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Articles de revues sur le sujet « Belly dancing »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 18 février 2022

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1

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 films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic “traditional” Arab culture. In this sense, the article recovers women’s nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women’s queerness that have been overlooked.

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Chang, Gregory Youngnam. "‘Belly Dancing’ in Coma." European Neurology 48, no. 1 (2002): 51. http://dx.doi.org/10.1159/000064961.

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Mitchell, Claudine. "BELLY DANCING INTO HISTORY." Art History 10, no. 4 (1987): 517–27. http://dx.doi.org/10.1111/j.1467-8365.1987.tb00273.x.

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Dox, Donnalee. "Dancing Around Orientalism." TDR/The Drama Review 50, no. 4 (2006): 52–71. http://dx.doi.org/10.1162/dram.2006.50.4.52.

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The performance of belly dancing in the West embodies a central paradox: while invoking Orientalist tropes in its appropriation of Middle Eastern dances, it is cast as a celebratory form of women's empowerment that destabilizes Western patriarchy. Exploring these contradictory claims, the author situates the predicaments of gender and interculturalism that surface in discourses about Western belly dance.

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Ellis, Pauline. "Sacred Prostitute; Belly Dancing; Untitled." Frontiers: A Journal of Women Studies 20, no. 2 (1999): 64. http://dx.doi.org/10.2307/3347013.

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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, but rather as a site where many apparently contradictory and opposing discourses can coexist and where interesting and complex mixes of pleasure and oppression can occur simultaneously (Shilling, 1993).In this paper we attempt to explore these complexities through a study of belly dancing. This is a form of physical activity with an increasingly large following. On one hand, it seems possible to conceive of belly dancing as ‘feminist project’ as it offers possibilities for challenging hegemonic constructions of femininity and for women’s empowerment; on the other hand, many of the practices associated with belly dancing work to construct discourses which sit uncomfortably with feminist understandings of the body. This paper then becomes an exploration of the complex meanings which constitute the contemporary practice of belly dancing, with reference to a specific dance class in a regional city in Australia.While we are using the description ‘feminist project’ as a guiding principle for this paper, we also recognize that this is not a totalizing concept and will be different for different women in different contexts. We also recognize that the attribute “feminist” is itself not unitary but that feminist theory takes many forms, takes up different issues and defines its objects of study in a variety of ways. In the paper we draw on feminist post-structuralist theory to examine the various discourses and social practices of belly dancing. This allows us to recognize that in talking about the dance, the women interviewed may draw on a wide range of discourses which are concerned with women and their bodies, and which in their different ways may be characterized as feminist. On the other hand, the consequences of taking up one discourse rather than another have implications for how women are located and locate themselves in relations of power. We are wary, for instance, of essentializing discourses which attempt to naturalize sexual differences in a context where male and female attributes are often seen as constituting the opposite sides of a binary where those attributes associated with women are regarded as of lesser value.

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Łapińska, Joanna. "„Nie tańczysz sama przed lustrem. Oni na ciebie patrzą!”. Taniec brzucha jako afektywna strategia uczestnictwa w kulturze w filmie „Czerwony jedwab”." Prace Kulturoznawcze 20 (March 27, 2017): 143–53. http://dx.doi.org/10.19195/0860-6668.20.12.

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“You’re not dancing alone in front of the mirror. They are looking at you!” Belly Dance as an Affective Strategy of Participation in Culture in Satin RougeThe article analyses the film portraits of women performing belly dancing Satin Rouge, 2002 Raja Amari. The film tells the story of awoman who after the death of her husband indulges in entertainment rather unsuitable for aGod-fearing Arab woman: belly dance in aTunis nightclub. The article focuses on dance as an affective strategy of participation in culture. Belly dance understood as aconscious work on one self and abody allows women to express their subjectivity and feel like an individual entity. Female dancing body has the power to affect — the ability to influence other bodies and to express oneself — and thus may create room for negotiation within the hegemonic discourse of men’s power over women in the Arab world.

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Or, Jimmy. "A Control System for a Flexible Spine Belly-Dancing Humanoid." Artificial Life 12, no. 1 (2006): 63–88. http://dx.doi.org/10.1162/106454606775186464.

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Recently, there has been a lot of interest in building anthropomorphic robots. Research on humanoid robotics has focused on the control of manipulators and walking machines. The contributions of the torso towards ordinary movements (such as walking, dancing, attracting mates, and maintaining balance) have been neglected by almost all humanoid robotic researchers. We believe that the next generation of humanoid robots will incorporate a flexible spine in the torso. To meet the challenge of controlling this kind of high-degree-of-freedom robot, a new control architecture is necessary. Inspired by the rhythmic movements commonly exhibited in lamprey locomotion as well as belly dancing, we designed a controller for a simulated belly-dancing robot using the lamprey central pattern generator. Experimental results show that the proposed lamprey central pattern generator module could potentially generate plausible output patterns, which could be used for all the possible spine motions with minimized control parameters. For instance, in the case of planar spine motions, only three input parameters are required. Using our controller, the simulated robot is able to perform complex torso movements commonly seen in belly dancing as well. Our work suggests that the proposed controller can potentially be a suitable controller for a high-degree-of-freedom, flexible spine humanoid robot. Furthermore, it allows us to gain a better understanding of belly dancing by synthesis.

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Frühauf, Tina. "Raqs Gothique: Decolonizing Belly Dance." TDR/The Drama Review 53, no. 3 (2009): 117–38. http://dx.doi.org/10.1162/dram.2009.53.3.117.

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Goth belly dance—or “raqs gothique”—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. Goth belly dancers want to reject or transcend the obvious roots of belly dancing in Orientalism, but how successful are they?

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Shilton, Siobhán. "Belly Dancing to theMarseillaise: Zoulikha Bouabdellah'sDansons." Contemporary French and Francophone Studies 12, no. 4 (2008): 437–44. http://dx.doi.org/10.1080/17409290802447464.

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Shay, Anthony, and Barbara Sellers-Young. "Belly Dance: Orientalism—Exoticism—Self-Exoticism." Dance Research Journal 35, no. 1 (2003): 13–37. http://dx.doi.org/10.1017/s0149767700008755.

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The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. (Said 1978,1)The past century has witnessed the phenomenon of belly dancing becoming a key icon of the Middle East in the West. This iconic representation often causes outrage, resentment, and even protest among Arabs who resent Westerners (mis)representing them by focusing on cabaret-style belly dance, a low-class and disreputable symbol for many in the Arab world, as a primary media image of the Middle East. Since the 1970s, millions of women and some men in the West have been attracted to belly dancing, investing millions of dollars and enormous time acquiring the basic skill of the dance in order to perform it. This essay will address several issues that are raised by the phenomenon of belly dancing and its transformation, globalization, and acculturation in the West; it is designed to develop a newly emerging area of performance/cultural research, drawing from the fields of dance and transnational studies.

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putnam, deanna. "Opa!: Belly Dancing and Greek Barrel Wine." Gastronomica 5, no. 4 (2005): 99–102. http://dx.doi.org/10.1525/gfc.2005.5.4.99.

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Chatterjee, Subhankar, Souvik Dubey, Debaleena Mukherjee, et al. "“Dancing belly” in an old diabetic lady." Journal of Family Medicine and Primary Care 9, no. 5 (2020): 2580. http://dx.doi.org/10.4103/jfmpc.jfmpc_1223_19.

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Sunaina Maira. "Belly Dancing: Arab-Face, Orientalist Feminism, and U.S. Empire." American Quarterly 60, no. 2 (2008): 317–45. http://dx.doi.org/10.1353/aq.0.0019.

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Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.

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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.

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Popp, Ashley M., and Chia-Ju Yen. "The Global Transformation of Belly Dancing: A Cross-Cultural Investigation of Counter-Hegemonic Responses." Physical Culture and Sport. Studies and Research 55, no. 1 (2012): 17–29. http://dx.doi.org/10.2478/v10141-012-0002-7.

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AbstractThe first part of this study, explored by Ashley Popp, presents an investigation into a relatively unexamined area of physical education: an analysis of a transcultural phenomenon in the history of dance. Data has been collected from primary sources and archival evidence to assess competing ideologies inherent in the transformation of a particular art form. In the analysis of the cultural migration through which belly dance was transferred from the Middle East to the United States, an adaptive reaction to the hegemonic relationships of culture, race, gender, and class has been observed. Beyond performance aesthetics, links have been made between the act of belly dancing and the building of women’s self-esteem, as researched by Chia-Ju Yen. The main purpose of her study was to explore how facial burn patients cope with disfigurement and the unfriendly attitudes of others, and examines the alteration of body image via inspiration provided by the performance of belly dance. This research was conducted from the perspective of an anthropologically thickdescription research method, and a case study was performed using in-depth interviews, including narratives by a woman who had suffered facial injuries. The results of the research showed that through family support, hard work and a decisive and studious personality, the patient was able to cope with the discriminatory attitude of others. The performance of belly dance not only made her emphasize her body, but also enriched her life.

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Carminatti, Micheli, Leonessa Boing, Bruna Leite, et al. "EFFECTS OF BELLY DANCING ON BODY IMAGE AND SELF-ESTEEM IN WOMEN WITH BREAST CANCER – PILOT STUDY." Revista Brasileira de Medicina do Esporte 25, no. 6 (2019): 464–68. http://dx.doi.org/10.1590/1517-869220192506220067.

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ABSTRACT Introduction Breast cancer has innumerable consequences in women’s lives and physical activity can be beneficial during this period. Objectives To analyze the influence of belly dancing on the body image and self-esteem of women during and after breast cancer treatment. Methods Nineteen women diagnosed with breast cancer, divided into a control group (8 women) and a study group (11 women), who were under treatment or post-treatment at the Center for Oncological Research (CEPON), participated in the study. A questionnaire was used for data collection, divided into three blocks as follows: a) general information - sociodemographic and clinical characterization; b) body image - Body Image After Breast Cancer; and c) self-esteem - Rosenberg Self-Esteem Scale. The study group underwent a belly dance intervention consisting of 60-minute classes, twice a week, for a total period of 12 weeks. Women in the control group only maintained their routine activities. Results Significant changes were observed in the improvement of body image in the belly dance group in the pre- and post-intervention periods in the body stigma (p = 0.017) and transparency (p = 0.021) scales. There were no changes in regards to self-esteem. The control group had no changes in either body image or self-esteem. Conclusion The influence of belly dancing on the improvement of women’s body image was observed after 12 weeks of intervention. Thus, it is understood that physical activity may help these women after breast cancer, and should be encouraged by health professionals in this field. Level of evidence II; Therapeutic studies - Investigation of treatment results.

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Lumbantobing, Hendri Parluhutan, Renny Sinaga, and Kandace Sianipar. "PENGARUH BELLY DANCE DIKOMBINASIKAN DENGAN PIJAT ENDORPHIN TERHADAP PENGURANGAN RASA NYERI PADA IBU BERSALIN KALA 1." Jurnal Ilmiah PANNMED (Pharmacist, Analyst, Nurse, Nutrition, Midwivery, Environment, Dentist) 15, no. 1 (2020): 109–15. http://dx.doi.org/10.36911/pannmed.v15i1.660.

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Physiologically, all women who give birth will experience pain during labor process and statistically, labor pain cannot be tolerated by two out of three mothers. Women who get massages during labor will experience a significant decrease in anxiety, reduction in pain, and shorter delivery time. No wonder that endorphin massage technique is important to be mastered by pregnant women and husbands who enter the gestational age of the 36th week. The second thing that can be done to deal with the labor pain besides the endorphin massage is dancing. Dancing is a performance art but also can heal and free someone, especially the pregnant women who suffer from psychological disorders. The purpose of this study was to determine the effect of belly dance combined with endorphin massage in reducing pain in the first stage of labor at the Beringin Health Center Tapian Dolok District, Simalungun Regency. The hypothesis in this study was belly dance and endorphin massage were effective in reducing pain in primiparous mothers. The type of this research was a quasi-experiment. The design of this study was pre and post-test design. The required number of samples was 16 + 1.6 = 17.6 or n = 18 samples, that was the sample size for the control group was 18 samples and the sample size for the treatment group was 18 samples, so the total number of samples needed in this study were n = 36 respondents. The results showed that there was an effect of endorphin massage combined with belly dance (asymp.sig 0.004) on reducing pain in first stage of labor. This study is expected to provide an education to pregnant women about the importance of the belly dance combined with endorphin massage in reducing pain in first stage of labor, so that pregnant women can do a belly dance combined with endorphin massage at home.

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León Cedeño, Alejandra Astrid. "Dancing Community Social Psychology: Revisiting P.A.R. from a Belly Dancing Course in a Local Cultural Society." Athenea Digital. Revista de pensamiento e investigación social, no. 17 (March 5, 2010): 255. http://dx.doi.org/10.5565/rev/athenea.653.

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León Cedeño, Alejandra Astrid. "Dancing Community Social Psychology: Revisiting P.A.R. from a Belly Dancing Course in a Local Cultural Society." Athenea Digital. Revista de pensamiento e investigación social, no. 17 (March 5, 2010): 255. http://dx.doi.org/10.5565/rev/athenead/v0n17.653.

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Lizarraga, Karlo J., Enrique A. Serrano, Leticia Tornes, Andres M. Kanner, and Anthony E. Lang. "Isolated Abdominal Motor Seizures of Mesial Parietal Origin: Epileptic Belly Dancing?" Movement Disorders Clinical Practice 6, no. 5 (2019): 396–99. http://dx.doi.org/10.1002/mdc3.12762.

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Moe, Angela M. "Sequins, Sass, and Sisterhood: An Exploration of Older Women's Belly Dancing." Journal of Women & Aging 26, no. 1 (2014): 39–65. http://dx.doi.org/10.1080/08952841.2014.854574.

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Mansbridge, Joanna. "Fantasies of Exposure: Belly Dancing, the Veil, and the Drag of History." Journal of Popular Culture 49, no. 1 (2016): 29–56. http://dx.doi.org/10.1111/jpcu.12381.

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Chang, Yuchi, Po-Hsiu Lin, and Tsuneo Sogawa. "Belly dancing as exercise: image-building of a foreign dance in Taiwan." Asia Pacific Journal of Sport and Social Science 6, no. 1 (2017): 34–45. http://dx.doi.org/10.1080/21640599.2017.1286107.

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OR, JIMMY, and ATSUO TAKANISHI. "EFFECT OF A FLEXIBLE SPINE EMOTIONAL BELLY DANCING ROBOT ON HUMAN PERCEPTIONS." International Journal of Humanoid Robotics 04, no. 01 (2007): 21–48. http://dx.doi.org/10.1142/s0219843607000935.

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Recently, there has been a growing interest in human–robot interaction. Researchers in artificial intelligence and robotics have built various types of social robots which can express emotions through speech, facial expressions and hand gestures. Although some of these robots are able to interact with humans in interesting ways, they cannot move as naturally as we do because of the limited number of degrees of freedom in their body torsos (some of them do not even have a torso). Since we often express and perceive each other's emotions and motives at a distance using body language alone, it would be good for the next generation of humanoid robots to possess similar capabilities. As a first step towards this goal, we developed a 28-DOF full-body humanoid robot as an experimental platform. Unlike the current generation of humanoid robots, our robot has a flexible spine. This feature is very important because counterbalancing movements of the spine are required to maintain dynamic stability in humans and humanoid robots. Our robot can belly dance and communicate affective motions via full-body movements. Using a Central Pattern Generator (CPG) based controller, we generated rhythmic motions for the arms, upper and lower bodies. We then conducted psychological experiments using both the robot and a human actors. Statistical analyses were carried out to test our hypotheses on human perception of affective movements. Experimental results show that human subjects were able to perceive emotions from the robot based only on its body motions, sometimes as well as recognizing the movements being performed by the human actor. Our robot can be used to examine the relationship between the movement of the spine, shoulders, arms, neck and head when attempting to reproduce affective movements. Psychologists, actors, dancers and animators can benefit from this line of research by learning how emotions can be conveyed through body motions and knowing how body part movements combine to communicate emotional expressions.

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Karam, John Tofik. "Belly Dancing and the (En)Gendering of Ethnic Sexuality in the “Mixed” Brazilian Nation." Journal of Middle East Women's Studies 6, no. 2 (2010): 86–114. http://dx.doi.org/10.2979/mew.2010.6.2.86.

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Lee, R. "Pussy Ballistics and the Queer Appeal of Peristalsis, or Belly Dancing with Margaret Cho." GLQ: A Journal of Lesbian and Gay Studies 20, no. 4 (2014): 491–520. http://dx.doi.org/10.1215/10642684-2721357.

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KEFT-KENNEDY, VIRGINIA. "‘How does she do that?’ Belly Dancing and the Horror of a Flexible Woman." Women's Studies 34, no. 3-4 (2005): 279–300. http://dx.doi.org/10.1080/00497870590964183.

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Simour, Lhoussain. "Blurring the Boundaries of Gendered Encounters: Moorish Dancing Girls in Nineteenth and Early Twentieth-Century American Fair Exhibitions." Hawwa 11, no. 2-3 (2014): 133–59. http://dx.doi.org/10.1163/15692086-12341250.

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Moroccan dancing women appeared as entertainers in 19th and 20th-century American fair expositions. Their physical and epistemological journeys and their performances on the fair midways have been largely missing from the histories of the Moroccan and American entertainment industries. Their experiences and narratives overseas are stimulating and worth recovering, because they offer suitable settings in which to engage with the complexities of cultural and racial contacts between self and other, and add an interesting dimension to the notion of travel and border crossing in which gendered routes contributed to the shaping of discourses about racial difference. This article looks at North African dancing women, often conflated in American international expositions under the term “belly-dancing girls” and in their local countries, pejoratively, as shikhat (public dancers in Moroccan dialect). I begin with a brief discussion of Deborah Kaption’s Moroccan Female Performers Defining the Social Body (1994) as a pretext for moving beyond the rigid ethnographical discourses about cultural difference. This article sheds light on gendered encounters in the historical context of fair expositions, where live performances helped shape a tradition of self-referential knowledge about oriental dancing women as a site of fantasies, sexual prowess, and erotic desires. It then proceeds to deal with some experiences of the dancers themselves as “living exhibits” and how their live performances contributed to forming not only orientalist discourse but also the oriental and Western subjects. These dancers were individualized subjects and performers who challenged the conventional definitions about oriental female roles and subverted the American Victorian model of femininity.

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MANSBRIDGE, JOANNA. "TheZenne: Male Belly Dancers and Queer Modernity in Contemporary Turkey." Theatre Research International 42, no. 1 (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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An, So-Young, Seung-Suk Kim, and Gunsoo Han. "Effect of belly dancing on urinary incontinence-related muscles and vaginal pressure in middle-aged women." Journal of Physical Therapy Science 29, no. 3 (2017): 384–86. http://dx.doi.org/10.1589/jpts.29.384.

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Davies Hayon, Kaya. "Resistance and reinvention: Representations of the belly dancing body in Raja Amari’s Satin rouge/Red Satin (2002)." Journal of African Cinemas 8, no. 1 (2016): 29–42. http://dx.doi.org/10.1386/jac.8.1.29_1.

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Szalai, M., A. Szirmai, K. Füge, et al. "Special aspects of social support: Qualitative analysis of oncologic rehabilitation through a belly dancing peer support group." European Journal of Cancer Care 26, no. 6 (2017): e12656. http://dx.doi.org/10.1111/ecc.12656.

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harris, rachel. "reggae on the silk road: the globalization of uyghur pop." China Quarterly 183 (September 2005): 627–43. http://dx.doi.org/10.1017/s0305741005000391.

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in this article i take examples of popular music recordings released in the xinjiang uyghur autonomous region during the 1990s and first few years of the 21st century, in order to illustrate the global flows of sounds and meanings which influence uyghur pop. the disseminatory power of “micro media” (cheap cassettes, vcds) facilitates the global movement of both musical sounds and political ideas. i argue, using examples of uyghur reggae and uyghur belly dancing, that these sounds and meanings are radically adapted and re-signified in the construction of uyghur identity and cultural politics, in a complex interplay between the global, national and local, and between tradition and modernity. i discuss the gendered expression of uyghur nationalism in popular song through the iconic figure of the weeping mother, demonstrating the ability of expressive culture (here music) to reveal underlying or underpinning political trends.

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Kim, Kyung-Do, Yeong-Ok Song, and Yeong-Ho Baek. "Effects of Belly Dancing and Nutritional Education on Body Composition and Serum Lipids Profiles of Obese Women in a Study, 'Obesity Clinic Projects at Community Healthcenter'." Journal of the Korean Society of Food Science and Nutrition 40, no. 10 (2011): 1417–22. http://dx.doi.org/10.3746/jkfn.2011.40.10.1417.

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Walter, Ofra. "Can Participation in Belly Dancing Improve Body Image and Self-Esteem in Women Who Have Experienced Sexual Harassment?" Journal of Aggression, Maltreatment & Trauma 29, no. 6 (2020): 748–65. http://dx.doi.org/10.1080/10926771.2020.1725214.

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Heafford, Michael. "The belly-dancer is dancing very well, but only the gods seem to applaud: specifications for ‘Getting By’ courses." Language Learning Journal 8, no. 1 (1993): 70–72. http://dx.doi.org/10.1080/09571739385200431.

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OR, JIMMY, and ATSUO TAKANISHI. "FROM LAMPREY TO HUMANOID: THE DESIGN AND CONTROL OF A FLEXIBLE SPINE BELLY DANCING HUMANOID ROBOT WITH INSPIRATION FROM BIOLOGY." International Journal of Humanoid Robotics 02, no. 01 (2005): 81–104. http://dx.doi.org/10.1142/s0219843605000405.

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Research on humanoid robotics has up to now been focused on the control of manipulators and walking machines. The contributions of body torso torwards daily activities have been neglected. To address this deficient area of humanoid robotics research, we developed a unique flexible spine biped humanoid robot. Inspired by the rhythmic and wave-like motions commonly seen in swimming lamprey and in belly dancing, we investigated the possibility of controlling the spine of our robot using the lamprey central pattern generator (CPG). Experimental results show that our robot is capable of mimicing both basic and complex spine motions with fewer actuators than the human spine and using only three input parameters (global and extra excitations from the brainstem, plane of actions). Our work suggests that the CPG is a suitable controller for humanoid spine motions because it can control a high degree of freedom mechanical spine with minimized control parameters. No complex computations of spine trajectories are involved. Furthermore, since our robot can move its upper body dynamically while standing and without external supports, it may be used as a prototype for the next generation of humanoid robots.

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Szalai, Márta, Bernadett Lévay, Anna Szirmai, István Papp, Viktória Prémusz, and József Bódis. "A clinical study to assess the efficacy of belly dancing as a tool for rehabilitation in female patients with malignancies." European Journal of Oncology Nursing 19, no. 1 (2015): 60–65. http://dx.doi.org/10.1016/j.ejon.2014.07.009.

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Thorbojrnsrud, Bent. "A Trade Like Any Other." American Journal of Islam and Society 13, no. 4 (1996): 572–76. http://dx.doi.org/10.35632/ajis.v13i4.2289.

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"A performer is like a candle; she sheds light for others but bwns herselfup" (p. 10). This rather sad statement gives an accurate picture of thesituation of women working in the entertainment trade in Cairo, such as vanNieuwkerk presents it. Caught in a dilemma between economic necessityand their significant others' evaluation of their work as shameful, female entertainers fight an uphill battle for respectability. They attempt to establishtheir trade as one like any other, but with no great success.To Western visitors to Egypt, belly dancing has been seen (and still is)as the quintessence of the sensual and exotic Orient. In order to de-exoticizethe trade, van Nieuwkerk takes readers behind the glamorous touristscene and introduces us to the life-worlds of female performers and theirEgyptian audiences. She shows that although entertainment in general isseen as an integral part of big celebrations, female performers’ reputationssuffer. And she asks:Is the tainted reputation of female entertainers due to the fact thatentertainment is a dishonorable profession or is it due to the factthat the profession is dishonorable for women? (p. 3) ...

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Adra, Najwa. "Grandmother’s Secrets: The Ancient Rituals and Healing Power of Belly Dancing, by Rosina-Fawzia Al-Rawi. Translated by Monique Arav. 158 pages, 36 photographs. New York, NY: Interlink Books, 1999. $25.00 (Cloth) ISBN 1-56656-326-7." Middle East Studies Association Bulletin 34, no. 2 (2000): 238–40. http://dx.doi.org/10.1017/s0026318400040736.

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Christout, Marie‐Françoise. "The dancing muse of the belle epoque." Dance Chronicle 19, no. 2 (1996): 213–16. http://dx.doi.org/10.1080/01472529608569242.

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Kostić, Milena. "“I am for Other Than for Dancing Measures”: Shakespeare’s Spiritual Quest in “As You Like It”." Belgrade English Language and Literature Studies 6 (2014): 231–45. http://dx.doi.org/10.18485/bells.2014.6.12.

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Goff, Moira. "The Celebrated Monsieur Desnoyer, Part 1: 1721–1733." Dance Research 31, no. 1 (2013): 67–77. http://dx.doi.org/10.3366/drs.2013.0059.

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George Desnoyer first danced in London in 1721 and 1722, and returned to pursue a successful performing career there between 1731 and 1742. He may have been born around 1700 in Hanover, for he was the son of the dancing master ‘Denoyé’ employed by Georg Ludwig Elector of Hanover (later King George I of England) from at least 1694. 1 Musicians named ‘Desnoyers’ can be found in Paris records from the 1650s. 2 The elder Desnoyer may have been related to Antoine Desnoyers, who was a member of the ‘violons de la Chambre’ at the court of Louis XIV from at least the late 1670s until about 1694. 3 He may also have been the Desnoyers who danced in the 1689 and 1690 revivals at the Paris Opéra of Lully's Atys and Cadmus et Hermione respectively. 4 Whatever his lineage, George Desnoyer was already a skilled exponent of French belle dance style and technique when he first appeared in London, at the Drury Lane Theatre, early in 1721. Desnoyer's father died on 18 April 1721, and he was presumably appointed to succeed him for he left England during the summer of 1722 to become dancing master to George I's grandson Prince Frederick, who had remained in Hanover. His appointment at the electoral court formally ended early in 1730, and the following year Desnoyer returned to London. He was billed as ‘first dancer to the King of Poland’ when he appeared at Drury Lane in late 1731, and for the next few years he divided his time between London, Dresden and Warsaw. Desnoyer's London career lasted until 1742. Over the years, he performed solos, duets and group dances as well as appearing in a variety of afterpieces, and he enjoyed notable partnerships with several leading female dancers. Although virtually all the choreographies he performed are lost, there is much other evidence to shed light on Desnoyer's dancing style and technique. I have documented the lives and careers, as dancing masters, of George Desnoyer and his son Philip elsewhere. 5 In this article I will explore and analyse George Desnoyer's repertoire during his first two periods in London, 1721–1722 and 1731–1733. In a second article, I will look at his repertoire and his dancing partnerships between 1734 and his retirement from the London stage in 1742. 6

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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.

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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing

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Spalding, Susan, Keith Chandler, Michael Heaney, and John Forrest. "Ribbons, Bells and Squeaking Fiddles: The Social History of Morris Dancing in the English South Midlands, 1660-1900." Dance Research Journal 27, no. 2 (1995): 38. http://dx.doi.org/10.2307/1478021.

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Stone, Daniel, and Keith Chandler. "Ribbons, Bells and Squeaking Fiddles: The Social History of Morris Dancing in the English South Midlands, 1660-1900." Journal of American Folklore 108, no. 428 (1995): 222. http://dx.doi.org/10.2307/541391.

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Johnson, Russell L. "Stranger in a Not-So-Strange Land: Teaching and Living the Gilded Age and Progressive Era in Turkey." Journal of the Gilded Age and Progressive Era 1, no. 4 (2002): 330–46. http://dx.doi.org/10.1017/s1537781400000335.

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Images of Turkey in the United States during the Gilded Age were generally not flattering. For the most part, Turks appeared in Gilded Age serious journals and popular press as “blood-thirsty,” “savages,” and “the most brutal outcasts of the human race,” who were merely “camping in Europe” – albeit for five hundred years – but not a part of it. A “pitiable imbecility” was said to characterize the Ottoman Empire, with the Turks having shown an “utter incapacity for just, enlightened, progressive government.” Looking at Turkey in 1877, an American army officer concluded that in order “to reform Turkey” it would be necessary first “to abolish the Turks.” At the 1893 Chicago World's Columbian Exposition, according to historians Gail Bederman and Robert Rydell, the location of the Turkish village on the Midway clearly placed Turkey among the “barbarous” nations of the world; at the Turkish village, as Bederman puts it, “unmanly, dark-skinned men cajoled customers to shed their manly restraint and savor their countrywomen's sensuous dancing.” Even Mark Twain quipped that “I wish Europe would let Russia annihilate Turkey a little – not much, but enough to make it difficult to find the place again without a divining-rod or a diving-bell.”

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Klein, Jeanne. "The Cake Walk Photo Girl and Other Footnotes in African American Musical Theatre." Theatre Survey 60, no. 1 (2018): 67–90. http://dx.doi.org/10.1017/s0040557418000509.

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On 22 August 1897, theAmerican Woman's Home Journalpublished seven photographs of “The Cake Walk as It Is Done by Genuine Negroes” in which “Williams and Walker Show How the Real Thing Is Done before the Journal Camera.” In this series, the African American stars Bert Williams, George Walker, Belle Davis, and Stella Wiley perform their popular cake walk act with situational humor in medias res before an unknown photographer in a nondescript space. Among the seven selected poses, one intriguing photograph in the lower right-hand corner depicts the encircled dancers gazing down upon an empty space in the center. The subject of their gaze becomes apparent when comparing the magazine images with the seven “Post Cards” Franz Huld published as part of his “Cake Walk/Negro Dance” series around 1901. Although the performers’ poses are the same, the postcard includes extra space between Wiley and Walker to feature a young girl of mixed racial heritage bending forward while hiking the back of her dress with her smiling face proudly held high (Fig. 1). If standing upright, she appears to be less than four feet tall and perhaps five to nine years of age. Given the obscure date and location of her photo shoot, her birth year could range anywhere from the mid-1880s to the early 1890s. Like Thomas F. DeFrantz, an African American dance theorist who gazes upon two 1920s photographs of other dancing girls, my gaze leads me to wonder about her identity, how she met and socialized with these four dancers, and whether she pursued a theatrical career.

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Bielik-Zolotariova, N. A. "Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope." Aspects of Historical Musicology 18, no. 18 (2019): 25–39. http://dx.doi.org/10.34064/khnum2-18.02.

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Background. The last quarter of the 20th century – the beginning of the 21st century, marked in Ukraine by significant social changes, actualized the necessity to turn to eternal spiritual values of national culture, among which Taras Shevchenko’s creativity takes leading positions. During this time, a number of works appeared in Ukrainian musical and stage art that supplemented the domestic “Shevchenkiana” (a total of the works devoted to Shevchenko): the operas by O. Zlotnik, V. Gubarenko, H. Maiboroda, L. Kolodub). The tradition of embodying the image of T. Shevchenko was creatively developed by O. Rudianskyi. The significant role of choral scenes in his opera “The Way of Taras” led to their involvement in revealing the leading idea of the work: to show the main periods of the life of the great poet. Choral scenes are peculiarly organized in the time-space of the opera, gaining symbolic meaning. The disclosure of this symbolism becomes the key to understanding in the modern context of the historical role of T. Shevchenko’s life and work. The purpose of this study is to identify the symbolism of chronotope in the choral dramaturgy of the opera by O. Rudianskyi. The following events from the life of Shevchenko are presented in the opera «The Way of Taras» by O. Rudianskyi (1992, 2nd ed. 2002: the libretto by V. Yurechko & V. Reva): his arrival to Kiev from St. Petersburg after the graduation of the Academy of Arts, the activity in The Brotherhood of Saints Cyril and Methodius, finally, the arrest and the exile. The composer uses the choral factor in full – almost every stage of the opera has choral episodes, which receive various functions depending on the development of the dramaturgy of the opera. O. Rudianskyi created the images of the Ukrainians peasants, young men and women, children, members of the Cyril and Methodius Brotherhood, prisoners, soldiers -- by the use of male, female, children and mixed choir compositions. The opera includes: the "Ukrainian world", which obtains its characteristic precisely due to the presence of choral singing; the "Kazakh world", which is represented mostly by solo and dancing episodes; the "Russian world", which is presented through the spoken dialogues, orchestral fragments, choral recitation. The radical contrast in the depiction of Ukraine, the Kazakh steppes, and the St. Petersburg world creates to the chronotope changes in connection with the plot: Taras Shevchenko is free in Ukraine, he is not free in Russia and Kazakhstan. The opera-biography “The Way of Taras” almost for the first time at the Ukrainian musical stage emphasizes in the image of Shevchenko, who was a poet and a painter, the versatile of his creative personality. O. Rudianskyi introduces the method of artistic documentalism in revealing the events of T. Shevchenko’s life path, but along with the real people (Kostomarov, Petrov, Veresai), there are also fictional characters (the caretaker of the steppe – «Berehynia stepu»). Each of the pictures of the opera highlights a certain episode of the biography of the hero. The fragmentary character inherent in the opera by O. Rudianskyi makes it similar the opera “in four novels” «Taras Shevchenko» by H. Maiboroda and the opera-phantasmagoria «Poet» by L. Kolodub. Two female characters in the opera, Oksana and Zabarzhada, presents as a symbol of Taras’s unrealizable love. The image of Oksana – the first love of the poet – is created due to choreography, that makes it possible to define a ballet as another genre component of the composition. The development of the female theme involves both the women’s and the mixed choirs. O. Rudianskyi found a new approach to embodiment of the personality of the artist and poet in the first picture of the opera. This is the moment when T. Shevchenko is painting one of his picture on the bank of the Dnieper, reciting, at the same time, the lines of his immortal verse «Reve ta stohne Dnipr shyrokyi» («The broad Dnieper is roaring and moaning»), which became a folk song. In the fifth picture of the opera it is being sung powerfully by the choir – all Ukrainian people. So, the poet is presented as a prophet and spiritual leader of the people. Inspired by the Poet, people spoke out against the tyranny of the authorities. T. Shevchenko’s prayer with a mixed choir «To me, O God, give love on Earth» («Meni zh, mii Bozhe, na zemli podai liubov») is the reminiscence of the first picture, where the Poet created his immortal verse (its reciting with the vocalization of the choir basses). Conclusions. Thanks to choral scenes in the opera “The Way of Taras” by O. Rudiiyansky, a single space-time is created, in which the composer gives to the choir a symbolic meaning. In the choral presentation, the song about Dnieper River sounds as a symbol of freedom of the Ukrainian people; the effect by choir “church bells” symbolizes the conciliarity of Ukraine; the Marche funebre is the personification of the soldier serve, and the words-symbols “path”, “movement” embody Poet’s fate, inextricably linked with the fate of the Ukrainian people. The symbol of the opera whole is the word-image “path”. The semantics of the path, the moving is revealed both on the stage and on the mental levels: the Dnieper waves are constantly moving, the peasants are going to work, the path of prisoners is endless, and human life itself is the Path...

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