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Journal articles on the topic 'Homosexuality and dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Vertinsky, Patricia. "“This Dancing Business is More Hazardous Than Any ‘He-Man’ Sport”: Ted Shawn and His Men Dancers." Sociology of Sport Journal 35, no. 2 (2018): 168–77. http://dx.doi.org/10.1123/ssj.2017-0009.

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Selecting Springfield College, founding home of the International YMCA as a training ground for male dancers was an inspired choice by American modern dancer Ted Shawn given the founding credo of the College to ‘build builders of men.’ I would like to see men dancing in gymnasiums and stadiums, he claimed, so that the dance could reach again the position it held among the Greeks as the most perfect athletic accomplishment and the finest means of physical training and development. They were earnest and interesting efforts to foster an aura of ‘authentic rugged American masculinity’ for the era,

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2

Hanna, Judith Lynne. "Patterns of Dominance: Men, Women, and Homosexuality in Dance." Drama Review: TDR 31, no. 1 (1987): 22. http://dx.doi.org/10.2307/1145764.

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3

Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom." CINEJ Cinema Journal 5, no. 1 (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, thou

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4

Shomali, Mejdulene B. "Dancing Queens." Journal of Middle East Women's Studies 15, no. 2 (2019): 135–56. http://dx.doi.org/10.1215/15525864-7490939.

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AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women’s homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance

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5

Moore, Clive, and Bryan Jamison. "Queensland's Criminal Justice System and Homosexuality, 1860–1954." Queensland Review 14, no. 2 (2007): 3–12. http://dx.doi.org/10.1017/s1321816600006589.

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Contemporary Queensland has a flourishing GLBTIQ (gay, lesbian, bisexual, transgender, intersex and queer) scene which, although still suffering from discrimination in a society that is premised around a heterosexual norm, is a far cry from the years before 1990 when male homosexuality was a criminal offence. The queer generation has largely moved beyond binaries in gender and sexuality, and at dance parties there is a blending of cultures that knows few of the old boundaries. These new freedoms to express sexuality mean that relationships develop more easily with less fear of opprobrium. Clas

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6

Heib, Lauren. "El Baile de Los 41: Sexuality in 1900’s Mexico." Toro Historical Review 14, no. 2 (2023): 55–62. http://dx.doi.org/10.46787/tthr.v14i2.3867.

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During the dictatorial reign of Porfirio Diaz, a ball was discovered following noise complaint. That night, 42 men, a number of them members of Mexico’s elite, were found dancing together. This event brought so much scandal to Mexico, that the number 41 is still associated with homosexuality. The attendees, location, and the political climate of Mexican society played a pivital role in the dance's infamy. The Dance of the 41 served as a public catalyst for a changing sexual climate in Mexico, and therefore had a lasting impact regarding sexuality and gender roles in the following centuries.

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7

Amico, Stephen. "‘I Want Muscles’: house music, homosexuality and masculine signification." Popular Music 20, no. 3 (2001): 359–78. http://dx.doi.org/10.1017/s0261143001001556.

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The examination of ‘subcultures’ and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as ‘dance music’ scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; Barkin and Hamessly 1999). While recent reassessments of ‘subcultural’ formations situated within the postmodern era have suggested inherent complexiti

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8

Risner, Doug. "Re-educating Dance Education to its Homosexuality: An invitation for critical analysis and professional unification." Research in Dance Education 3, no. 2 (2002): 181–87. http://dx.doi.org/10.1080/1464789022000034721.

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9

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 someh

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10

Yuxin, Xiao, and Wang Weichao. "A Case Study on McDonald’s Advertisements from the Perspective of Intercultural Communication." English Literature and Language Review, no. 82 (October 15, 2022): 22–31. http://dx.doi.org/10.32861/ellr.82.22.31.

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It is accepted that domestic advertisements cannot be simply translated and then put in other countries and regions directly since cultural differences and misunderstandings are common in intercultural communication. Under the guidance of Hofstede’s Cultural Dimension Theory, this paper, taking McDonald’s advertisements as examples, aims at analyzing why does McDonald’s put different media advertisements in different countries and regions and how Hofstede’s Cultural Dimension assists the design of advertisements? With qualitative content analysis, we find that McDonald’s usually employs elemen

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11

Hanson, Josef. "Evolutionary Music Education: Robert W. Claiborne and The Way Man Learned Music (1927)." Journal of Historical Research in Music Education 41, no. 1 (2018): 33–54. http://dx.doi.org/10.1177/1536600618790095.

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The purpose of this study was to explore and document The Way Man Learned Music (1927), a method written by lawyer, Marine captain, educator, and political leader Robert Watson Claiborne (1888–1966). Drawing influence from Ernst Haeckel and G. Stanley Hall’s theories of recapitulation, Claiborne designed a comprehensive and sequential method where students engage in primitive stages of music-making by building and playing their own instruments, including drums, pan pipes, and small marimbas. Storytelling, dance, folk music from around the world, and performance of authentic Western art music c

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12

Edgecomb, Sean F. "A Performance between Wood and the World: Ludwig II of Bavaria's Queer Swans." Theatre Survey 59, no. 2 (2018): 221–48. http://dx.doi.org/10.1017/s0040557418000078.

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In her 1964 essay “Notes on ‘Camp,’” Susan Sontag includes Tchaikovsky's Swan Lake (1875–6) in a list that illustrates “random examples” from “the canon of Camp.” Though the ballet has become an integral part of the classical repertory for professional companies from Moscow to New York to Sydney as well as the inspiration for numerous figure skaters (most notoriously in Johnny Weir's outré and rhinestone-bedecked interpretation in 2006), it has, as suggested by Sontag, been creative afflatus for gay underground performers for more than a century. But what are the origins of the swan gone queer

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13

Brooks, Ross. "Beyond Brideshead: The Male Homoerotics of 1930s Oxford." Journal of British Studies 59, no. 4 (2020): 821–56. http://dx.doi.org/10.1017/jbr.2020.129.

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AbstractLooking beyond the notorious “Brideshead” aesthetes and homoeroticism of 1920s Oxford, this article explores the queer sensibilities of the university's male undergraduates and their associates through the 1930s. Steadily through the decade, Oxford's unique brand of queer aestheticism and same-sex love affairs became embroiled with wider debates about the hegemony of socialism and communism and the supposed degeneracy of standards at Oxford. At the same time, the assimilation of medicalized concepts of perversion and homosexuality increasingly made Oxford's aesthetes and same-sex love

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14

Tsampiras, Carla. "Two Tales about Illness, Ideologies, and Intimate Identities: Sexuality Politics and AIDS in South Africa, 1980–95." Medical History 58, no. 2 (2014): 230–56. http://dx.doi.org/10.1017/mdh.2014.7.

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AbstractThis article focuses on the micro-narratives of two individuals whose responses to AIDS were mediated by their sexual identity, AIDS activism and the political context of South Africa during a time of transition. Their experiences were also mediated by well-established metanarratives about AIDS and ‘homosexuality’ created in the USA and the UK which were transplanted and reinforced (with local variations) into South Africa by medico-scientific and political leaders.The nascent process of writing South African AIDS histories provides the opportunity to record responses to AIDS at instit

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15

Maulana, Abdullah Muslich Rizal, Nuur Aini Hajrah Arifin, Muhammad Nurrosyid Huda Setiawan, and Farhah Farhah. "Dante’s Inferno, LGBT-Q, and Christianity: A Closer Reading on Medieval Christian Perspective Regarding Homosexuality." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 8, no. 2 (2024): 633–49. http://dx.doi.org/10.30648/dun.v8i2.1102.

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This paper is a qualitative theological research discussing Dante Alighieri’s (d. 1321) account of LGBT-Q (Lesbian, Gay, Bisexual, Transgender, Queer) based on his major work, Inferno, with a particular reference to Medieval Christian tradition. Accordingly, this paper used content analysis to apprehend major literature on Dante and LGBT-Q. This paper concluded that the term Sodom and Gomorrah, the cities demolished due to homosexual violation, is apparent in his work. Furthermore, as several Biblical texts also suited the concrete image of those cities, Dante’s Inferno also presented Medieval

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16

Lacasse, Alexis, Julien Vallières, and Jasmin Miville-Allard. "L'âne de Carpizan ou l'évêque volant de Raymond Goulet." Papers of The Bibliographical Society of Canada 57 (May 25, 2020): 43–66. http://dx.doi.org/10.33137/pbsc.v57i0.34419.

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This article is the first-ever study on the Quebec novel L’âne de Carpizan ou L’évêque volant and its author, Raymond Goulet (1931-1991), a performance artist, dancer, and choreographer originally from Rivière-du-Loup. The novel was self-published by Goulet in 1957 and had fallen into obscurity until recently. In contrast with other literary works of its time, L’âne de Carpizan stands out as a brazen satirical piece that imagines homosexuality and transidentity positively and is, as far as we know, the first Canadian literary work in which the protagonist undergoes gender affirming surgery. In

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17

O'Rourke, Chris. "Exploiting Ambiguity: Murder! and the Meanings of Cross-Dressing in Interwar British Cinema." Journal of British Cinema and Television 17, no. 3 (2020): 289–312. http://dx.doi.org/10.3366/jbctv.2020.0530.

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The crime film Murder! (1930), directed by Alfred Hitchcock for British International Pictures and based on the novel Enter Sir John (1929) by Clemence Dane and Helen Simpson, has long been cited in debates about the treatment of queer sexuality in Hitchcock's films. Central to these debates is the character of Handel Fane and the depiction of his cross-dressed appearances as a theatre and circus performer, which many critics have understood as a coded reference to homosexuality. This article explores such critical interpretations by situating Murder! more firmly in its historical context. In

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18

Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it

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19

Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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20

Baird, Barbara. "Before the Bride Really Wore Pink." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.584.

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Introduction For some time now there has been a strong critical framework that identifies a significant shift in the politics of homosexuality in the Anglo-oriented West over the last fifteen to twenty years. In this article I draw on this framework to describe the current moment in the Australian cultural politics of homosexuality. I focus on the issue of same-sex marriage as a key indicator of the currently emerging era. I then turn to two Australian texts about marriage that were produced in “the period before” this time, with the aim of recovering what has been partially lost from current

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21

M.Butler, Andrew. "Work and Masculine Identity in Kevin Smith's New Jersey Trilogy." M/C Journal 4, no. 5 (2001). http://dx.doi.org/10.5204/mcj.1931.

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There's a moment in Chasing Amy (Kevin Smith, US, 1997) when the character Banky Edwards defends his masculinity. He and childhood friend Holden McNeil are artists who work on a comic named Bluntman and Chronic; Holden produces the pencil drawings which Banky inks over and colours in. When confronted with the suggestion that all he does is tracing, Banky first defends himself, and then resorts to physical and verbal violence: "I'LL TRACE A CHALK LINE AROUND YOUR DEAD FUCKING BODY, YOU FUCK ... YOUR MOTHER'S A TRACER!" (Smith 182, 184). Banky is defending the work that he does, the art, from ch

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22

Knopp-Schwyn, Collin, and Michael Fracentese. "Ayo, Bisexual Check." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2967.

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Introduction A 2021 listicle pronouncing “10 Things That Are Bisexual Culture” concludes that “claiming that random things are ‘bi culture’ is the most bi-culture thing of all” (Wilber n.p.). While posed as tongue-in-cheek, the assignment of status as a signifier of bisexuality to seemingly arbitrary actions and items reinforces the notion that bi people seek a distinct visual and cultural identity and struggle to make one. We consider how creators on the algorithmically driven social media platform TikTok responded to an open-ended 2019 prompt (“ayo, bisexual check”) to show off styles and ac

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