Relevant bibliographies by topics / Gay dancers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gay dancers'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Gay dancers"

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Shay, Anthony. "The Male Dancer in the Middle East and Central Asia." Dance Research Journal 38, no. 1-2 (2006): 137–62. http://dx.doi.org/10.1017/s0149767700007427.

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Within this quotation the reader may find a rich description of historical and even contemporary Middle Eastern attitudes toward dance and male dancers in particular, penned from a native point of view. In this article I address those attitudes, but more importantly challenge several cherished, long-held assumptions and theoretical stances expressed by native elites and Westerners interested in Middle Eastern dance and dancers. First, I challenge the romantic views that many gay men hold that the presence of male dancers and the sexual interest expressed toward them by Middle Eastern men somehow constitutes evidence for an environment accepting of homosexuality and a Utopian gay paradise, where the possibility of unbridled sexual congress with handsome, passionately out-of-control Arabs, Persians, and Turks exists. Thus, they crucially confuse gay or homosexual identity with homosexual activity or behavior. Because of this confusion, I use an important aspect of queer theory that counters “the monolithic alternative of liberationist gay politics” (Bleys 1995, 7) to look at the phenomenon of professional male dancers in a somewhat grittier, more realistic light. In particular, I refer to Stephen O. Murray's groundbreaking article, “The Will Not to Know” (1997, 14–54) which establishes a valuable lens through which to view how the vast majority of Middle Eastern individuals regard homosexual acts.
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Tolentino, Rolando B. "Macho Dancing, the Feminization of Labor, and Neoliberalism in the Philippines." TDR/The Drama Review 53, no. 2 (June 2009): 77–89. http://dx.doi.org/10.1162/dram.2009.53.2.77.

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Macho dancing in the gay bars of the Philippines is performed by male heterosexual dancers and is a symptom of the discursive cultural politics of the Philippines in transition from the Marcos dictatorship to today's multinational capitalism. The macho dancer's body can also be read as representing actual shifts in the cultural politics of the Filipino nation-state.
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Fatmawaty, Lynda Susana Widya Ayu, and Condro Nur Alim. "Virtual Sphere: A Site to Negotiate the Image of Lengger Banyumas." Lingua Cultura 14, no. 2 (December 30, 2020): 261–66. http://dx.doi.org/10.21512/lc.v14i2.6837.

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The research aimed at investigating how Lengger used the virtual sphere to negotiate their image to society. LenggerBanyumas was always stereotyped with the discourse of Queer, Gay, Bisexual, and Transgender (QGBT). Therefore, it ledto gender discrimination, not only on the stage but also in their daily life. Consequently, in this 4.0 era, Lengger neededto use social media in order to create a different image as an alternative way to negotiate the dancer’s gender identity.The method applied was Hine’s virtual ethnography method by applying Habermas theory. Respondents were interviewed virtually through video conference. Meanwhile, the data were collected through their Instagram. The results show that Lengger constructs their image on social media to produce an image by performing double-identity; they are feminine on the stage and masculine in real life. The first identity is a feminine dancer to reveal the image of a professional drag dancer from Banyumas. However, Lengger elaborates the masculine identity in their dance performance by wearing the attribute of female dancers. Meanwhile, Lengger also reveals masculine identity in their real life. As identity is fluid, it indicates that the image will also never be fixed. Thus, this image is reproduced constantly in the virtual sphere as a negotiation towards society’s stereotyping.
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McMains, Juliet. "Rebellious Wallflowers and QueerTangueras: The Rise of Female Leaders in Buenos Aires’ Tango Scene." Dance Research 36, no. 2 (November 2018): 173–97. http://dx.doi.org/10.3366/drs.2018.0237.

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This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.
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Krasnow, Donna. "The Gap Between Research and Pedagogy: Continuing the Discussion." Medical Problems of Performing Artists 30, no. 2 (June 1, 2015): 115–16. http://dx.doi.org/10.21091/mppa.2015.2020.

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In June 2013, Dr. Ralph Manchester wrote an editorial for Medical Problems of Performing Artists examining the following question presented to him in a letter to the editor: Why haven’t we used the scientific method to determine optimal piano technique? The article in this month’s issue entitled “Exploring active and passive contributors to turnout in dancers and non-dancers” by Sutton-Traina et al. examines various possible contributors to turnout in dancers, and which factors may be the greatest predictors of the dancer’s standing turnout. What stands out within the reported data is the recognition that professional dancers as a whole do not approach the 180° of turnout that continues to be the icon of the ideal classical dancer. And so I pose the question: Why haven’t we used the scientific method to determine optimal dance technique?
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MANSBRIDGE, JOANNA. "TheZenne: Male Belly Dancers and Queer Modernity in Contemporary Turkey." Theatre Research International 42, no. 1 (March 2017): 20–36. http://dx.doi.org/10.1017/s0307883317000049.

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This article explores the history and contemporary revival of male belly dancers –zenneorköçek– in Turkey and in cities with large Turkish populations, such as Berlin. What does the current revival of male belly dancing tell us about the relationship between modern ideologies of sex and gender and narratives of modernity as they have taken shape in Turkey? Thezennedancer embodies the contradictions of contemporary Turkish culture, which includes a variety of same-sex practices, along with sexual taxonomies that have developed in collusion with discourses of modernity. The revival ofzennedancing can be seen as part of a series of global transformations in the visibility of gay, lesbian, and trans people in popular culture and public discourse. However, it is also an unpredicted consequence of the Justice and Development Party's (Adalet ve Kalkinma Partisi, AKP) purposeful revival and romanticization of Turkey's Ottoman past, which has been ahistorically remembered as more pious than the present. Re-emerging in the twenty-first century as an embodiment of competing definitions of sexuality and modernity in contemporary Turkey, precisely at a moment when Turkish national identity is a hotly contested issue, thezennedancer is queer ghost, returning to haunt (and seduce) the present.
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Powell, Ryan. "Hardcore Style, Queer Heteroeroticism, and After Dark." Feminist Media Histories 5, no. 2 (2019): 111–47. http://dx.doi.org/10.1525/fmh.2019.5.2.111.

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During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how hardcore as a style was taken up by the popular gay-marketed entertainment magazine After Dark. Through a close descriptive analysis of three photo spreads from 1975–76, it illuminates how female, gay male, and otherwise non-straight-identifying performers participated in a hardcore stylistic that, paradoxically, worked to shape queer elaborations of heteroeroticism. Within these vital images of singers, dancers, models, and performance artists, created at the height of hardcore's newfound cultural influence, performances of female-male coupling and group-centered socio-sexual activity both worked with and moved to dissolve normative heterosexist configurations of sex and gender.
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Kavasoğlu, İrem, Merve Rençbereli, and İbrahim Fatih Yenel. "Dancing manly men: Gender analaysis of experiements of male dancersDans eden “erkek adamlar”: Erkek dansçıların deneyimlerine toplumsal cinsiyet analizi." Journal of Human Sciences 14, no. 2 (May 16, 2017): 1768. http://dx.doi.org/10.14687/jhs.v14i2.4553.

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Gendered nature of sports excludes women and also men in some sports. The patriarchal culture’s way of coding dance as a feminine act is creating some restrictions for men. The aim of this study is to examine the meaning and limits of being a male dancer in Adana. Datas were collected by semi-structured interviews using phemonologhy which is one of research methods of qualitative research method. The participants was constituted by 5 male dancer (salsa). Data were analyzed by the content analysis method. The findings of the data obtained from the analysis collected under three themes: 1 Masculine Norms: Does a man dance? 2 Humiliated femininity: Do not wiggle like a girl, 3 Homophobia: You look like a gay son, you have to wear this? As a result, a significant domination generated by the dominance over the body acts set by gender differences over male dancers was observed. The strategy to get rid of prejudice and oppression is to insist, to prove that they are successful and not to wear tights.Extended English abstract is in the end of PDF (TURKISH) file. ÖzetSpor dallarının toplumsal cinsiyetlendirilmiş yapısı bazı sporlarda kadınları bazılarında ise erkekleri dışlamaktadır. Ataerkil kültürün dansı dişil bir edim olarak kodlaması, erkekler için bir takım kısıtlamalar yaratmaktadır. Bu çalışmanın amacı, Adana’da erkek dansçı olmanın anlam ve sınırlarını incelemektir. Nitel araştırma yöntemlerinden fenemonoloji yönteminin kullanıldığı araştırmanın verileri yarı yapılandırılmış görüşme yöntemi ile toplanmıştır. Araştırmanın katılımcılarını 5 erkek dansçı (salsa) oluşturmuştur. Veriler içerik analizi yöntemi ile analiz edilmiştir. Veri analizi sonucunda elde edilen bulgular 3 tema altında toplanmıştır: 1 Eril Normlar: Erkek adam dans eder mi? 2 Aşağılanan Kadınlık: Karı gibi kıvırtma, 3 Homofobi: Oğlum gey gibi olmuşsun bunu giymek zorunda mısın? Sonuç olarak, cinsiyet farklılıklarının bedenin edimleri üzerinde kurduğu hakimiyetin, erkek dansçılar üzerinde önemli bir tahakküm oluşturduğu görülmüştür. Dansçılar için önyargı ve baskıdan kurtulma stratejisi ise ısrarcı olmak, başarılı olduklarını ispat etmek ve tayt giymemektir.
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Nolton, Esther C. "Dancer Wellness. By M. Virginia Wilmerding and Donna H. Krasnow." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 72. http://dx.doi.org/10.21091/mppa.2018.1010.

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Dancer Wellness is a comprehensive text for dancers and dance educators to better understand health and wellness in the context of their craft. Though not intended for this purpose, this resource may also be a beneficial tool in allowing allied healthcare professionals to repackage knowledge that was obtained in a traditional (sports) medicine context to the otherwise unchartered world of dance medicine and science. As a former dancer turned sports medicine practitioner and researcher, I appreciate what this text has done to bridge the gap by transferring knowledge and skills across disciplines.
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Lopes, Maycon. "Learning Body Techniques: Dance and Body Flexibility among Gay Black Teens in Salvador de Bahia, Brazil." Social Sciences 10, no. 2 (February 15, 2021): 72. http://dx.doi.org/10.3390/socsci10020072.

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This article is the result of ethnographic fieldwork among amateur dancers, mainly among gay adolescents from the outskirts of Salvador de Bahia (Brazil), who label themselves as “flexible”. This self-definition arises out of bodily flexibility techniques, cultivated through intense physical work. By focusing on specific training situations, such as stretching exercises, I trace understand how the “flexible” body is built. I propose that the language mobilized by these young people offer an important guide to understanding the distinctive elements of this practice. The practitioners’ accounts and my own observations of the practice indicate that the embodiment of acrobatic skills occurs in a process that weaves body and environment. Following Ingold, I argue that an ecological approach help us to comprehend this kinesthetic practice as spatial realization, as well as providing useful insights into its learning practices exploring the richly sensory dimension of learning practices and development of motor sensibilities, such as the sound and the imperative pain experience. Furthermore, I analyze how my interlocutors’ concept of body fits the theoretical idea of how bodies should not be defined by what they are, but rather by what they are able to do.
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Dissertations / Theses on the topic "Gay dancers"

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Correia, Romualdo dos Santos. "Desejo, estilo de vida e transgress?o da identidade em Dancer from the dance de Andrew Holleran e Pela noite de Caio F." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br/handle/123456789/19638.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
A partir da investiga??o e percep??o do trabalho liter?rio, esta tese discute aspectos relacionados aos estudos sobre o homoerotismo e estilos de vida nas obras Dancer from the dance (2001) de Andrew Holleran e Pela noite (2010) do autor brasileiro Caio Fernando Abreu. Considerando que as quest?es sobre beleza, desejo e estilo de vida configuram recortes importantes para as narrativas, propomos uma discuss?o atrav?s da an?lise das obras que marcam desde os primeiros momentos de libera??o sexual nas festas de Nova Iorque com as peculiaridades de estilos pr?prios que caracterizaram as personagens de Andrew Holleran rostificadas por um ethos que comp?s durante aquele momento a abertura para a liberdade sexual de sexualidades desviantes. Em Pela noite, reiteramos uma continua??o do momento de abertura no Brasil para as personagens gays de Caio, levando em considera??o que o in?cio da d?cada de 1980 constitui para aquelas personagens as primeiras ?sombras" da aids e o conhecimento de si, no qual suas personagens convivem com o medo, anonimato e reminisc?ncias da homofobia como pano de fundo para as discuss?es pontuais que s?o desencadeadas pelo autor. Para compor um recorte te?rico que subsidie este trabalho, elencamos os trabalhos de Michel Foucault (2007, 2010a, 2010b), Eve Kosofsky Sedgwick (2008), Didier Eribon (2008), David Cartier (2004), David Eisenbach (2006) e outras contribui??es que foram, sem d?vida, imprescind?veis a este empreendimento
From the research and awareness of literary work, this thesis discusses aspects related to the study of homoeroticism and lifestyles in the works Dancer from the Dance (2001) by Andrew Holleran and Pela noite (2010) by Brazilian author Caio Fernando Abreu. Whereas issues about beauty, desire and lifestyle shape cutouts important to the narrative, I propose a discussion by examining the works that mark from the first moments of sexual release party in New York with the peculiarities of their own styles that characterized the Andrew Holleran characters rostificadas by an ethos that he composed during this time opening for freedom of sexual deviant sexualities. In Pela noite, we reiterate a continuation of opening moment in Brazil for gay characters Caio , assuming the early 1980s for those characters is the first " shadows " of AIDS and knowledge of self , in which his characters living with fear, anonymity and reminiscences of homophobia as a backdrop to the discussions that are triggered off by the author . To compose a theoretical framework to subsidize this work , we selected the works of Michel Foucault (2007 , 2010a , 2010b ) , Eve Kosofsky Sedgwick (2008 ) , Didier Eribon (2008 ) , David Cartier (2004 ) , David Eisenbach (2006 ) and other contributions that were undoubtedly essential to this endeavor
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Bollen, Jonathan James. "Queer kinaesthesia : on the dance floor at gay and lesbian dance parties Sydney, 1994-1998 /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.143421/index.html.

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Bollen, Jonathan James, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Queer kinaesthesia : on the dance floor at gay and lesbian dance parties Sydney, 1994-1998." THESIS_FPFAD_SD_Bollen_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/357.

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What is happening on the dance floor at the gay and lesbian dance parties? What are lesbians and gay men doing when they dance? This thesis presents a project in performance research that takes as its locus on investigation the dance parties that have been produced annually by gay and lesbian organisations in Sydney since the early 1980s. In particular, it focuses on the largest of these dance parties, Mardi Gras Party and Sleaze Ball, during a period of research from 1994 to 1998. Harnessing these resources, the thesis aims at investigating how dance parties sustain an ongoing salience for gay men and lesbians in Sydney. On the basis of ethnographic research, performance documentation, and movement analysis, the investigation pursues an analytical trajectory across the making of dance parties within a subcultural scene, to the doing of dance parties as performance events, and then onto the dance floor as a site for performative practice. Responding to a persistent debate about straights at the parties, the anlayses register the salience of dancing as an etiquette of doing dance party as it is done, as a queer kinaesthesia sustained on the dance floor, and as an occasional community danced into existence. The thesis attests to the pertinence of analysing movement. It analyses the mobility of practice, rather than its textual residue; the kinaesthesia of performative identities, rather than their morphological contours; and the choregraphy of community, rather than its substantive contents. Recognising that queer theory too has an interest in movement, in proliferating metaphors for the mobility of queer identifications and desires, the thesis argues in conclusion that such metaphors represent imaginative flights of fancy to the extent that they fail to grasp the corporeality of queer kinaesthesia
Doctor of Philosophy (PhD)
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Bollen, Jonathan. "Queer kinaesthesia on the dance floor at gay and lesbian dance parties Sydney, 1994-1998 /." Connect to this title online, 1999. http://handle.uws.edu.au:8081/1959.7/357.

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Weems, Michael Ray. "The Fierce Tribe: Crack Whores, Body Fascists, and Circuit Queens in the Spiritual Performance of Masculine Non-Violence." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180029151.

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Gay, Wayne Lee. "Short Stories." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc6144/.

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This collection of seven representative original short stories will include four short stories relating to a fictional location in Dallas, the Starry Skies gay country-and-western dance hall. Three short stories set in fabulous, sometimes absurd settings, will follow. A preface dealing with the nature of fictional place and non-fictional place in fiction will precede the collection of short stories.
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Grapin, Scott. "Grind the ink, wet the brush, dance the pine tree reading and writing nature with Gary Snyder's Riprap and Mountains and rivers without end /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564017691&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Eckardt, Allison. "Kpatsa an examination of a Ghanaian dance in the United States /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1214242024.

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Heald, Lorie Elizabeth. "Bridging the gap between dance and theatre: A physical approach to teaching theatre at a secondary level." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/278689.

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The body has within it an intelligent force, a cognitive power, which deserves recognition. This cognitive power is defined in this thesis as physical cognition, a way of knowing, learning, and responding that occurs within the body and comes from the body. There is currently an imbalance in the relationship between mental and physical cognition in secondary education. This imbalance has permeated Western thought since Descartes claimed that the thinking being is separate from the bodily being. With requirements for physical education and fine arts at the bare minimum, there is a need for physical engagement in learning in secondary education. Offering a teaching model that includes movement, acting, and Anne Bogart's Viewpoints, this model provides a step by step plan for both teaching theatre from a physical perspective and developing physical cognition. It is through this integration of mind and body that education of the whole person begins.
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Finestone, Juanita. "The politics and poetics of choreography the dancing body in South African dance." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002370.

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This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
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Books on the topic "Gay dancers"

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Lola dances. Albion, NY: MLR Press, 2008.

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A dance of love and jealousy. Frisco, TX: Dreamspinner Press, 2011.

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The sex squad. New York: St. Martin's Press, 1998.

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Holleran, Andrew. Dancer from the dance. Harmondsworth: Penguin, 1990.

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Holleran, Andrew. Dancer from the Dance. New York: Harper Perennial, 2001.

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1948-, Gillespie Peggy, ed. Last night on earth. New York: Pantheon Books, 1995.

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Holleran, Andrew. Dancer from the dance: A novel. New York: Plume, 1989.

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Dancer from the dance: A novel. New York: New American Library, 1986.

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Gore, Vidal. Death in the fifth position. New York, N.Y: Armchair Detective Library, 1991.

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Gao chu yan liang: Lin Huaimin wu dao sui yue gao bai. Guilin: Guangxi shi fan da xue chu ban she, 2011.

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Book chapters on the topic "Gay dancers"

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Lilly, Mark. "Andrew Holleran: Dancer from the Dance and Nights in Aruba." In Gay Men’s Literature in the Twentieth Century, 190–205. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22966-6_12.

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Hess, Linda M. "Gay Times in NYC: Andrew Holleran’s Dancer from the Dance (1978)." In Queer Aging in North American Fiction, 99–120. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03466-5_5.

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Katan, Einav. "The Challenge of a Perceptual Gap between Body and Mind." In Embodied Philosophy in Dance, 93–103. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-60186-5_11.

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Radel, Nicholas F. "1978, the Year of Magical Thinking: Magical Realism and the Paradoxes of White Gay Ontology in Andrew Holleran’s Dancer from the Dance and Edmund White’s Nocturnes for the King of Naples." In The Palgrave Handbook of Magical Realism in the Twenty-First Century, 145–71. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39835-4_7.

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Scolieri, Paul A. "Seven Magic Years." In Ted Shawn, 285–364. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0006.

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This chapter focuses on the “seven magic years” of Ted Shawn and His Men Dancers (1933–40), the first all-male dance company that performed a repertory of hyper-masculine dances throughout the college and sorority circuits in the Depression-era United States. It elucidates the groundbreaking company’s history through details from the correspondence between Shawn and Lucien Price, an editor at the Boston Globe and one of the earliest and most vital supporters of Shawn’s all-male experiment. Price mentored Shawn in the codes of gay history, culture, and literature, all of which made their way into Shawn’s choreography. Based on details from Price’s private journals, the chapter reveals their shared vision and pursuits to liberate societal attitudes toward homosexuality. It also explores Shawn’s ongoing attempts to gain critical attention within the sphere of modern dance, especially from New York Times dance critic John Martin.
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Salkind, Micah E. "Remediating the Underground." In Do You Remember House?, 85–118. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0004.

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The third chapter of Do You Remember House? traces the routes by which mostly straight, Black, and middle-class teenagers accessed and adapted the social and sonic templates developed by house music’s queer of color progenitors. Using close readings of radio “hot mixes” and oral history interviews with DJs, promoters, and dancers involved in the city’s all-ages “juice bar” scene, this chapter also suggests that house music radio was made by an emergent cohort of middle-class, Black, radio entrepreneurs who remediated Chicago musical repertoires for increasingly heterogeneous listening publics. The term remediation (Bolter & Grusin, 1999) helps account for the ways that the WBMX and WGCI hot mix shows incorporated and transformed the aesthetic priorities of teen juice bars, gay discotheques, and Black appeal radio programs to promote house music as a shared, if often contested, soundscape in greater Chicagoland.
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Bloomfield, Paul. "Taking a Light Glass in Soho." In Food and Drink: the cultural context. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-03-0-2352.

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I am taking a light glass in Soho! Standing outside the Coach and Horses (one of my regular haunts), with my newly acquired drinking companion, who is reminiscing about how things have changed. She misses her days with Soho luminaries, not least ‘No Knickers Joyce’. She drains the glass of wine that I bought her and goes back inside. She will never speak to me again. Such is the character of Soho – sustained by drink and legends. Today it’s a cosmopolitan quarter of restaurants, pubs, bars, coffee shops and clubs, interspersed with traders, hairdressers, porn shops and media houses. It’s here that London’s gay ‘village’ affably co-exists with tourists, hedonists, media- types and epicures. Soho is comprised of about 130 acres of central London. Oxford Street, Regent Street, Shaftesbury Avenue and Charing Cross Road mark its physical boundaries, and provide a framework for its powerful and enduring symbolic culture. Soho was extolled by a foreign diplomat at the beginning of the 20 th Century as a home of artists, dancers and musicians and a sanctuary for foreign refugees. Fifty years later it was condemned by the Daily Mail as a neighbourhood, ‘Solely for stinking men, prostitutes, perverts and pimps.’ Whatever its perceived failings, its rich diversity placed it at the vanguard of new tastes – particularly in food and fashion. It has remained a case study in cross-cultural acceptance, as well as a theatre of over-indulgence and unruly living.
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Román, David. "Dance Liberation." In Gay Latino Studies, 286–310. Duke University Press, 2011. http://dx.doi.org/10.1215/9780822393856-020.

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"Dance Liberation." In Gay Latino Studies, 286–310. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822393856-021.

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Román, David. "Dance Liberation." In Gay Latino Studies, 286–310. Duke University Press, 2011. http://dx.doi.org/10.2307/j.ctv111jj6c.23.

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Conference papers on the topic "Gay dancers"

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Cherian, Bilu Verghis, Andrew Owen Claugus, Mike Dilli, Domingo Mata, Jason Sitchler, Samer Alatrach, Jessica Lynn Neumiller, and Maraden Luigie Panjaitan. "An Integrated Single-Well Approach to Evaluating Completion Effectiveness and Reservoir Properties in the Wind Dancer Field." In Tight Gas Completions Conference. Society of Petroleum Engineers, 2010. http://dx.doi.org/10.2118/137126-ms.

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Wahyuni, Nanda, Tati Narawati, and Trianti Nugraheni. "The Changing Formation of Guel Dance in Gayo, Aceh, Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.36.

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Stone, Rick, Sagar Nauduri, and George Medley. "A Game of Horizontals: The Dance of Gas Intrusion, Percolation, and Migration vs Mud-Weight Increase." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2017. http://dx.doi.org/10.2118/187309-ms.

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Maxey, M. R., S. Dong, D. Liu, and J. Xu. "Simulation of Particulate Flows With the Force-Coupling Method (Keynote Paper)." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45713.

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One of the challenges in the numerical simulation of a system of particles in a fluid flow is to balance the need for an accurate representation of the flow around individual particles with the feasibility of simulating the fully-coupled dynamics of large numbers of particles. Over the past few years, several techniques have been developed for the direct numerical simulation of dispersed two-phase flows. Examples include the ALE-FEM formulation described by Hu et al. [1] and the DLM method of Patankar et al. [2]. The former uses a finite element mesh that conforms to the shape and position of each particle and evolves dynamically as the particles move, while the latter employs a fixed mesh and constraints are imposed in the volume of fluid occupied by the particle to reproduce a corresponding rigid body motion. In both the aim is to fully resolve the flow dynamics for each particle and there is a corresponding demand for high resolution of the flow. A typical approach used for gas-solid flows has been the point-force method that combines a Lagrangian tracking of individual particles with an Eulerian formulation for force feedback on the fluid flow. The latter approach has worked well for very small particles in systems of negligible void fraction but significant mass loading. The resolution level is very low and often the particles are smaller than the spacing between grid points. Its success comes from the averaging effect of large numbers of small particles and the fact that the influence of an individual particle is weak. The approach though is inaccurate for liquid-solid or bubbly flows when the individual particles are of finite size and the void fractions may easily be larger than 1%. In tracking the individual particles an equation of motion is formulated that relates the particle acceleration to the fluid forces acting on the particle, and these forces such as drag and lift are parameterized in terms of the local fluid velocity, velocity gradients and history of the fluid motion. Once flow modification is included however, it is harder to specify the local flow. The parameterizations also become more complex as effects of finite Reynolds number or wall boundaries are included. As a numerical procedure, the force-coupling method (FCM) does not require the same level of resolution as the DLM or ALE-FEM schemes and avoids the limitations of the point-force method. It gives a self-consistent scheme for simulating the dynamics of a system of small particle using a fixed numerical mesh and resolves the flow except close to the surface of each particle. Distributed, finite force-multipoles are used to represent the particles, and FCM is able to predict quite well the motion of isolated particles in shear flows and the interaction between moving particles. The method also provides insights into how the two-phase flow may be described theoretically and modeled. The idea of the force-coupling method was first introduced by Maxey et al. [3]. The basic elements of the method are given by Maxey & Patel [4] and Lomholt & Maxey [5]. In the basic version of the method, fluid is assumed to fill the whole flow domain, including the volume occupied by the particles. The presence of each particle is represented by a finite force monopole that generates a body force distribution f(x,t) on the fluid, which transmits the resultant force of the particles on the flow to the fluid. The velocity field u(x,t) is incompressible and satisfies ∇·u=0(1)ρDuDt=−∇p+μ∇2u+f(x,t),(2) where μ is the fluid viscosity and p is the pressure. The body force due to the presence of NP bubbles is f(x,t)=∑n=1NpF(n)Δ(x−Y(n)(t)),(3)Y(n)(t) is the position of the nth spherical particle and F(n)(t) is the force this exerts on the fluid. The force monopole for each particle is determined by the function Δ(x), which is specified as a Gaussian envelope Δ(x)=(2πσ2)−3/2exp(−x2/2σ2)(4) and the length scale σ is set in terms of the particle radius a as a/σ = π. The velocity of each particle V(n)(t) is found by forming a local average of the fluid velocity over the region occupied by the particle as V(n)(t)=∫u(x,t)Δ(x−Y(n)(t))d3x.(5) If mP and mF denote the mass of a particle and the mass of displaced fluid, the force of the particle acting on the fluid is F(n)=(mP−mF)(g−dV(n)dt).(6) This force is the sum of the net external force due to buoyancy of the particle and the excess inertia of the particle over the corresponding volume of displaced fluid. In addition a short-range, conservative force barrier is imposed to represent collisions between particles and prevent overlap. A similar barrier force is imposed, normal to the wall, to represent collisions between a particle and a rigid wall. With this scheme the body forces induce a fluid motion equivalent to that of the particles. The dynamics of the particles and the fluid are considered as one system where fluid drag on the particles, added-mass effects and lift forces are internal to the system. The method does not resolve flow details near to the surface of a particle, and indeed the no-slip condition is not satisfied on surface. At distances of about half a particle radius from the surface the flow though is fairly well represented. While there is no explicit boundary condition on the particle surface, the condition (5) ensures that the bubble and the surrounding fluid move together. The method has been applied to a variety of flow problems. Lomholt et al. [6] compared experimental results for the buoyant rise of particles in a vertical channel filled with liquid with results from corresponding simulations with FCM. The particle Reynolds numbers were in the range of 0 to 5 and the results agreed well. The wake-capture and the drafting, kissing and tumbling of pairs of particles, or of a group of three particles were found to match. Comparisons have made too with full direct numerical simulations performed with a spectral element code [7]. Liu et al. [8] examined the motion of particles in a channel at both low and finite Reynolds numbers, up to Re = 10. There was in general good agreement between the FCM results and the DNS for the particle motion, and the flow details were consistent away from the particle surface. There has been extensive work in the past on the sedimentation of particles in a homogeneous suspension, mainly for conditions of Stokes flow. Climent & Maxey [9] have verified that the FCM scheme reproduces many of the standard features found for Stokes suspensions. The results for finite Reynolds numbers illustrate how the structure of the suspension changes as fluid inertia is introduced, in particular limiting the growth in velocity fluctuation levels with system size. Further work has been done by Dance [10] on sedimenting suspensions in bounded containers. Recently we have been studying the dynamics of drag reduction by injecting micro-bubbles into a turbulent channel flow. This has been proven through experiments over the past 30 years to be an effective means for drag reduction but the details of the mechanisms involved have not been determined. Numerical simulations by Xu et al. [11] have shown clear evidence of drag reduction for a range of bubble sizes. A key feature is the need to maintain a concentration of bubbles in the near-wall region. In the talk, the method will be described and example results given. Specific issues relevant to gas-solid flows will be discussed.
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