Relevant bibliographies by topics / Modern dance Women dancers

Contents

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

Academic literature on the topic 'Modern dance Women dancers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Modern dance Women dancers"

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

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Öztürkmen, Arzu. "Modern Dance Alla Turca: Transforming Ottoman Dance in Early Republican Turkey." Dance Research Journal 35, no. 1 (2003): 38–60. http://dx.doi.org/10.1017/s0149767700008767.

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This essay looks at the works of Selma Selim Sırrı (b. 1906) and her father Selim Sırrı Tarcan (1874–1956), who wrote on dance in the 1920s, a period that marked the transition from the Ottoman Empire to modern Turkey. The Ottoman Empire ruled across the Mediterranean world between the thirteenth and twentieth centuries, collapsing after World War I. The Republic of Turkey was declared in 1923, distancing itself from the Ottoman tradition to adopt a westernization reform program. Written in the early Republican era, the works of Selma Selim Sırrı and Selim Sırrı Tarcan mark the shift from Ottoman dance traditions to a more Western approach to dance. Inspired by Isadora Duncan, Selma Selim Sırrı (1926) explored the idea of modern dance for Ottoman women in a booklet entitled Selma Selim Sırrı Hanım'ın Bedii Raksları (The Aesthetic Dances of Miss Selma Selim Sırrı, see Fig. 1). Her father was the author of Halk Dansları ve Tarcan Zeybeği (Folk Dances and the Tarcan Zeybek, see Fig. 2), a book that focused on the process of refining folk dances, in particular the zeybek genre, to suit the tastes of an educated, urban audience.
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Harrington, Heather. "«Get in Your Theatres; the Street is Not Yours»: The Struggle for the Character of Public Space in Tunisia." Nordic Journal of Dance 8, no. 2 (2017): 54–69. http://dx.doi.org/10.2478/njd-2017-0012.

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Abstract How people move and appear in public spaces is a reflection of the cultural, religious and socio-political forces in a society. This article, built on an earlier work titled ’Site-Specific Dance: Women in the Middle East’ (2016), addresses the ways in which dance in a public space can support the principles of freedom of expression and gender equality in Tunisia. I explore the character of public space before, during, and after the Arab Spring uprisings. Adopting an ethnographic and phenomenological approach, I focus on the efforts of two Tunisian dancers – Bahri Ben Yahmed (a dancer, choreographer and filmmaker based in Tunis, who has trained in ballet, modern dance and hip hop) and Ahmed Guerfel (a dancer based in Gabès, who has trained in hip hop) – to examine movement in a public space to address political issues facing the society. An analysis of data obtained from Yahmed and Guerfel, including structured interviews, videos, photos, articles and e-mail correspondence, supports the argument that dance performed in public spaces is more effective in shaping the politics of the society than dance performed on the proscenium stage. Definitions and properties of everyday choreography, site and the proscenium stage are analysed, along with examples of site-specific political protest choreography in Egypt, Turkey and Tunisia. I engage with the theories of social scientist Erving Goffman, which propose that a public space can serve as a stage, where people both embody politics and can embody a protest against those politics.
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RIDAN, Tomasz, Katarzyna OGRODZKA-CIECHANOWICZ, Magdalena MOLĘDA, and Ewelina KAMIŃSKA-GWÓŹDŹ. "Analysis of the incidence of ankle joint injuries among dancers representing different dance styles." Medycyna Manualna 1, no. 3 (2020): 39–46. http://dx.doi.org/10.5604/01.3001.0013.8444.

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Introduction. Injuries of the ankle joint are among the most common injuries of the locomotor system, occurring both among athletes and people involved in amateur sports and other recreational activities. The objective of the study was to assess the incidence of injuries to the ankle joint in a group of professional and amateur dancers representing different dance styles. Material and research method. The research initially covered a group of 98 dancers. Ultimately, 64 dancers qualified for the study, including 28 men (44%) and 36 women (56%) aged between 17 and 23 years. The study was conducted among the registered active dancers from all over Poland. It was based on a survey questionnaire designed by the researchers. The obtained data was subjected to calculations using the Excel 2010 spreadsheet. Results. In the group surveyed, 53 individuals (83%) suffered injury to only one ankle joint. Ankle joint injuries recurred with a variable frequency, usually between 2 and 5 times, in 7 (53%) ballroom dancers, 10 (59%) jazz dancers, 4(16%) dancers in the group of jazz dance, and 7 dancers in the group of modern jazz. Ankle joint injuries usually occurred during the training – 49 (76,6%) of the respondents, 10 individuals (15,6%) suffered injury after the training, and 5 persons (7,8%) – during various recreational activities. Conclusions. Ankle joint injuries affect a wide group of dancers, and their frequency is associated with the lack of professional experience. The majority of injuries occur in the initial period of dancing. The dance style and the type of shoes used, such as ballet shoes or highheeled shoes, have no effect on the incidence of injuries.
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Carter, Alexandra. "Archives of the Dance (22): Pioneer Women – Early British Modern Dancers (The National Resource Centre for Dance, University of Surrey)." Dance Research 28, no. 1 (2010): 90–103. http://dx.doi.org/10.3366/drs.2010.0005.

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Pioneer Women was an AHRC-funded project based on archives held at the National Resource Centre for Dance, University of Surrey. This article focuses on the two largest collections, that of Madge Atkinson and Natural Movement, and Ruby Ginner's Revived (later Classical) Greek Dance. Their work is situated within the broad cultural context of the early 20th century, and the archival holdings are evaluated for their potential in offering a re-conceptualisation of early British modern dance.
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Agustono, Budi, Heristina Dewi, and Mhd Pujiono. "STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT." Abdi Dosen : Jurnal Pengabdian Pada Masyarakat 5, no. 2 (2021): 306. http://dx.doi.org/10.32832/abdidos.v5i2.873.

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The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.
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Bannerman, Henrietta. "Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment." Dance Research Journal 42, no. 1 (2010): 30–45. http://dx.doi.org/10.1017/s0149767700000814.

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Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriousness with which her tough technique is regarded. But the house of the pelvic truth does chime with stories about Graham's often frank method of addressing her students. She is reputed to have told one young woman not to come back to the studio until she had found herself a man. At other times she would tell her female students, “you are simply not moving your vagina” (211). Add to this other stories about the men in the company suffering from “vagina envy” (211), and it can be readily understood that the goings-on in the Graham studio gave rise to its nickname, “house of the pelvic truth.”In British dance circles of the 1960s, it was not rumors of the erotic that attracted most of us to Graham's work or persuaded us to travel to New York in search of the Graham technique. There was little in the way of contemporary dance training in Britain at this time, and we had been mesmerized by the beautiful and rather chaste film A Dancer's World (1957), in which Graham pronounces: a dancer is not a phenomenon … not a phenomenal creature.… I think he is a divine normal. He does what the human body is capable of doing. Now this takes time…it takes about ten years of study. This does not mean he won't be dancing before that time, but it does take the pressure of time, so that the house of the body can hold its divine tenant, the spirit. (1962, 24)
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Kovaleva, N. V., N. P. Ieremenko, and V. A. Kovalev. "Attitude of first mature ages to zumba dance aerobics." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 3(133) (March 22, 2021): 54–58. http://dx.doi.org/10.31392/npu-nc.series15.2021.3(133).11.

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The article considers the factors that affect the attitude of women of the first period of adulthood to dance aerobics. The significance of zumba dance aerobics classes is substantiated.
 Zumba is a physical activity that has been practiced in the world for almost 30 years. However, it has become very popular in the last decade. Most gyms offer this dance or something similar, as ZUMBA was patented by its inventor Alberto Perez.
 Zumba for weight loss is based on various Latin American rhythms, such as bachata, salsa, mirenga, cumbia and samba.
 These dances are combined with aerobic exercises to effectively support weight loss.
 During zumba, your body burns a lot of calories, toning muscles and gaining flexibility. In addition, these dances help to learn Latin rhythms in an interesting and accessible way for everyone, even children. Now there are variants of zumba in the water. Zumba a combines aerobic exercise and anaerobic. That is, in addition to intense exercise that makes you sweat, do not forget to strengthen muscles. The more muscle you have, the more you speed up your metabolism and the more calories you burn.
 The urgency of the topic is due to various factors of modern society, because scientific and technological progress and growing urbanization are constantly accelerating the life of the population, resulting in growing needs for recovery, relaxation and the desire to indulge in a favorite pastime. Therefore, in today's world, fitness is really increasingly used to improve well-being, raise morale and to adjust your body to further work.
 The survey was conducted for one month on the basis of the fitness club "Sport & Spa" in Kiev. 20 women aged 20 to 30 took part in the survey.
 The data analysis was used to identify the needs and motivations of women and to assess the attitudes of early adult women to Zumba classes.
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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, 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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Wiktorski, Heather Roffe. "Signifying Women – Politics of Gesture in Three Modern Dance Pioneers." Athens Journal of Humanities and Arts 5, no. 2 (2018): 163–78. http://dx.doi.org/10.30958/ajha.5.2.2.

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Dissertations / Theses on the topic "Modern dance Women dancers"

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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).
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Zitzelsberger, Louise. "The self dancing, four stories of professional women dancers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0009/NQ38803.pdf.

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Farrar, Alexandria M. "Exploring Motivations Behind Food Choices of Collegiate Female Modern Dancers." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1491213244018103.

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Long, Julie-Anne, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Contemporary Arts. "The leisure mistress dances : an investigation of a practice where fact and fiction collide." THESIS_FPFAD_CAR_Long_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/541.

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The leisure mistress project is a perverse contemporary burlesque about leisure and inactivity investigated through a low-key style of dance performance, in an age where leisure pursuits are exhausting business. Julie-Anne questions her notions of dance, its place in her life and her work and challenges other ideas about what dance is. The concerns of the work include social, political, cultural and aesthetic issues. The core theme of leisure facilitates cultural investigation via performance with social critique being implicit. The process and the product are private, personal, idiosyncratic but have wider resonances and ramifications<br>Master of Arts (Hons) (Performance)
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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.

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Dance<br>Ph.D.<br>For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.<br>Temple University--Theses
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Wilson, Ella. "Flow and Performance Competency in Modern and Ballet Dancers." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/725.

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A qualitative investigation is proposed to examine flow experiences in professional ballet modern dancers in order understand the nature of this psychological experience. It is not well understood where and when professional dancers experience flow, and whether or not their subjective experience is correlated to what an audience evaluates in a dancer’s performance. The study of performance quality and subjective experience of the dancer has not been studied within the dance movement analysis literature. This is an important topic to research to further understand what factors facilitate or debilitate a professional dancer’s well-being. This study aims to determine any facilitating and mediating factors of flow experiences in professional ballet and modern dancers. Additionally, it aims to address whether a dancer’s performance is perceived as being competent, and if the dancer’s experiences of the performance matches the levels of competency. Two hundred professional ballet and modern dancers (100M, 100F) will participate in this study. These participants will be recruited from the professional companies based in the United States. This study will also analyze the relationship that the reported flow scores have with evaluations of performance competency. Each participant will be interviewed to determine their personal experiences of flow, if they have had any. Following the interview, they will complete the Activity Experience Scale – 2 (DFS-2). A researcher will observe a rehearsal and a performance to evaluate each participant using the Performance Competency Evaluation Measure. Following the rehearsal or performance, the participant will complete the Event Experience Scale-2 (FSS-2). The mean scores from the FSS-2 will be analyzed using a two-by-two factorial ANOVA to determine if modern dancers experience significantly higher levels of flow in performance with no effect across gender. The effects of performance competency evaluations between the style of dance and mean flow scores were examined using mediation analysis and Sobel’s test. Additionally, it is predicted that the number of hours of rehearsal and performances will be established as a mediating factor between the style of dance and mean flow scores. The same methodology will be used for mediation analysis to test this hypothesis.
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Daon, Yardena. "THE COGNITIVE SEMIOTICS OF POETRY AND DANCE: EMOTIVE EMBODIMENT OF ECSTATIC SENSORIAL COGNITION IN MODERN REPRESENTATIONS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1269981658.

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Bock, Sheila Marie. "From harem fantasy to female empowerment : rhetorical strategies and dynamics of style in American belly dance /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144685165.

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Baird, Emily Lynne. "A Qualitative Investigation of What "Body Awareness" Means to Dancers at a Public Midwestern University." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587991748223295.

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Oehlers, Adrienne M. "Spectacular Women: The Radio City Rockettes from 1925 to 1971." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503321546482266.

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Books on the topic "Modern dance Women dancers"

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Frontiers: The life and times of Bonnie Bird : American modern dancer and dance educator. Harwood Academic Publishers, 1998.

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Newman, Layfield Eleanor, ed. Martha Graham: Founder of modern dance. Franklin Watts, 1998.

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Embodying the feminine in the dances of the world's religions. P. Lang, 2012.

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Garms, Silke. Tanzfrauen in der Avantgarde: Lebenspolitik und choreographische Entwicklung in acht Porträts. Rosenholz, 1998.

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Loie Fuller. L'epos, 2009.

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Veroli, Patrizia. Loie Fuller. L'epos, 2009.

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Tzaneva, Magdalena. Isadora Duncans Tanz der Zukunft: 130 Stimmen zum Werk von Isadora Duncan : Gedenkbuch zum 130. Geburtstag von Isadora Duncan (27. Mai 1878 San Francisco-14. September 1927 Nizza). LiDi, 2008.

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Blair, Fredrika. Isadora: Portrait of the artist as a woman. McGraw-Hill, 1986.

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Blair, Fredrika. Isadora: Portrait of the artist as a woman. Quill, 1986.

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Boman, Birgit. Amasoner och trollpackor: Fyra svenska danskonstnärer under mellankrigstiden. Carlsson, 2001.

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Book chapters on the topic "Modern dance Women dancers"

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Adair, Christy. "Revolutionary women — modern dance." In Women And Dance. Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_7.

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Glazer, Miriyam. "Kei’tsad Mirakdim Lifnei HaKalah: How Do You Dance before the Bride?" In Modern Jewish Women Writers in America. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604841_11.

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Polasek, Katherine, and Emily Roper. "Friendship Formation among Professional Male Dancers." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0007.

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The purpose of this study was to examine the formation of friendships among 12 current professional male ballet and modern dancers. In-depth semi-structured interviews regarding the nature and quality of their friendships with men and women in their respective dance companies were conducted. Four emergent themes are discussed: (a) relational challenges early in life; (b) sexuality and friendship formation; (c) culture of dance; and (d) competition among male dancers. The findings provide insight into the ways in which male ballet and modern dancers connect and/or disconnect with both male and female dancers and how gender and sexuality influences social interactions and relationships.
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Klapper, Melissa R. "Diplomates of Dance." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0008.

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Early dance programs and departments at colleges and universities tended to focus on modern dance rather than ballet, but ballet has been more central to dance in higher education since the 1960s. Many college dance programs started in physical education departments, signaling the early twentieth-century concern with women’s bodies and appropriate physical activity for women, but they eventually moved into performing arts divisions. This change reflected the shift from a more holistic approach to an emphasis on performance. Dance programs in higher education today are more likely to focus on producing professionals than on training dance teachers or educating those who see dance as a liberal art. As a result, a small but growing number of professional ballet dancers have graduated from college, which was rare until very recently. There is also a growing field of dance studies with roots in history, philosophy, art, and culture as well as performance.
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"Early modern dance: Fire Dance, Lily, Brahms Waltzes, Mother, Revolutionary Étude, Radha." In Dancing Women. Routledge, 2013. http://dx.doi.org/10.4324/9780203344347-10.

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"Modern dance: Witch Dance, With My Red Fires, Rites de Passage, Night Journey." In Dancing Women. Routledge, 2013. http://dx.doi.org/10.4324/9780203344347-12.

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Klapper, Melissa R. "Ballet Bodies." In Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0010.

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Dance is a fundamentally embodied art, and the ballet body has always been a contested site. Modern dance pioneers distinguished their fledgling art form by denouncing ballet as unnatural and particularly unsuited for the modern American dancer. Concerns about the pernicious effects of the idealized ballet body, especially on girls and young women, led to sharp medical and psychological concerns that seeped into popular representations of ballet class. Feminist critiques of ballet for supposedly oppressing women gained currency at the end of the twentieth century. Whatever the merits of such critiques, ballet can also be empowering for women in terms of bodily strength and artistic integrity, as seen in the controversial figure of the ballerina.
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Iyer, Usha. "Dance Musicalization and the Choreomusicking Body." In Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.003.0002.

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Chapter 1 presents a dance-centered taxonomy of musical numbers, which clarifies how dance promotes agency and authorship. Reconsidering the term “song picturization,” which suggests the primacy of the song as setting the agenda for the visuals, this chapter proposes that in the case of certain dance numbers or famed dancer-actors, a reverse process of “dance musicalization” is at work, in which a desired dance vocabulary precedes and influences the conceptualization of the song. This disruption of given logics of production and authorship spurs the conceptualization of a multi-bodied “choreomusicking body,” which directs our attention to the many on- and off-screen bodies laboring to produce the song-and-dance number, and fundamentally shifts ideological readings of narrative and spectacle in popular Hindi cinema. Employing choreomusicological theory, historical accounts of dancer-actors’ influence on musical composition, and spectatorial responses to the music-dance composite, this chapter proposes new models for theorizing the Hindi film song-and-dance sequence.
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Gollance, Sonia. "“What Comes From Men and Women Dancing”." In It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0008.

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The epilogue connects tropes of the nineteenth and early twentieth centuries of Jews, dance, and modernization with late twentieth- and twenty-first-century representations. Popular works such as Fiddler on the Roof (1964), Dirty Dancing (1987), Rebecca Goldstein’s Mazel (1995), Kerry Greenwood’s Raisins and Almonds: A Phryne Fisher Mystery (1997), Helene Wecker’s The Golem and the Jinni (2013), and Naomi Novik’s Spinning Silver (2018) reveal the continued efficacy of the mixed-sex dancing trope in fictional representations of Yiddish-speaking Jews. These works are often less didactic than nineteenth-century predecessors; they envision more opportunities for female agency and frequently end happily. Not only is the dance floor a flexible space, the dance trope is a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions. In other words, the trope of Jewish mixed-sex dancing charts the particularities of the Jewish “dance” with modern culture.
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Osumare, Halifu. "Dancing in Europe." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0003.

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This chapter explores the unique positionality of being a black woman in Europe in the late 60s. This social position is further complicated with being a contemporary dancer trying to survive in Spain, France, and the Netherlands and finally Copenhagen, Denmark, and Stockholm, Sweden. The author forms a Danish modern dance company with another American dancer in Copenhagen and, together, they help create a dance “revolution” for the times. She ends up teaching jazz dance in a major ballet academy in Stockholm, where she is also able to continue her own training with former members of the Katherine Dunham and Martha Graham dance companies. The author also investigates the influence of Dunham’s Technique on the Nordic region of Europe.
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Conference papers on the topic "Modern dance Women dancers"

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Shan, Yutong. "Modern Dance Before The Three Generation Of Dancers On The Thought." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.170.

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Pilatti, Angelina, Adrian Bravo, Yanina Michelini, Gabriela Rivarola Montejano, and Ricardo Pautassi. "Contexts of Marijuana Use: A Latent Class Analysis among Argentinean College Students." In 2020 Virtual Scientific Meeting of the Research Society on Marijuana. Research Society on Marijuana, 2021. http://dx.doi.org/10.26828/cannabis.2021.01.000.23.

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Background: Substance use and the association between substance-related variables and outcomes seem to be context dependent. We employed Latent Class Analysis (LCA), a person-centered approach, to identify distinct subpopulations based on contexts of marijuana use. We also examined whether the resulting classes differ in a set of marijuana-related variables that hold promise as potential targets of interventions. Method: A sample of 1083 Argentinean college students (64% women; M age = 19.73±3.95) completed an online survey that assessed substance use and related variables (motives for substance use, protective behavioral strategies [PBS] and internalization of the college marijuana use culture). For the present study, only data from students that reported last month (i.e., past 30-day) marijuana use (n = 158) were included in the analysis. Participants reported whether or not they used marijuana in different places (i.e., own house, party at home, friends’ house, parties at friends' house, university party, non-university party, bar, dance-club, outside [street, park], or pregaming) or social contexts (i.e., alone, with family members, strangers, boyfriend/girlfriend, close friend, small group of same-sex friends, ≥10 same-sex friends, small co-ed group of friends, ≥10 co-ed friends). Results: LCA identified a 2-classes model for marijuana use context. Class 1 comprised 40% of last-month marijuana users. Students within this class endorsed a high probability of consuming marijuana across different places (e.g., at home, at parties, outdoors) and social contexts (e.g., close friend and in small same sex and coed groups). Participants in Class 2 exhibited a low endorsement of marijuana use across contexts, yet they reported a moderate to high probability of using marijuana with a small group of same-sex friends or with the close friend, at a friend’s home. The two classes significantly differed, as shown by Student’s t, on all marijuana outcomes (i.e., use and negative consequences) and marijuana-related variables (motives, PBS and internalization of the college marijuana use culture). Students in class 2 exhibited significantly less marijuana use, both in terms of frequency and quantity, and less marijuana-related negative consequences than those in class 1. The latter class exhibited more normative perceptions about marijuana use in college, more marijuana use motives -particularly social, coping and expansion motives- and less use of PBS than students in class 2 did. Conclusions: Our findings revealed subpopulations of college students that are heterogeneous regarding contexts of marijuana use, patterns of use and in a number of relevant variables. These distinctive subpopulations require different targeted interventions.
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Reports on the topic "Modern dance Women dancers"

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Lofquist, Thelma. An experimental model using dance training as therapy for women over thirty five. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2787.

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