip protagonists with impeccable demeanour and prowess, ‘farming’ fiction is characterised by reality-oriented, detail-enriched depictions, notwithstanding its essence as ‘feel-good writing’. Furthermore, ‘farming’ works are marked by a slow pace, peaceful setting and plain theme, ena

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Uyên and Bình. "The Development of Boys Love in Vietnam: From Manga and Danmei Fiction to the Football Turf." Mechademia: Second Arc 13, no. 1 (2020): 148. http://dx.doi.org/10.5749/mech.13.1.0148.

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Yeh, Michelle. "Classicist Drama in Digital Times." Prism 20, no. 2 (2023): 417–41. http://dx.doi.org/10.1215/25783491-10992780.

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Abstract This article begins with an overview of the rise of internet drama, or web drama, in China in the past fifteen years. The new platform boasts several advantages, which accounts for its rapid development. Web drama has become so popular that it is replacing television drama series as the mainstream. The article then examines a major genre of web drama: stories set in traditional China. While costume drama or period drama, whether based on history or fiction, has always been popular, classicist web drama series in recent years stand out for their authenticity and creativity. Based on tw

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17

Yamaner Okdan, Hale. "Structural analysis of traditional Kadın Zeybek dances in İzmirİzmir ili geleneksel Kadın Zeybek oyunlarının yapısal analizi." International Journal of Human Sciences 13, no. 1 (2016): 332. http://dx.doi.org/10.14687/ijhs.v13i1.3499.

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<p>İzmir has a dance culture where <em>zeybek</em> dances are performed predominantly. When the <em>zeybek </em>dances performed by men are danced by women they are called “<em>kadın </em>(female) <em>zeybek</em>”. <em>Kadın zeybek</em> dances are more agile in terms of rhythm, and simpler and elegant in terms of movement when compared to male <em>zeybek </em>dances. In traditional life, women aren’t welcome to dance in the same environment with men. Thus, female dances are performed indoors where men aren’t allowed

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18

Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.

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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk da

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19

Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.

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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances crea

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20

Madill, Anna, and Yao Zhao. "Are Female Paraphilias Hiding in Plain Sight? Risqué Male–Male Erotica for Women in Sinophone and Anglophone Regions." Archives of Sexual Behavior 51, no. 2 (2021): 897–910. http://dx.doi.org/10.1007/s10508-021-02107-4.

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AbstractFemale-oriented male–male erotica is a genre of popular culture often know as Boys’ Love (BL), yaoi, and danmei. It is one of the largest by-and-for women sexual subcultures and a global phenomenon. With the largest data sets in the field, we ask: Which risqué sexual content do Sinophone (Chinese-speaking) and Anglophone (English-speaking) participants particularly enjoy in BL and does this differ between cultures?, and Are there sub-demographics in Sinophone and in Anglophone culture who enjoy particular forms of risqué sexual content in BL and do these forms relate also to enjoyment

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21

Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.

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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the da

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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relatio

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Surya, Windi Kartika, and Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu." Jurnal Sendratasik 10, no. 4 (2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.

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This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and w

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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been desig

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Dong, Shihao, Tao Lin, James C. Nieh, and Ken Tan. "Social signal learning of the waggle dance in honey bees." Science 379, no. 6636 (2023): 1015–18. http://dx.doi.org/10.1126/science.ade1702.

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Honey bees use a complex form of spatial referential communication. Their “waggle dance” communicates the direction, distance, and quality of a resource to nestmates by encoding celestial cues, retinal optic flow, and relative food value into motion and sound within the nest. We show that correct waggle dancing requires social learning. Bees without the opportunity to follow any dances before they first danced produced significantly more disordered dances with larger waggle angle divergence errors and encoded distance incorrectly. The former deficit improved with experience, but distance encod

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Kietzman, Parry M., and P. Kirk Visscher. "Follower Position Does Not Affect Waggle Dance Information Transfer." Psyche: A Journal of Entomology 2019 (March 3, 2019): 1–5. http://dx.doi.org/10.1155/2019/4939120.

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It is known that the honey bee waggle dance communicates the distance and direction of some item of interest, most commonly a food source, to nestmates. Previous work suggests that, in order to successfully acquire the information contained in a dance, other honey bees must follow the dancer from behind. We revisit this topic using updated methodology, including a greater distance from the hive to the feeder, which produced longer, more easily-read dances. Our results are not congruent with those of earlier work, and we did not conclude that honey bees must follow a dancer from behind in order

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DePass, Cecille. "Dancing Our Stories Ourselves: Dancing with Mr. Neville Black." Cultural and Pedagogical Inquiry 12, no. 3 (2022): 54–58. http://dx.doi.org/10.18733/cpi29616.

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Chapter 10: Introduction to Jazz and Modern Dance, Take 5: Cecille recounts her experiences dancing with Neville Black, a modern dancer who was trained in the USA and returned to Jamaica to choreograph and teach modern and jazz dance to teens and adults. He choreographed several dances for Mrs. Simpson’s ballet performances, and taught with her in the 1960s.

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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.

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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array

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FERATAN, MUHARREM, and ERHAN SOLMAZ. "ANADOLU DANS GELENEĞİNDE TÜRK DİNÎ DANSLARI VE HAYVAN SEMBOLİZMİ." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (June 20, 2023): 319–36. http://dx.doi.org/10.34189/hbv.106.015.

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Dance, which emerged as an entertainment element today, was seen as an element of worship in primitive times. The dances, which were performed to please the gods or to protect them from their wrath in the first years, aimed to reach the god and become one with him in the following years. In order to achieve this goal, people imitated nature and animals in their religious dances. People observing the behavior of animals sometimes felt fear and sometimes admiration for them. This feeling of fear and admiration has revealed the human effort to identify with the animal and acquire its virtues. The

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LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)." History and Modern Perspectives 4, no. 4 (2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.

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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Ru

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31

Alvarez, Christophe. "Re-write and Re-create the French “Ballet du temps” (1654): Knowledge, Historical Sources, and Creative Strategies." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (2022): 29–55. http://dx.doi.org/10.24193/subbmusica.2022.2.02.

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"This article discusses the author’s process of reconstructing the “Ballet du Temps”, one of the great court ballets of the French 17th century, danced by King Louis XIV in 1654, which has remained partially copied by Philidor. With the Violin 1 being the only remnant of what has been this Ballet, the article presents the issues raised during the musical rewriting, notably the harmonic formulation, the instrumentarium, the ornaments, among others. This study also recalls the fundamental aesthetic differentiation between the Ballet dances (called Entrées and Airs in the score) and the society d

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Kepekçi, Yalçın, Can Boğa, Zühey Günal, Hamza Çivi, and Emine Özmen. "MYOGLOBINURIA, HEMOGLOBINURIA AND BLOOD PRESSURE CHANGES iN TURKISH FOLK DANCERS." European Journal of Therapeutics 2, no. 1 (1991): 42–48. http://dx.doi.org/10.58600/eurjther.19910102-501.

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Turkish folk dancers hava won many international competitions i.e. first place in 1986 at Dijon, France; gold hatched in 1986 at Zakupane Poland. Turkish folk danca has almost the sama characteristics as other sports. Soma of the figures in the dances is characteristics as other sports. Soma of the figures in the dances is characterised by sudden movements of the feet to the ground. Rhabdomyolysis has been defined in skiers, football players, and in clay drum players according to previous reports. During the 1991 Turkish folk dance competition, the effects of physical activity and extremity co

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Harefa, Mega Suryawan, Malarsih Malarsih, and Rahina Nugrahani. "Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Fal�wa di Kecamatan Idan�gawo." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 10, no. 1 (2024): 223. http://dx.doi.org/10.32884/ideas.v10i1.1548.

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The fanari niowalu dance is a traditional dance which is one of the sacred dances in wedding customs which is only danced by niowalu at the fal�wa which symbolizes that Niowalu is ready to get married and welcomes the extended family of the marafule (groom), guests and the community who come was at the fal�wa event. The purpose of writing this article is to analyze the form of presentation of the fanari niowalu dance using qualitative research methods with an ethnochoreological approach that describes existing problems. This dance is danced at weddings where the dance is started by the mothers

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and

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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed me

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Copeliovitch, Andrea. "Dançar o Zen: Aprendizado e poéticas de um processo." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 3 (2020): 85–99. http://dx.doi.org/10.21747/21843805/tav3n3a6.

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This article discusses an experimental creative process that relates Zen Buddhism, Antonin Artaud, Jerzy Grotowski and Brazilian dances (bumba-meu-boi, cavalo marinho, and coco), using the study of a symbolic body proposed by Graziela Rodrigues; taking as an example the choreography The Bull and the Void, based on the Buddhist tale, The Monk and the Bull (by Monja Coen Roshi and Fernando Zenshô Figueiredo). The choreography is a composition that incorporates zen buddhist rites elements, Japanese anime aesthetics and dances from Brazilian north and northeast, organized by theatre techniques, wh

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Foley, Kathy. "The Dancer and the Danced: Trance Dance and Theatrical Performance in West Java." Asian Theatre Journal 2, no. 1 (1985): 28. http://dx.doi.org/10.2307/1124505.

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Ophir, Hodel. "Dancing to Transgress: Palestinian Dancer Sahar Damoni's Politics of Pleasure." Dance Research Journal 53, no. 3 (2021): 25–45. http://dx.doi.org/10.1017/s0149767721000401.

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AbstractAs a woman Palestinian dancer and choreographer in Israel, Sahar Damoni performs within multiple contexts of cultural, gendered, and political oppression, employing her bodily art to challenge these structures, most poignantly through dances that express and evoke pleasure and sensual joy. Offering a detailed ethnography of three of Damoni's performances within one year in Israel/Palestine, I argue that an examination of her artistry provides unique insight into the intricate workings—and transgressions—of gender, ethnic, and national boundaries through the movement of the body in danc

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Hajowary, Tapasi. "THE DANCE FORMS OF A DOUDINI IN KHERAI FESTIVAL OF THE BODOS OF ASSAM: AN ANALYTICAL STUDY FROM RELIGIOUS PERSPECTIVE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 22–30. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.148.

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The Bodos are important tribes of the North-Eastern India, particularly Assam. They belong to the Indo-Mongolian group of tribes and are inducted as Kiratas. They are mainly scattered in the districts of Kokrajhar, Goalpara, Barpeta, Bongaigaon, Baksa, Dhubri etc. The traditional Bodos celebrate Kherai as one of their significant religious festivals Brahma (2008) 14. They perform Kherai for well-being of their families, to yield good harvest and prosperity of the society. Kherai is a religious custom in which the primitive spiritual almighty is prayed earnestly. It is a prayer institution of B

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Ianni, Filomena. "Rhythms of homecoming: A body–soul experience of dancing the traditional rhythms of my native land, as an exiled, non-traditional southern Italian woman." Dance, Movement & Spiritualities 9, no. 1 (2022): 29–50. http://dx.doi.org/10.1386/dmas_00033_1.

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The experience presented here draws on my MA Dance and Somatic Wellbeing final study. Due to global pandemic restrictions, this was a solo and single witnessed inquiry into the resonance, in my body–soul experience, of traditional dances from my native land, centred on deepening into a ‘return’ to the homeland within. This perspective hoped to contribute to the field of somatic movement practices in relation to traditional dances as embodied inter-, intra- and trans-personal experience and in contexts removed from their place of origin. Through the emerging themes, a story unfolded, of unantic

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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little re

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Elron, Sari. "Rina Nikova and the Yemenite Group: Between East and West, North and South." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 63–68. http://dx.doi.org/10.1017/s2049125500000121.

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Rina Nikova, a Jewish dancer, ballet master, and choreographer, was born in Russia around 1898 and died in Israel in 1974. Nikova established her Yemenite Singing Ballet in 1932. She trained her dancers—young Jewish emigrates from Yemen—with classical ballet technique augmented with various local and migrating influences. She gathered firsthand information on folk dances, music, and costumes by visiting Arab towns and villages and communities of Oriental Jews. Nikova combined those influences into an original creation that was to become a cornerstone of nation-building in Israel.

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ALM, IRENE. "Winged feet and mute eloquence: dance in seventeenth-century Venetian opera." Cambridge Opera Journal 15, no. 3 (2003): 216–80. http://dx.doi.org/10.1017/s0954586703001733.

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This article shows how central dance was to the experience of opera in seventeenth-century Venice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources – libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinary variety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing important insights as to how to identify which vocal or instrumental excerpts would likely have been danced.

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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and inte

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Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that t

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Filippidou, Eleni. "Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece." International Journal of Research and Innovation in Social Science 06, no. 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.

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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s n

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Goff, Moira. "The Celebrated Monsieur Desnoyer, Part 1: 1721–1733." Dance Research 31, no. 1 (2013): 67–77. http://dx.doi.org/10.3366/drs.2013.0059.

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George Desnoyer first danced in London in 1721 and 1722, and returned to pursue a successful performing career there between 1731 and 1742. He may have been born around 1700 in Hanover, for he was the son of the dancing master ‘Denoyé’ employed by Georg Ludwig Elector of Hanover (later King George I of England) from at least 1694. 1 Musicians named ‘Desnoyers’ can be found in Paris records from the 1650s. 2 The elder Desnoyer may have been related to Antoine Desnoyers, who was a member of the ‘violons de la Chambre’ at the court of Louis XIV from at least the late 1670s until about 1694. 3 He

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Sander, Elizabeth. "Music, Drinking and Dance at Aristocratic Russian Weddings under Peter the First as Witnessed by Friedrich Wilhelm von Bergholz." Articles 26, no. 1 (2012): 34–61. http://dx.doi.org/10.7202/1013242ar.

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Dance and related rituals as practised at aristocratic wedding ceremonies in Russia at the end of the reign of Peter I ("the Great," 1672-1725) are examined in this article. The central source employed in this research is a diary written in Russia by the Holstein nobleman Friedrich Wilhelm von Bergholz (1699-1765) between 1721 and 1725. Dancing on the first day of the aristocratic Petrine wedding ceremony was evidently governed by a stable formal plan consisting of formal reverences, ceremonial dancing and free dancing. Minuets, as well as dances identified as Polish and English, were danced.

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement

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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographe

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