Journal articles: '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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Jowitt, Deborah. "Introduction." Dance Research Journal 38, no. 1-2 (2006): 75–76. http://dx.doi.org/10.1017/s0149767700007348.

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When CORD asked me to put together a panel honoring Marcia B. Siegel for the 2005 conference in Montreal, I did not hesitate to accept. She had done the same for me in 2001. But this was no quid pro quo. Decades ago, when Siegel edited the long-defunct publication Dance Scope, she invited me to contribute a review of Edwin Denby's Dancers, Buildings and People in the Street to the Spring 1966 issue. She was taking a big chance. That was my first published writing. She had only heard me talk about dance on “The Critical People,” a radio show about the arts on WBAI-FM (a bunch of us got together weekly and more or less winged it).Over the years, she and I have thrashed out ideas about criticism, historical writing, and specific performances sitting side by side in theater seats, collapsing in hotel rooms after arduous days at conferences, conducting workshops together, and while weeding my vegetable garden. Our opinions may differ, but we have similar ideas about what we are trying to accomplish in our writing and what kind of writing we like to read.In putting together the panel, I consulted Marcia for ideas. Gay Morris, Selma Odom, and Peggy Phelan are her distinguished colleagues in dance history, theory, and criticism; she also counts them among her friends. Elizabeth Streb, whom she has reviewed over the years, created and delivered a stunning Powerpoint presentation. I regret that it couldn’t be included here. Juxtaposing Marcia's writings about her work to glimpses of the pieces reviewed and her own impressions of them, Streb offered a uniquely insightful and generous view of the critic-artist relationship.

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Aldor, Gaby. "The Borders of Contemporary Israeli Dance: “Invisible Unless in Final Pain”." Dance Research Journal 35, no. 1 (2003): 81–97. http://dx.doi.org/10.1017/s0149767700008780.

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When Vertigo, an Israeli dance company, performed in collaboration with the English Ricochet dancers, there was one dance on the stage—one choreography—but the audience saw two different modes of movement. The English dancers were learned, elegant, arms and feet drawing long lines in space, the feet articulate. The Israelis danced with a powerful thrust, extremities loose, with total commitment and daring, their movements leaving in space traces of explosions too fast to recollect rather than spirals of continuity. How did this mode of movement develop? What is “Israeli” about Israeli dance?In this essay I offer a brief history of concert dance in Israel, then a largely descriptive account of choreographic and motional themes that distinguish contemporary Israeli dance. My descriptions of works by contemporary Israeli choreographers Jasmine Goder, Ronit Ziv, Anat Danielli, Shlomi Bitton, and Noa Dar are drawn mostly from observation of performances held during yearly Curtain Up festivals at the Suzanne Dellal Center for Dance and Theater in Tel Aviv. I also discuss works by Inbal Pinto, Rami Be'er, Nir Ben-Gal and Liât Dror, and finally, Ohad Naharin, artistic director and choreographer of the Batsheva Dance Company.

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Wyon, Matthew A., Julie Harris, Faye Adams, Ross Cloak, Francis A. Clarke, and Janine Bryant. "Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 198–204. http://dx.doi.org/10.21091/mppa.2018.3028.

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AIMS: Dancers need to constantly maintain and develop their physiological capabilities to support their performances. Previously these physiological demands have been investigated only in traditional dance styles such as ballet and modern. The aim of this study was to examine the physiological demands of two types of hip-hop: new style and break dance. METHODS: Nine female new style dancers (age 20±6 yrs, height 163.5±1.4 cm, mass 55.8±22 kg) and 9 male break dancers (age 23±4.2 yrs, height 178.2±5.7 cm, mass 62.1±7.7 kg) volunteered for the study. Each subject completed a maximal graded treadmill test and a dance performance routine, either new style (approx 1:45–2:30 min) or breaking (2 min). Breathe-by-breathe gas analysis and heart rate (HR) were collected by a portable gas analyser, and blood lactate (BLa) was measured at the end of the treadmill test and each routine. RESULTS: The male breaker dancers had significantly higher VO2 peak than other equivalent dancers in other genres, whilst the female new style dancers were similar to that previously reported for female dancers. Performance data showed significant differences between the two styles for VO2, HR, and BLa (p<0.001) and for VO2 and HR relative to individual maximal treadmill data (p<0.05). CONCLUSION: New style is more comparable to other theatrical dance genres, with a lower relative mean VO2 demand, whilst break dance is shorter in duration, allowing a higher cardiorespiratory demand and generating significant levels of blood lactate. This difference is also reflected in the dancers’ cardiorespiratory profiles.

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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.

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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.

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Geduld, Victoria Phillips. "A Game for Dancers: Performing Modernism in the Postwar Years, 1945–1960 by Gay Morris. 2006. Middletown, CT: Wesleyan University Press. xxviii + 242 pp., notes, bibliography, index. $24.95 paper, $65.00 cloth." Dance Research Journal 41, no. 2 (2009): 116–20. http://dx.doi.org/10.1017/s0149767700000747.

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Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 34–56. http://dx.doi.org/10.5195/cinej.2015.124.

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Zenne Dancer is a 2011 Turkish film written by Caner Alper and directed by Alper and Mehmet Binay. It is inspired by the story of Ahmet Yildiz, a gay Kurdish Turk allegedly murdered by his father in 2008 for dishonoring his family. Through its depiction of the unlikely friendship between three men, the film addresses the problem of homosexuality, the desire-in-uneasiness evoked by men being together, and the complex social structures of honor killings. In its address of honor killings, Zenne Dancer follows in a prestigious line of some of the best of Turkish and world cinema. Importantly, though, there are differences here as Zenne Dancer reimagines the relationships involved in crimes of honor. First, Zenne Dancer deploys the story of a father killing his son, rather than his daughter, to save the family honor, which is threatened by homosexual desire rather than the loss of virginity or illegitimate pregnancy. Second, rather than pitting the modern state against religion, tradition, or pre-modern culture, Zenne Dancer’s critique of honor killing implicates both the police and the military in the violence done in the name of tradition (not religion). Islam plays a much smaller part than economic deprivation or the trauma of war in this film. Third, the film complicates gendered expectations through its deployment of female characters—mothers, sisters, lovers—who all have their own relationships with and perspectives on these men. The film depicts heteropatriarchy as a system harmful to women and men and shows men and women enforcing and resisting that harm. In the end, Zenne Dancer connects these thematic concerns through a mixture of realist story, dance video, daydream, fairytale, and melodrama in a film ultimately concerned with the care of the self and the meaning of liberation. Thus, it resists falling into fictional “realist anthropology” or simplistic assertions of repression in confronting the complexities of honor killings, the problem of homosexuality, and friendship in cinema.

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Skoe, Erika, Erica V. Scarpati, and Allison McVeety. "Auditory Temporal Processing in Dancers." Perceptual and Motor Skills 128, no. 4 (June 2, 2021): 1337–53. http://dx.doi.org/10.1177/00315125211021210.

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While many studies have examined the auditory abilities of musicians, this study uniquely asks whether dance training, a similar yet understudied type of early-life training, also benefits auditory abilities. We focused this investigation on temporal resolution, given the importance of subtle temporal cues in synchronizing movement. We found that, compared to untrained controls, novice adult dancers who have trained continuously since childhood had enhanced temporal resolution, measured with a gap detection task. In an analysis involving current and former dancers, total years of training was a significant predictor of temporal resolution thresholds. The association between dance experience and improved auditory skills has implications for current theories of experience-dependent auditory plasticity and the design of sound-based educational and rehabilitation activities.

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Mattiussi, Adam, Joseph W. Shaw, Derrick D. Brown, Phil Price, Daniel D. Cohen, Charles R. Pedlar, and Jamie Tallent. "Jumping in Ballet: A Systematic Review of Kinetic and Kinematic Parameters." Medical Problems of Performing Artists 36, no. 2 (June 1, 2021): 108–28. http://dx.doi.org/10.21091/mppa.2021.2011.

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AIMS: Understanding the biomechanics of jumping in ballet dancers provides an opportunity to optimize performance and mitigate injury risk. This systematic review aimed to summarize research investigating kinetics and kinematics of jumping in ballet dancers. METHODS: PubMed (MEDLINE), SPORTDiscus, and Web of Science were systematically searched for studies published before December 2020. Studies were required to investigate dancers specializing in ballet, assess kinetics or kinematics during take-off or landing, and be published in English. RESULTS: A total of 3,781 articles were identified, of which 29 met the inclusion criteria. Seven studies investigated take-off (kinetics: n = 6; kinematics: n = 4) and 23 studies investigated landing (kinetics: n = 19; kinematics: n = 12). Included articles were categorized into six themes: Activity Type (n = 10), Environment and Equipment (n = 10), Demographics (n = 8), Physical Characteristics (n = 3), Injury Status (n = 2), and Skill Acquisition and Motor Control (n = 1). Peak landing vertical ground reaction force (1.4 x 9.6 times body weight) was most commonly reported. Limited evidence suggests greater ankle involvement during the take-off of ballet jumps compared to countermovement jumps. There is also limited evidence indicating greater sagittal plane joint excursions upon landing in ballet dancers compared to non-dancers, primarily through a more extended lower extremity at initial contact. Only 4 articles investigated male ballet dancers, which is a notable gap in the literature. CONCLUSIONS: The findings of this review can be used by dance science and medicine practitioners to improve their understanding of jumping in ballet dancers.

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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (November 30, 2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.

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By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable traditions known elsewhere in Europe. The purpose of this article is to attempt to fill this gap to some degree by presenting relevant material of a different kind. In order to demonstrate that weapon dances belong to a deep-rooted tradition of dances and games in Northern Europe, some ancient pictorial sources are exhibited and explained. Furthermore, Icelandic sources that shed new light on the coherence of medieval weapon dances are revealed. The Icelandic material, in other words sources which indicate that people in Iceland knew or knew of weapon dances, are of two different kinds: they indicate first of all that Icelanders used to take part in a dance called hringbrot, a dance which appears to be very similar to descriptions of weapon dances of other nations. Secondly, it seems that they created and preserved in their manuscripts drawings that indicate that they knew about weapon dances as early as in the fourteenth and fifteenth centuries. The additional material presented here, which is substantial, is now being analyzed and has a valuable contribution to make to the debate concerning Nordic weapon dances. By putting the Icelandic material in connection with more traditional sources from Northern Europe, and in the broader context of Mid and Western Europe, we should be able to increase our understanding of the context and development of weapon dances.

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ÖZTÜRKMEN, ARZU. "ANTHONY SHAY, Choreographic Politics: State Folk Dance Companies, Representation and Power (Middletown, Conn.: Wesleyan University Press, 2002). Pp. 290. $65.00 cloth; $19.95 paper." International Journal of Middle East Studies 35, no. 4 (November 2003): 642–44. http://dx.doi.org/10.1017/s0020743803270264.

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Anthony Shay's Choreographic Politics fills an important gap in the research of the history of folk dancing, a gap opened by the controversial status of “state folk dance ensembles,” whose performances have often been neglected or despised by folklorists and dance scholars. Staged folk dances have always charmed audiences with the energy they embed in their performances but they have also puzzled them, because it is clear that they are more of a “representation” than a true reflection of a locality's reality. The analysis of “state folk dance ensembles,” then, moves on the edges of folklore and “fake lore,” the art of dance and the ethnography of dance. Choreographic Politics touches on this very sense of illusion and disillusion, focusing on the politics of state folk dance ensembles, a cultural product of the post-war era.

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Mullins, Tara Z. "Do Dance Majors Need Entrepreneurial Skills?" Journal of Arts Entrepreneurship Education 2, no. 1 (October 16, 2020): 42–47. http://dx.doi.org/10.46776/jaee.v2.55.

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Dance majors take courses in technique, history, theory, choreography and production, but do not often take entrepreneurship-based classes. It might be said that if dance majors wish to be dance entrepreneurs or business owners, they should supplement their education with specific courses/certificates/degrees that teach those skills. It could be argued, however, that all dancers need these skills to have a sustainable career. Looking at the dance industry from the vantage point of a 25-year career, I wonder: Are we cheating dance students and the dance industry by not consistently incorporating entrepreneurial skills into a formal dance curriculum? This opinion paper delves into this very question. I sent an online survey to dance studio and company owners to evaluate the hard and soft skills they are seeing from current and potential employees with dance degrees. I also provide a brief overview of degree plans in the nation’s top dance programs. The results of the survey suggested a gap in both hard and soft skills needed to be an entrepreneur. The results of the overview indicated that few departments have robust required offerings in career/marketing/entrepreneurship-based performing arts courses. These findings are a springboard for further research and conversation regarding whether there is a need for entrepreneurship-based courses in dance majors’ course of study.

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Stephens, N., and Matthew Wyon. "Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 54–58. http://dx.doi.org/10.21091/mppa.2020.1007.

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AIMS: Musical theatre (MT) combines acting, singing, and dancing within a performance. The purpose of the current study was two-fold: 1) to report on the cardiorespiratory fitness of pre-professional MT dancers, and 2) to examine the cardiorespiratory demand of singing whilst dancing. METHODS: Twenty-one participants (16 females, 5 males; age 20±1.23 yrs; height 169.1±9.24 cm; weight 62.7±10.56) in their final year of pre-professional training volunteered for the study. All participants performed a maximal aerobic capacity test on a treadmill using a portable breath-by-breath gas analyser. Nine participants completed a 4-minute section from Chorus Line twice, singing and dancing and just dancing, in a randomised order whilst wearing the same portable gas analyser. Blood lactate was measured at the end of each trial. RESULTS: Male participants had significantly greater peak oxygen consumption (M vs F, 67.6±2.30 vs 55.6±4.42 mL/kg/min, p<0.001) and anaerobic threshold (% of peak VO2) (54.6±4.04% vs 43.1±3.68%, p<0.001), whilst maximum heart rate and heart rate at anaerobic threshold were similar. The physiological demands of dancing vs singing + dancing were similar, with the exception of the singing + dancing trial having significantly reduced mean breathing frequency and increased lactate (p<0.01). CONCLUSIONS: MT dancers’ aerobic capacity is greater than that observed in other theatre-based dance genres. The observed breathing frequency and lactate differences in the Chorus Line trails could be due to singing reducing breathing frequency, thereby influencing cardiorespiratory recovery mechanics and subsequently blood lactate levels.

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Schopp, Andrew. "The Gay Great Gatsby: Andrew Holleran’s Dancer from the Dance and the Dismantling of Normative Cultural Frames." Lit: Literature Interpretation Theory 27, no. 2 (April 2, 2016): 153–71. http://dx.doi.org/10.1080/10436928.2016.1167562.

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Acton, Kelsie. "Reflecting on my Assumptions and the Realities of Arts-Based Participatory Research in an Integrated Dance Community." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 195–211. http://dx.doi.org/10.15402/esj.v5i2.68345.

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The arts-based research paradigm prioritizes creativity, relationships and the potential of transformative change (Conrad & Beck, 2016). Arts-based research may be useful in disability communities where people may prefer to communicate artistically or through movement, rather than through spoken word (Eales & Peers, 2016). Participatory action research (PAR) involves researchers working with communities to create research critical of dominant power relations and responsive to the needs of communities (McIntyre, 2008). Both arts-based research and PAR value an axiological approach that is responsive to the community’s needs over a dogmatic procedure, meaning that researchers must be reflexive and responsive to the often unexpected realities of the field. Over four months in 2017, eight dancers/researchers from CRIPSiE (Collaborative Radically Integrated Performers Society in Edmonton), an integrated dance company, came together to investigate how integrated dancers practice elements of timing in rehearsal, through an arts-based, participatory process. In this paper I examine the gap between my assumptions of how research should be conducted and the reality of the field, specifically: the tension between university research ethics and the ethics of the CRIPSiE community, the differences between the value of the rehearsal process and the performance as sites of data collection, and the assumptions I had made about the necessity of a singular research question.

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Banio, Adrianna. "The Influence of Latin Dance Classes on the Improvement of Life Quality of Elderly People in Europe." Sustainability 12, no. 6 (March 11, 2020): 2155. http://dx.doi.org/10.3390/su12062155.

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The aim of this paper addresses the problem of the quality of life of elderly people by presenting the energy of Latinos that arouses optimism in European citizens and provides them with joy through Latin dances on a regular basis. The research covered 163 people in the old, so-called third, age, from the European countries with the highest aging rate, namely: Italy, Germany, Greece and Poland. Results shows that physical activity in the form of Latin American dances has a beneficial effect on the functioning of the body. Not only does it allow for maintaining physical fitness and inhibiting the development of many ailments and diseases, but also stimulates the brain to constant activity, which results in improvement of the ability to make associations, concentration and, above all, memory. It is also a way to fill the gap that arises as a consequence of the completion of certain life stages. Through making new social contacts, it is possible to forget about loneliness, stagnation and the monotony of everyday life. However, above all, Latin dance is a source of satisfaction, joy and happiness, i.e., determinants of the quality of life.

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Trasmundi, Sarah Bro, and Matthew Isaac Harvey. "A blended quantitative-ethnographic method for describing vocal sonification in dance coaching." Psychology of Language and Communication 22, no. 1 (January 1, 2018): 198–237. http://dx.doi.org/10.2478/plc-2018-0009.

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Abstract In this paper we present a micro-analytic description of the role vocalizing plays in a single case of professional dance instruction. We use a novel mix of qualitative and quantitative tools in order to investigate, and more thoroughly characterize, various forms of vocal co-organization. These forms involve a choreographer using vocalization to couple acoustic dynamics to the dynamics of their bodily movements, while demonstrating a dance routine, in order to enable watching dancers to coordinate the intrabodily dynamics of their own simultaneous performances. In addition to this descriptive project, the paper also suggests how such forms of coordination might emerge, by identifying those forms of voice-body coupling as potential instances of “instructional vocal sonification”. We offer a tentative theoretical model of how vocal sonification might operate when it is used in the teaching of movement skills, and in the choreographic teaching of dance in particular. While non-vocal sonification (both physical and computer-generated) is increasingly well-studied as a means of regulating coordinated inter-bodily movement, we know of no previous work that has systematically approached vocal sonification. We attempt to lay groundwork for future research by showing how our model of instructional vocal sonification might plausibly account for some of the effects of vocalization that we observe here. By doing so, the paper both provides a solid basis for hypothesis generation about a novel class of phenomena (i.e., vocal sonification), and contributes to bridging the methodological gap between isolated descriptions and statistical occurrences of a given type of event.

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Damsholt, Inger. "The Brudevals, ‘Danishness’ and lived reality." Nordic Journal of Dance 11, no. 1 (June 1, 2020): 16–27. http://dx.doi.org/10.2478/njd-2020-0003.

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AbstractThis article represents part of the author’s ongoing empirical study of the Danish brudevals (bridal waltz) tradition recognized by the means of three characteristic conditions: a specific piece of music by Niels W. Gade, a particular group choreography in which a circle of clapping guests slowly move closer to the newlywed couple and a final section of the ritual in which guests cut the tips of the groom’s socks. The purpose of the article is to highlight how current realisations of the dance reveal the brudevals as a dynamic living tradition and to show the complexity of the political implications it can have when dancing it. Drawing on Sarah Ahmed’s affect theory, the article argues that different negotiations of the brudevals naturalise various understandings of ‘Danishness’. The article argues that an alternative contemporary form of the brudevals, which incorporates a montage of international popular dance and music, produces a version of national identity that underlines the notion of world citizenship as a significant part of being Danish. In realisations of the brudevals danced by same-sex couples, a kind of ‘Danishness’ is produced through affect that naturalises and celebrates Lesbian, gay, bisexual, transgender, queer/questioning, intersex and asexual (LGBTQIA) marriages. Finally, a Turkish-Danish brudevals produces a multiculturalist understanding of ‘Danishness’, which does not conform to a specific national cultural heritage but can encompass several ethnic groups.

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Williams, Paul. "Too Black, Too Gay: The Disco Inferno." Cultural Studies Review 11, no. 1 (August 12, 2013): 212–16. http://dx.doi.org/10.5130/csr.v11i1.3463.

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Lewis, Lynette A., and Michael W. Ross. "The Gay Dance Party Culture in Sydney:." Journal of Homosexuality 29, no. 1 (July 26, 1995): 41–70. http://dx.doi.org/10.1300/j082v29n01_03.

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Alexander, Kathryn. "Politely Different: Queer Presence in Country Dancing and Music." Yearbook for Traditional Music 50 (2018): 187–209. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0187.

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I walked into the Round-Up Saloon and stood transfixed by the scene out on the dance floor. Surrounded by a wooden corral, the sleek and shining floor was filled with couples taking wide, gracefully fluid steps. Clad in immaculate cowboy hats, crisp work shirts tucked into jeans, and of course boots, the men spinning together around the floor were to me an entirely new form of queer dance. The comfortable intimacy of their bodies was unlike the bump and grind of the dance I was used to encountering at urban American gay bars, and the DJ's musical selections kept well away from pop divas and electronic dance music. At urban gay bars like Dallas' Round-Up Saloon and at other non-bar venues, queer two-step and line dancing, and country music itself, offers space for a performative queerness that counterbalances not only mainstream perceptions of country music and dance as heterosexualized and antagonistic towards other sexualities, but expands understandings of queer dance practice as well. In this article, I draw on my fieldwork in Minneapolis, Minnesota, where I spent six months in 2016 and 2017 learning to two-step and line dancing with an LGBT country dance organization.

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Bodell, Tanya. "Electricity and natural gas dance: It takes more than two to contango." Natural Gas & Electricity 28, no. 11 (May 16, 2012): 1–7. http://dx.doi.org/10.1002/gas.21610.

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Manning, Susan. "Dance Studies, Gay and Lesbian Studies, and Queer Theory." Dance Research Journal 34, no. 2 (2002): 96. http://dx.doi.org/10.1017/s0149767700006872.

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Dunagan, Colleen. "Performing the Commodity-Sign: Dancing in the Gap." Dance Research Journal 39, no. 2 (2007): 3–22. http://dx.doi.org/10.1017/s014976770000019x.

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Between 1998 and 2000, the Gap clothing company produced three advertising campaigns whose visual images consisted of choreographed movement sequences based on vernacular dance forms, theatrical jazz dance, and the codes and conventions of the Hollywood musical: “khakis,” “that's holiday,” and “West Side Story.” Each campaign produced a series of commercials that employed dance and musical theater in an attempt to bridge the gap between entertainment and advertising, and between popular culture and art. By manipulating standard advertising conventions, the Gap framed these televisual texts as performances or artworks, rather than as advertisements, creating choreographic, performance-oriented commercials that became the sign of Gap clothing. As a result, the commercials have been identifiable, just as the clothes have been, by style alone.

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Briginshaw, Valerie A. "Response to Gay Morris's review of "Dance, Space and Subjectivity"." Dance Research: The Journal of the Society for Dance Research 21, no. 1 (2003): 65. http://dx.doi.org/10.2307/1290945.

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Peterson, Grant Tyler. "Clubbing Masculinities: Gender Shifts in Gay Men's Dance Floor Choreographies." Journal of Homosexuality 58, no. 5 (April 28, 2011): 608–25. http://dx.doi.org/10.1080/00918369.2011.563660.

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Briginshaw, Valerie A. "Response to Gay Morris's review of Dance, Space and Subjectivity." Dance Research 21, no. 1 (April 2003): 65. http://dx.doi.org/10.3366/1290945.

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Polasek, Katherine M., and Emily A. Roper. "Negotiating the gay male stereotype in ballet and modern dance." Research in Dance Education 12, no. 2 (July 2011): 173–93. http://dx.doi.org/10.1080/14647893.2011.603047.

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Moore, Clive. "Dame Sybil Von Thorndyke and the Queen's Birthday Balls." Queensland Review 14, no. 2 (July 2007): 105. http://dx.doi.org/10.1017/s132181660000667x.

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Dame Sybil is one of Brisbane's most famous drag personas. In 1962 Dame Sybil was one of the founders of Brisbane's annual Queen's Birthday Ball, the longest continuously running annual gay celebration in the world. The balls have become extravagant dance parties, far removed from their humble origins in a house at Mt Tamborine. Back in the 1960s and 1970s, gays and lesbians were a persecuted minority who held private house parties and preferred to stay out of sight. The groundbreaking Queen's Birthday Balls were an important part of the cultural and political ‘coming out’ of the modern queer community. It is difficult to appreciate the importance of the balls as ever more popular meeting places where Brisbane's gay and straight worlds mingled. Now the dance parties are attended by thousands of mainly young people, and rigid gender and sexual boundaries have become less obvious. The venues have changed over the years, moving through various nightclubs in Fortitude Valley and most recently to the Ekka pavilions. They are replete with great stage performances and wonderful costumes. With Dame Sybil and some of the original partygoers in attendance, the Queen's Birthay Balls remain a special marker of Brisbane's not-so-accepting past and the resilience of the city's gay subculture.

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Chamberlain, Franc. "A review ofmoving words: Re‐writing dance,edited by Gay Morris." Contemporary Theatre Review 7, no. 2 (January 1998): 95–96. http://dx.doi.org/10.1080/10486809808568458.

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Johnson, Lorin. "A Contemporary Approach to Ballet Training for University Dance Majors." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 54–58. http://dx.doi.org/10.1017/s204912550000090x.

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This paper seeks to help bridge the gap between the study of ballet technique and modern dance for today's university dance major. With the growing importance of strong ballet training in contemporary dance choreography, dance majors are often presented with a duality of training—modern vs. ballet—that can be difficult for them to marry, both in their minds and bodies. Traditional methods and concepts of ballet training are explored in this context with the goal of presenting a means of teaching ballet that allows for a full integration of ballet with other contemporary dance techniques.

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Lundberg, Anita. "Balinese dancer wearing a gas mask: climate change and the tropical imaginary." Scottish Geographical Journal 136, no. 1-4 (January 2, 2020): 91–100. http://dx.doi.org/10.1080/14702541.2020.1858589.

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Manning, Susan. "Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’s Fremde Tänze." TDR/The Drama Review 64, no. 2 (June 2020): 54–72. http://dx.doi.org/10.1162/dram_a_00917.

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Viewing Nelisiwe Xaba’s Fremde Tänze (2014) in Berlin and Chicago revealed differing levels of meaning in the work. In Berlin the work exposed and parodied the white gaze of the black female dancer, while in Chicago the work vivified the gap between the responses of black and white spectators. The reception of Fremde Tänze in the two cities demonstrates the workings of “cross-viewing,” the moments when spectators from distinct social locations watch one another watching.

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Risner, Doug, Barry Blumenfeld, Andrew Janetti, Yoav Kaddar, and Christopher Rutt. "Men in Dance: Bridging the Gap Symposium." Dance Education in Practice 4, no. 1 (January 2, 2018): 25–31. http://dx.doi.org/10.1080/23734833.2018.1417212.

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Priest, David, and Eric P. F. Chow. "Kissing while high on ecstasy: lessons from a gay dance party attendee." Sexually Transmitted Infections 94, no. 2 (February 20, 2018): 143. http://dx.doi.org/10.1136/sextrans-2017-053427.

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Unkovich, Geoffery Ivan. "Orientating myself: A gay dance movement psychotherapist’s gender experience in training and practice." Body, Movement and Dance in Psychotherapy 13, no. 3 (July 3, 2018): 203–17. http://dx.doi.org/10.1080/17432979.2018.1491415.

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Wu, C. Y., A. Chyzh, E. Kwan, R. A. Henderson, J. M. Gostic, D. Carter, T. A. Bredeweg, A. Couture, M. Jandel, and J. L. Ullmann. "A compact gas-filled avalanche counter for DANCE." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 694 (December 2012): 78–81. http://dx.doi.org/10.1016/j.nima.2012.07.056.

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Prieto, Laura A., Justin A. Haegele, and Luis Columna. "Dance Programs for School-Age Individuals With Disabilities: A Systematic Review." Adapted Physical Activity Quarterly 37, no. 3 (July 1, 2020): 349–76. http://dx.doi.org/10.1123/apaq.2019-0117.

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The purpose of this systematic review was to examine published research literature pertaining to dance programs for school-age individuals with disabilities by describing study characteristics and major findings. Electronic database searches were conducted to identify relevant articles published between January 2008 and August 2018. Sixteen articles met all inclusion criteria, and extracted data from the articles included major findings, study design characteristics (e.g., sample size), and dance program characteristics (e.g., location of program). The methodological quality of each study was assessed using the Crowe Critical Appraisal Tool. Major findings expand on previous reviews on dance by including school-age individuals with disabilities. The critical appraisal of the articles demonstrates a gap in study design rigor between studies. Future research should aim to specify sampling strategies, use theories to frame the impact of dance programs, and provide a thorough description of ethical processes and dance classes.

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Schupp, Karen, and Karen Clemente. "Bridging the Gap: Helping Students from Competitive Dance Training Backgrounds Become Successful Dance Majors." Journal of Dance Education 10, no. 1 (March 1, 2010): 25–28. http://dx.doi.org/10.1080/15290824.2010.10387155.

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Bailey, Lucy E., and Kamden K. Strunk. "“A Question Everybody Danced Around”: Gay Men Making Sense of Their Identities in Christian Colleges." Educational Studies 54, no. 5 (April 11, 2018): 483–504. http://dx.doi.org/10.1080/00131946.2018.1453513.

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Da Silva Noleto, Rafael. "“Brilham estrelas de São João!”." Novos Debates 1, no. 1 (January 15, 2014): 27–32. http://dx.doi.org/10.48006/2358-0097-1104.

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Esta pesquisa assume como ponto de partida a noção de que os períodos de congregação social, os quais, muitas vezes, denominamos como “festas” podem ser compreendidos tanto como ocasiões rituais de aproximação de pessoas e grupos sociais quanto como momentos de transposição das fronteiras que delimitam esferas de significação e atuação para diferentes sujeitos inseridos em um dado contexto social1. Assim, esta pesquisa é dedicada à análise de um contexto festivo (as festas juninas) a partir da problematização do protagonismo homossexual e travesti identificado nos concursos de danças juninas e de “Miss Caipira Gay” realizados no mês de junho na cidade de Belém e em muitos municípios do interior do Estado do Pará.

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Journal articles on the topic 'Gay dancers'

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