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Artículos de revistas sobre el tema "Dancing body"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Flanderová, Veronika. "For the dancing body." Kontradikce 4, no. 2 (2020): 198–204. http://dx.doi.org/10.46957/con.2020.2.19.

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2

Ericksen, Julia A. "Dancing the Body Beautiful." Contexts 11, no. 2 (2012): 48–53. http://dx.doi.org/10.1177/1536504212446460.

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3

Bergonzoni, Carolina. "We Are Travellers: The Body as a Compass." Journal of the Canadian Association for Curriculum Studies 18, no. 2 (2021): 192–98. http://dx.doi.org/10.25071/1916-4467.40590.

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This article introduces the practice of walking-as-dancing. In this article, the terms walk and walking are often considered as synonymous with wandering since the practice of walking-as-dancing that I will describe does not have a set goal. When walking-as-dancing, I explore the improvisational nature of a wandering movement that allows me to let go of certainty and attune to the not-yet-known. I define the body as a compass that guides us through the path of the curriculum-as-lived (Aoki, 1993) and the curriculum itself. Through the analysis of the practice of walking-as-dancing, I will show

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4

Born, Caroline. "Life Dancing: Birthing the Body." Self & Society 21, no. 1 (1993): 18–20. http://dx.doi.org/10.1080/03060497.1993.11085303.

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5

Markula, Pirkko. "The Dancing Body without Organs." Qualitative Inquiry 12, no. 1 (2006): 3–27. http://dx.doi.org/10.1177/1077800405282793.

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6

Beaucé, Patrick. "Dancing, drawing, designing." Drawing: Research, Theory, Practice 8, no. 2 (2023): 281–93. http://dx.doi.org/10.1386/drtp_00121_1.

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This paper describes and analyses a drawing practice in a research project on corporeality and gesture, with a view to designing objects and spaces. This research, carried out at the École nationale supérieure d’art et de design de Nancy (France), questions our presence with things and others, the sharing of space and the world, by questioning the gestures that underpin them. Drawing is one of these gestures. Its pedagogical aims are pragmatic and practical: to question our physicality in artistic training and to provide prescriptive elements, i.e. methods and techniques of looking, reading, w

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7

Summers-Bremner, Eluned. "Reading Irigaray, Dancing." Hypatia 15, no. 1 (2000): 90–124. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01081.x.

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My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

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8

Franko, Mark. "The Dancing Body in Renaissance Choreography." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 199. http://dx.doi.org/10.2307/431845.

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9

Jisun Lee and MalborgKim. "Dancing Body in Digital Image Era." Korean Journal of Dance Studies 37, no. 37 (2012): 63–84. http://dx.doi.org/10.16877/kjds.37.37.201207.63.

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10

Foster, Susan Leigh, and Mark Franko. "The Dancing Body in Renaissance Choreography." Theatre Journal 40, no. 3 (1988): 429. http://dx.doi.org/10.2307/3208343.

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11

김기화 and 백현순. "The Phenomenon of Dancing 'Body' Awareness." Journal of Korean Dance 35, no. 3 (2017): 29–50. http://dx.doi.org/10.15726/jkd.2017.35.3.002.

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12

Barnett, Angela. "The dancing body as a screen." Computers in Entertainment 7, no. 1 (2009): 1–32. http://dx.doi.org/10.1145/1486508.1486513.

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13

Tjersland, Hanne. "The dancing body in peace education." Journal of Peace Education 16, no. 3 (2019): 296–315. http://dx.doi.org/10.1080/17400201.2019.1697066.

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14

Lee,Jin-Woo. "Nietzsche, Body, and “Dancing as Thinking”." Journal of Korean Nietzsche-Society ll, no. 25 (2014): 7–40. http://dx.doi.org/10.16982/jkns.2014..25.001.

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15

Bergonzoni, Carolina. "When I Dance My Walk: A Phenomenological Analysis of Habitual Movement in Dance Practices." Phenomenology & Practice 11, no. 1 (2017): 32–42. http://dx.doi.org/10.29173/pandpr29336.

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In this article, I describe the experience of dancing-a-walk. My specific focus is on the shift that I perceive in my body when I dance-a-walk rather than functionally walking. Following a firstperson perspective, I demonstrate how my experience of practicing dancing-a-walk interrogates the habit of walking and makes it come alive again as an expression of the body. First, I show how the practice of dancing-a-walk challenges the dichotomy between abstract and concrete movement proposed by Maurice Merleau-Ponty in the Phenomenology of Perception. Indeed, dancing-a-walk is an example of a concre

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16

Romano, Gianluca, Jan Schneider, and Hendrik Drachsler. "Dancing Salsa with Machines—Filling the Gap of Dancing Learning Solutions." Sensors 19, no. 17 (2019): 3661. http://dx.doi.org/10.3390/s19173661.

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Dancing is an activity that positively enhances the mood of people that consists of feeling the music and expressing it in rhythmic movements with the body. Learning how to dance can be challenging because it requires proper coordination and understanding of rhythm and beat. In this paper, we present the first implementation of the Dancing Coach (DC), a generic system designed to support the practice of dancing steps, which in its current state supports the practice of basic salsa dancing steps. However, the DC has been designed to allow the addition of more dance styles. We also present the f

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17

Calvillo, Verónica. "Dancing as an Embodied Cognition: Body Memory in Reyna Grande's Dancing with Butterflies." Confluencia: Revista Hispánica de Cultura y Literatura 32, no. 2 (2017): 39–52. http://dx.doi.org/10.1353/cnf.2017.0003.

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18

Todi, Cristina. "5. Coregraphic Arts Education from the Intercultural Perspective." Review of Artistic Education 15, no. 1 (2018): 161–64. http://dx.doi.org/10.2478/rae-2018-0016.

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Abstract Theatre, dancing and singing are arts born out of a common body that share the same idea and means of expression - the human body, these arts manifesting through the most important condition - the artist. The openings exhibited in the theatrical space, spiritless in some people, pragmatic in others, pass on the intimate message of dancing: substance, essence, density.

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19

Bremer, Józef. "René Descartes: Dancing and Mustering Substances." Rocznik Filozoficzny Ignatianum 20, no. 1 (2016): 7–26. https://doi.org/10.5281/zenodo.44462.

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20

Smrekar, Eva. "Symptom as event of the (dancing) body." Maska 36, no. 205 (2021): 100–110. http://dx.doi.org/10.1386/maska_00092_1.

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Abstract At the end of the nineteenth century, the French school of modern neurology together with its leading representative Jean-Martin Charcot (182593) carried out controversial clinical studies on hysteria at the Salpêtrière Hospital, including the famed weekly public demonstrations of female hysterics, which had a profound influence on the development of modern performing practices and the discourse of their critical reception. The text thus focuses especially on the constitution of modern hysteria as a historical continuation of the alternative dance history of the ancient and Middle Age

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21

Sarkar, Kaustavi. "The Frigid Description of the Dancing Body." Performance Research 18, no. 6 (2013): 38–45. http://dx.doi.org/10.1080/13528165.2013.908054.

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22

Wulff, Helena. "Memories in Motion: The Irish Dancing Body." Body & Society 11, no. 4 (2005): 45–62. http://dx.doi.org/10.1177/1357034x05058019.

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23

Mills, Dana. "Dancing the thesis, writing on the body." Arts and Humanities in Higher Education 13, no. 4 (2014): 395–403. http://dx.doi.org/10.1177/1474022213493978.

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24

Feves, Angene. "Trying to discover the renaissance dancing body." Dance Chronicle 12, no. 3 (1989): 386–93. http://dx.doi.org/10.1080/01472528908569018.

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25

Arkin, Lisa C. "Dancing the Body: Women and Dance Performance." Journal of Physical Education, Recreation & Dance 65, no. 2 (1994): 36–43. http://dx.doi.org/10.1080/07303084.1994.10606853.

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26

Besson, Christelle Becholey, and Claire Vionnet. "The dancing body as a living archive." Choreographic Practices 14, no. 1 (2023): 73–84. http://dx.doi.org/10.1386/chor_00058_3.

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This autoethnographic video essay is based on The Shadow of Others, a performance presented in the seven-storey Sir Duncan Rice Library in Aberdeen (Scotland) in May 2017. Focusing on the phenomenology of the dancing body, the performance unfolded the complexity and richness of gestures. Departing from the assumption that a soloist moves with their shadows (gestures from previous dances), I argue for the plural shaping every singular gesture. Combining dance and anthropology, this video essay revisits the notions of archive, repertoire and anarchive, and proposes a reflection on the intermingl

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27

Fayant, Amanda. "Film as Body, Land and Story: Confronting colonial history with indigenous dance." ARCHIVO PAPERS 3, no. 1 (2023): 111–15. https://doi.org/10.5281/zenodo.7951299.

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<strong>REVIEW</strong> <em>Dancing the Space Inbetween</em> Directed by Lacy Morin-Desjarlais. Written by Lacy Morin-Desjarlais, Michele Sereda CA, 2015, color, 7 min. Dancing the Space Inbetween is a short dance film conceived by Lacy Morin-Desjarlais in collaboration with Michele Sereda, inspired by the Regina Indian Industrial School’s unmarked cemetery in Regina, Saskatchewan.

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28

Markula, Pirkko. "Dancing the ‘Data’." International Review of Qualitative Research 4, no. 1 (2011): 35–50. http://dx.doi.org/10.1525/irqr.2011.4.1.35.

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This article traces a process of combining dance and narrative text into performance ethnography. It focuses on how interviews collected during an ongoing research project on serious contemporary dancers' experiences with injuries can ‘be danced’ in a research presentation. The author reflects how the empirical material from the interviews informed a narrative text that, combined with contemporary dance choreography interpreted through Deleuzian rhizomatic analysis, was included into live performance ethnography. The author concludes with a need for an on-going experimentation with the dancing

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29

Gil, José. "Paradoxical Body." TDR/The Drama Review 50, no. 4 (2006): 21–35. http://dx.doi.org/10.1162/dram.2006.50.4.21.

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The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

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30

Hölscher, Stefan, and Laura Luise Schultz. "Undoing Gender/Dancing Affect." Peripeti 9, no. 17 (2012): 40–45. http://dx.doi.org/10.7146/peri.v9i17.108238.

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The article explores the connections between dance, choreography and affect. In a critical negotiation with post-structuralist thinking, especially Judith Butler, Hölscher argues that affect theory from Spinoza through Deleuze and Massumi may constitute a theoretical framework for rethinking the transformative power of the body and its capability for action and agency.

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31

Keogh, Justin W. L., Andrew Kilding, Philippa Pidgeon, Linda Ashley, and Dawn Gillis. "Physical Benefits of Dancing for Healthy Older Adults: A Review." Journal of Aging and Physical Activity 17, no. 4 (2009): 479–500. http://dx.doi.org/10.1123/japa.17.4.479.

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Dancing is a mode of physical activity that may allow older adults to improve their physical function, health, and well-being. However, no reviews on the physical benefits of dancing for healthy older adults have been published in the scientific literature. Using relevant databases and keywords, 15 training and 3 cross-sectional studies that met the inclusion criteria were reviewed. Grade B–level evidence indicated that older adults can significantly improve their aerobic power, lower body muscle endurance, strength and flexibility, balance, agility, and gait through dancing. Grade C evidence

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32

Dind, Julie Valentine. "Dancing hors sujet: On butoh and autism." Choreographic Practices 15, no. 1 (2024): 89–112. http://dx.doi.org/10.1386/chor_00072_1.

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Butoh dance – an avant-garde dance ‘form’ which emerged in Japan in the early 1960s – has been discussed by various scholars in terms of the deconstruction or the unlearning of the social body. In this article, written from my perspective as an autistic butoh dancer, I offer a reflection on the relationship between the autistic body and the butoh body – or rather, I offer a reflection on the relationship between (my) autistic body and (my) butoh body, though I argue that butoh and autism precisely call into question the (neurotypical) assumptions embedded in this sentence. That is, I believe t

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33

Miller, Lynneth J. "Divine Punishment or Disease? Medieval and Early Modern Approaches to the 1518 Strasbourg Dancing Plague." Dance Research 35, no. 2 (2017): 149–64. http://dx.doi.org/10.3366/drs.2017.0199.

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Using writings from observers of the 1518 Strasbourg dancing plague, this article explores the various understandings of dancing mania, disease, and divine judgment applied to the dancing plague's interpretation and treatment. It argues that the 1518 Strasbourg dancing plague reflects new currents of thought, but remains closely linked to medieval philosophies; it was an event trapped between medieval and modern ideologies and treated according to two very different systems of belief. Understanding the ways in which observers comprehended the dancing plague provides insight into the ways in wh

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34

Hargan, Jennifer, Emilie Combet, Paul Dougal, Mhairi McGowan, Mary Ann Lumsden, and Dalia Malkova. "Efficacy of a Culture-Specific Dancing Programme to Meet Current Physical Activity Recommendations in Postmenopausal Women." International Journal of Environmental Research and Public Health 17, no. 16 (2020): 5709. http://dx.doi.org/10.3390/ijerph17165709.

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This study investigated the efficacy of participation in culture-specific dancing to meet current physical activity recommendations and increase cardio-respiratory fitness in postmenopausal women. Sedentary postmenopausal women (n = 24), aged 63 ± 8 years and with BMI of 28 ± 3 kg/m2 completed a 4-week Scottish dancing study. The dancing sessions of approximately 75 min were performed twice a week and each session was based on five Scottish dances performed in 3 sets. Heart rate (HR) measurements were obtained during all dances to evaluate whether the intervention achieves the criteria of mode

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35

Mangalath, Swetha. "The masculinized feminine body: The body politics and the construction of female identity in Mohiniyattam." Indian Theatre Journal 8, no. 1 (2024): 39–58. http://dx.doi.org/10.1386/itj_00038_1.

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The article explores the sociocultural construction of aesthetic identities and the ways in which the dominant ideologies have perpetuated specific narratives of the development of Mohiniyattam. Drawing on Michel Foucault’s concept of ‘episteme’ and Judith Butler’s theory of gender performativity, the study examines the femininity embodied in Mohiniyattam and argues that the dance form has been a tool for patriarchal ideologies, transmitted through generations of dancers manifested in their performance practice. The analysis extends to the contemporary scope of Mohiniyattam, questioning the ri

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36

Roseau, Catherine. "The DANCING BODY, An Art of the Immaterial." Psychosomatique relationnelle N° 1, no. 1(en) (2013): 25–29. http://dx.doi.org/10.3917/psyr.131en.0025.

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37

van Blommestein, Sharmain. "The Dancing Whore and the Body as Spectacle." International Journal of Civic, Political, and Community Studies 10, no. 4 (2013): 107–19. http://dx.doi.org/10.18848/2327-0047/cgp/v10i04/43536.

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38

Anderson, E. "Dancing Modernism: Ritual, Ecstasy and the Female Body." Literature and Theology 22, no. 3 (2008): 354–67. http://dx.doi.org/10.1093/litthe/frn024.

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39

Kunst, Bojana. "Subversion and the Dancing Body: Autonomy on Display." Performance Research 8, no. 2 (2003): 61–68. http://dx.doi.org/10.1080/13528165.2003.10871929.

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40

Bergman, Elizabeth June. "Dramaturgies of the Moving Body: Musical Theatre Dancing." Dance Chronicle 47, no. 3 (2024): 549–53. http://dx.doi.org/10.1080/01472526.2024.2369001.

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41

Haley, Rochelle. "Constructions of the moving body: drawing and dancing." Studies in Theatre and Performance 38, no. 3 (2018): 289–301. http://dx.doi.org/10.1080/14682761.2018.1506966.

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42

Wright, Jan, and Shoshana Dreyfus. "Belly Dancing: A Feminist Project?" Women in Sport and Physical Activity Journal 7, no. 2 (1998): 95–114. http://dx.doi.org/10.1123/wspaj.7.2.95.

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The notion of the body as “a medium of culture” (Bordo, 1990, p. 13), and specifically the female body as a site on which the oppression of patriarchy is inscribed or played out has been discussed by many feminist theorists (Bartky, 1988; Bordo, 1990; Dimen, 1989). More recently there has been increasing interest in the material body as a source of kinesthetic pleasure rather than, or simultaneously as, a site of inscription and oppression. In searching for new ways to think and talk about the body, there is a recognition that it cannot be seen simply as either a site of oppression or pleasure

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43

Aarseth, S. J. "Dancing with Black Holes." Proceedings of the International Astronomical Union 3, S246 (2007): 437–46. http://dx.doi.org/10.1017/s1743921308016141.

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AbstractWe describe efforts over the last six years to implement regularization methods suitable for studying one or more interacting black holes by direct N-body simulations. Three different methods have been adapted to large-N systems: (i) Time-Transformed Leapfrog, (ii) Wheel-Spoke, and (iii) Algorithmic Regularization. These methods have been tried out with some success on GRAPE-type computers. Special emphasis has also been devoted to including post-Newtonian terms, with application to moderately massive black holes in stellar clusters. Some examples of simulations leading to coalescence

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44

Donaghue, Ngaire, Tim Kurz, and Kally Whitehead. "Spinning the pole: A discursive analysis of the websites of recreational pole dancing studios." Feminism & Psychology 21, no. 4 (2011): 443–57. http://dx.doi.org/10.1177/0959353511424367.

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Pole dancing is an activity that came to prominence in strip clubs. Despite its widespread reinvention as a fitness activity for women, pole dancing is still strongly associated with, and indeed trades on, its exotic, erotic and sexual connotations. In this article, we examine how the pole dancing industry portrays itself to potential participants via a discursive analysis of the websites of 15 major pole dancing studios in Australia. In particular, we examine some of the ways in which pole dancing trades on its erotic associations and capitalizes on the emerging postfeminist sensibility in we

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45

Banalopoulou, Christina. "Moving Crisis: Dancing as Political Praxis in the Age of the Greek Depression." Congress on Research in Dance Conference Proceedings 2016 (2016): 9–14. http://dx.doi.org/10.1017/cor.2016.2.

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In the following paper, I argue that The Greek Depression is the inevitable outcome of synthetic politics that understand difference through identical opposition. It is my contention that dancing, as an embodied praxis embedded within present sociopolitical territories and stratified actualities, envelops potentiality for what Deleuze and Guattari call de-stratification and de-territorialization. Drawing from their work, I call for a neo-realist understanding of the virtual capacities of the dancing body, so we can move history beyond ordinarily conceived politics and introduce not yet imagine

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46

Ivanova, Maria A., Zoya V. Dudieva, and Vladislav I. Dubatovkin. "The influence of physical exercises on the preparation of students for sports ballroom dancing." Physical Education and University Sport 3, no. 3 (2024): 273–80. http://dx.doi.org/10.18500/2782-4594-2024-3-3-273-280.

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Sports ballroom dancing is a group of paired dances that are divided into two directions, “Latin” and standard, and, as a rule, were performed at balls held in large rooms covered with parquet. Dances are divided into elite (historikohousehold) and folk, characterized by several differences. Ballroom dances are paired, a man and a woman form a couple, as well as two women (“lady and lady”) and two men (“man and man”). In addition to doubles, there are single competitions “Solo Ladies”, where ladies perform dances without a partner. Ballroom dancing or dance sports has become very popular among

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47

Braun, Linda. "Dancing in Step with Society." Body Politics 4, no. 7 (2017): 41–62. https://doi.org/10.12685/bp.v4i7.1482.

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English abstract: This article analyzes the urban body in Imperial Germany through the lens of an integral part of night life: popular dancing. In the first decade of the twentieth century, American popular dances appeared in Berlin and other European metropoles. The cakewalk and various step dances replaced the established tradition of popular dancing: In general, American popular dances did not follow a choreography but instead allowed the leading (usually male) dancers to experience more autonomy and combine figures more freely. The dancing bodies moved into more directions than previously

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48

Celda Real, Olga. "Pina Bausch and the Dancing Body: Social Constructionism and Identity in Nelken, The Rite of Spring and Kontakthof." Itamar, no. 8 (July 8, 2022): 22. http://dx.doi.org/10.7203/itamar.8.24812.

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This article aims to consider the social construct of the dancing body and its role in the building of identity focusing primarily on the female dancing body as exercised in the seminal works of Nelken, The Rite of Spring and Kontakthof by the German expressionist choreographer Pina Bausch. The phenomenological discourse in these works ‘embody the social and cultural dynamics in which they are generated’1, making of them unique performative experiences. In these pieces of tanztheater, the characters embodied in the dancing bodies on stage are both, universal and anonymous, and the storie

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49

de Quay, Yago, Ståle Skogstad, and Alexander Jensenius. "Dance Jockey: Performing Electronic Music by Dancing." Leonardo Music Journal 21 (December 2011): 11–12. http://dx.doi.org/10.1162/lmj_a_00052.

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The authors present an experimental musical performance called Dance Jockey, wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions and transmitting the information to a control unit that makes decisions and gives instructions to audio software. The system triggers a broad range of music events and maps them to sound effects and musical parameters such as pitch, loudness and rhythm.

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50

Bahia, Joana. "Dancing with the Orixás." African Diaspora 9, no. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.

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This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-

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