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Artykuły w czasopismach na temat „Women's dance”

Autor: Grafiati

Data publikacji: 2 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly d

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Krisnasari, Bening. "Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta." INVENSI 8, no. 1 (2023): 31–41. http://dx.doi.org/10.24821/invensi.v8i1.7100.

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Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun ke

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3

Tucker, JoAnne. "Dance in Women's Correctional Facilities." Dance Education in Practice 2, no. 1 (2016): 12–16. http://dx.doi.org/10.1080/23734833.2015.1097831.

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Ulhasanah, Nida, Ismunandar Ismunandar, and Regaria Tindarika. "Bentuk Penyajian Tari Jepin Gerangkang Kelurahan Batu Layang Kecamatan Pontianak Utara." Jurnal Ilmu Sosial, Humaniora dan Seni 2, no. 4 (2024): 372–77. https://doi.org/10.62379/jishs.v2i4.1695.

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Jepin Gerangkang Dance, Batu Layang Village, North Pontianak District, Pontianak City. The method used is a qualitative descriptive choreographic approach. Data in the form of observation techniques, interviews, and documentation. The Jepin Gensgkang dance has 3 variations, namely the beginning, core and ending. This dance can be danced by men or women. Musical instruments used are selodang, beruas, tambourine, drum, accordion, and violin. Women's clothing is baju kuning, cloth with gill patterns, and Malay lotus. Teluk belanga men's clothing, cloth with gill pattern, and cloth with gill patte

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Ansar, Sarmianti, Septiana Wahyuningsih, Merianti Ansar, and Rumi Wiharsi. "Masculinity in the Body of Pakkanna Dancers in the Ability to Immunity." International Journal of Multicultural and Multireligious Understanding 10, no. 6 (2023): 195. http://dx.doi.org/10.18415/ijmmu.v10i6.4855.

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Pakkanna dance is a new creation dance in Bone Regency that describes the devotion of female heroes during the Bone Kingdom led by Latenrisukki Petta Mulangge Pajung, the 5th King of Bone. This dance is covered with dangerous movements where dancers perform self-stabbing actions using Badik (sharp objects). This is what the author can convey to readers so that they can find out that there is a collection of dance creations in Bone Regency that have immunity like men even though the dancers are women. The findings in discussing the subject matter are that Pakkanna dance is one of the unique thi

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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.

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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout t

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7

Rasmussen, Susan. "Zarraf, a Tuareg Women's Wedding Dance." Ethnology 34, no. 1 (1995): 1. http://dx.doi.org/10.2307/3773860.

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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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9

STEFANOVSKA, Ljupka. "ETHNOCHOREOLOGICAL ASPECTS OF PETRINO VILLAGE ACCORDING TO CVETA GELEVSKA." Cercetări și Studii. Etno - muzicologie, Bizantinologie, Etnologie 1, no. 7 (2024): 133–44. https://doi.org/10.63702/csembe.2024.1.7.133.

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In this paper, through the statements of our interlocutor Cveta Gelevska, born in 1932, we will learn more about the ethno-coreological characteristics of the repertoire in the village of Petrino, which belongs to the Gorna Prespa ethnic area. We will present a clear picture of occasions, places and space for play, as well as in general about the dance tradition in the village, where dancing songs have a special place. According to our interlocutor, in the past, dancing songs were divided into men's and women's, namely, dancing songs that were sung and played only by men holding each other's s

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10

Jiayue, He, and Kerdsiri Noknoi. "Mosuo Jiacuo Dance from the Perspective of Female Gender Construction." International Journal of Education and Literacy Studies 13, no. 2 (2025): 452–59. https://doi.org/10.7575/aiac.ijels.v.13n.2p.452.

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The purpose of this paper is to discuss the research and development of Mosuo Jiacuo dance in Chinese dance from the perspective of female gender construction. As an ethnic group with a unique culture, the Mosuo people's dance art embodies profound gender connotations and cultural qualities. Through an in-depth study of the historical origin, evolution, religious beliefs, cultural practices and dance forms of the Mosuo people, the important role played by China's unique matrilineal society in constructing women's social gender roles and related arts is analyzed. Through a comprehensive analysi

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11

Cheryl Wilson. "Politicizing Dance in Late-Victorian Women's Poetry." Victorian Poetry 46, no. 2 (2008): 191–205. http://dx.doi.org/10.1353/vp.0.0013.

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Herlyssa, Nurjasmi, and Sri Mulyati. "Effectiveness of Belly Dance in Reducing Women's Pain in Labor through Coupling Style." International Journal of Science and Society 4, no. 2 (2022): 97–107. http://dx.doi.org/10.54783/ijsoc.v4i2.453.

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One alternative that pregnant women usually use is belly dance. This exercise has provided a high sense of self-confidence for pregnant women. This research will be carried out to see the relationship between belly dance and labor pain in the first stage of the active phase. The design of this research is cross-sectional. The results of this study then found a relationship between coping styles and the active phase I labor pain scale. There is no relationship between belly dance and the labor pain scale of the active phase I. Pregnant women who participate in belly dance will reduce pain in th

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Tindarika, Regaria, Ridho Rianto, Aline Rizky Oktaviari Satrianingsih, and Mega Cantik Putri Aditya. "Inclusivity in Jepin and Raddat Dance: Exploring Changes in Gender Roles in Traditional Performing Arts." Jurnal Pendidikan Sosiologi dan Humaniora 16, no. 1 (2025): 235–43. https://doi.org/10.26418/j-psh.v16i1.91607.

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This study aims to examine the changes in gender roles in the Jepin dance in Sambas Regency, particularly regarding the involvement of women in performances that were previously dominated by men. The research also aims to understand the impact of these changes on the preservation of art, aesthetics, and the cultural values of the Sambas community. The methodology used is a qualitative approach with literature analysis and in-depth interviews with dance practitioners, cultural actors, and community leaders. The data obtained is then analyzed using anthropological and feminist approaches to expl

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14

Zicklin, Gilbert, and Susan Krieger. "The Mirror Dance: Identity in a Women's Community." Social Forces 63, no. 4 (1985): 1111. http://dx.doi.org/10.2307/2578630.

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Schreffler, Gibb. "DESPERATELY SEEKINGSAMMI: RE-INVENTING WOMEN'S DANCE IN PUNJAB." Sikh Formations 8, no. 2 (2012): 127–46. http://dx.doi.org/10.1080/17448727.2012.702416.

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Kraut, Anthea. "Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (2021): 1–31. http://dx.doi.org/10.1215/02705346-9052774.

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Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses. Specifically, it focuses on the relationship between Debbie Reynolds, who was a novice dancer when she was cast in the film, and the two other white women dancers who helped shape Reynolds's filmic body: assistant choreographer Carol Haney and dance-in Jeanne Coyne. Combining feminist and critical race perspective

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Neave, Nick, Kristofor McCarty, Jeanette Freynik, Nicholas Caplan, Johannes Hönekopp, and Bernhard Fink. "Male dance moves that catch a woman's eye." Biology Letters 7, no. 2 (2010): 221–24. http://dx.doi.org/10.1098/rsbl.2010.0619.

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Male movements serve as courtship signals in many animal species, and may honestly reflect the genotypic and/or phenotypic quality of the individual. Attractive human dance moves, particularly those of males, have been reported to show associations with measures of physical strength, prenatal androgenization and symmetry. Here we use advanced three-dimensional motion-capture technology to identify possible biomechanical differences between women's perceptions of ‘good’ and ‘bad’ male dancers. Nineteen males were recorded using the ‘Vicon’ motion-capture system while dancing to a basic rhythm;

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18

Mainwaring, Madison. "Ballet and Celebrity at the Paris Opera, or the Dreams of the Rat." Nineteenth-Century French Studies 52, no. 1-2 (2023): 36–52. http://dx.doi.org/10.1353/ncf.2023.a911798.

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Abstract: The panoramic literature of the July Monarchy (1830–48) depicts the rat or ballet girl to be destined for prostitution, her dream of becoming a star a mere pretext used to exploit her. In my analysis of journalists writing about the young female dancer, I interrogate the neutrality of such sources, contextualizing the dance profession in relation to other employment options available to female women workers of the lower classes and reconsidering the rat as an icon of women's economic and artistic ambitions. While dance was described as essentializing femininity, it promised a transfo

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Wright, Emily. "Gender in American Protestant Dance: Local and Global Implications." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 247–51. http://dx.doi.org/10.1017/s2049125500000741.

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In the field of dance studies much discourse surrounds notions of gender identity and women's rights within Western dance traditions. One group of scholars asserts that early modern dance practice successfully resisted patriarchal notions. Another contends that early modern dance perpetuated traditional assumptions. A third perspective proposes that early modern dance realized a simultaneous reiteration and subversion of traditional gender roles. In similar fashion, this paper delineates the parameters of a growing subset in contemporary dance and religious practice, the field of contemporary

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Herzogenrath, Jessica Ray. "Dancing Americanness: Jane Addams's Hull House as a Site for Dance Education." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 111–18. http://dx.doi.org/10.1017/s2049125500000583.

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This paper explores the role and influence of dance education in Jane Addams's Hull House from its opening in 1889 through roughly 1900. I contend that the ideology of middle- and upper-class women of the Progressive Era, asserted through channels like Hull House, privileged particular forms of dance over others. In effect, they denied the validity of American vernacular dance as a legitimate movement vocabulary. To illuminate these Progressive postures, I investigate the trajectory of American dance education in relation to Jane Addams's attitudes toward diversity, the role of art, and the va

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21

Teo, Hsu‐Ming. "Women's Travel, Dance, and British Metropolitan Anxieties, 1890–1939." Gender & History 12, no. 2 (2000): 366–400. http://dx.doi.org/10.1111/1468-0424.00188.

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Arjo, Irawati Durban. "Women's Dance among the Sundanese of West Java, Indonesia." Asian Theatre Journal 6, no. 2 (1989): 168. http://dx.doi.org/10.2307/1124458.

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Ross, Janice. "Queering the Skeleton in Dance's Closet." Dance Research Journal 54, no. 2 (2022): 33–53. http://dx.doi.org/10.1017/s0149767722000195.

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This article explores the role a human skeleton played in the queering and shaping of dance modernism. In the early decades of the twentieth century, an important intervention propelling dance toward a modernist aesthetic while disrupting the regulatory norms of gender construction, began in a women's college gymnasium via a skeleton. Two impulses generate this archival-based inquiry: one that traces the history and symbolic formulations of nationalism, race, and gender that followed skeletons into the university as they anchored conceptualizations of the modernist dancing body; and another th

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24

Cappelle, Tessa, and Bernhard Fink. "Changes in Women's Attractiveness Perception of Masculine Men's Dances across the Ovulatory Cycle: Preliminary Data." Evolutionary Psychology 11, no. 5 (2013): 147470491301100. http://dx.doi.org/10.1177/147470491301100503.

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Women's preferences for putative cues of genetic quality in men's voices, faces, bodies, and behavioral displays are stronger during the fertile phase of the ovulatory cycle. Here we show that ovulatory cycle-related changes in women's attractiveness perceptions of male features are also found with dance movements, especially those perceived as highly masculine. Dance movements of 79 British men were recorded with an optical motion-capture system whilst dancing to a basic rhythm. Virtual humanoid characters (avatars) were created and converted into 15-second video clips and rated by 37 women o

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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.2019.4.2416.155-166.

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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this stud

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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.v4i0.2416.

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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this stud

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Aduonum, Ama Oforiwaa. "Memory Walking with Urban Bush Women's Batty Moves." TDR/The Drama Review 55, no. 1 (2011): 52–69. http://dx.doi.org/10.1162/dram_a_00048.

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Like the childhood songs and butt-shaking contests of Ghana, Batty Moves by the Brooklyn-based dance company Urban Bush Women celebrates the African American female form. The choreographer and the dancers share their memories of butt-tucking ballet classes, and the author shares her memory walk from Ghana to black America.

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Deagon, Andrea. "The “Effeminate Dancer” in Greco-Roman Egypt: The Intimate Performance of Ambiguity." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 69–77. http://dx.doi.org/10.1017/s2049125500000522.

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In the cosmopolitan Greco-Roman world of the second and third centuries CE, the termsmagodos, malakos, andkinaidos/cinaedusidentified a category of performer usually described (inadequately) as the “effeminate dancer.” This paper investigates the nature of the “effeminate dancer's” performance and his function in the various societies in which such entertainment is attested, focusing on Roman Egypt. In a world where men typically played women's roles in mainstream drama and dance, the “effeminate dancer's” performance eluded these accepted conventions of theatrical illusion. Raising the specte

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Mecheva, Gergana, Liliana Indrie, Petya Dineva, Zlatina Kazlacheva, Zlatin Zlatev, and Amalia Sturza. "Exploring the relationship between color and form in the design of women’s Latin dance costumes." Koža & obuća 72, no. 4 (2024): 7–11. http://dx.doi.org/10.34187/ko.72.4.2.

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This article delves into the complex world of designing women's Latin dance costumes, highlighting the paramount importance of harmonizing current fashion trends with the essential requirements of comfort, flexibility, and the need to emphasize the dancer's graceful movements. The objective of this study was to create few models of Latin dance costumes. To forecast how the users and viewers would perceive Latin dance outfits, an on-line survey was conducted. A regression model was applied to analyze how color and shape interact in the creation of Latin dance costumes. The article focuses on ke

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Green, Jill. "Emancipatory Pedagogy?: Women's Bodies and the Creative Process in Dance." Frontiers: A Journal of Women Studies 21, no. 3 (2000): 124. http://dx.doi.org/10.2307/3347114.

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Röder, Susanne, Claus-Christian Carbon, Todd K. Shackelford, Katarzyna Pisanski, Bettina Weege, and Bernhard Fink. "Men's visual attention to and perceptions of women's dance movements." Personality and Individual Differences 101 (October 2016): 1–3. http://dx.doi.org/10.1016/j.paid.2016.05.025.

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Stuffelbeam, Katharine. "Performing advocacy: women's music and dance in Dagbon, northern Ghana." African Music: Journal of the International Library of African Music 9, no. 2 (2012): 154–69. http://dx.doi.org/10.21504/amj.v9i2.1808.

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Lammers, Barbara Joseph. "Dance of the spirit: The seven steps of women's spirituality." Women's Studies International Forum 15, no. 3 (1992): 434. http://dx.doi.org/10.1016/0277-5395(92)90020-v.

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Choi, Jun-A., and Jin-Hee Kim. "Transformation Learning in the Elderly Women's Folk Dance Taste Community." Korean Journal of Security Convergence Management 12, no. 3 (2023): 79–89. http://dx.doi.org/10.24826/kscs.12.3.5.

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Chervonoshapka, Maryna, Olena Torlo, and Oksana Chychkan. "Motivation of women of different ages to engage in oriental dances as a kind of physical culture and health activities." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(139) (August 20, 2021): 127–30. http://dx.doi.org/10.31392/npu-nc.series15.2021.8(139).23.

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Oriental dance classes today are one of the current areas of physical culture and health activities for women of different ages. They have a positive effect on their physical and psycho- emotional state. The problem of insufficient formation of the system of scientific and methodological support of this type of health-improving motor activity is relevant. The work is devoted to the issue of priority motives of women of different age groups to oriental dance classes. Involvement of the population in physical education is impossible without knowledge of motivation to exercise. Taking into accoun

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Alhidayah, Vuja Syafrianti, and Indrayuda Indrayuda. "TOXIC." Jurnal Sendratasik 9, no. 1 (2020): 54. http://dx.doi.org/10.24036/jsu.v8i3.108197.

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AbstractThe dance work "Toxic" aims to show that women's rights need to be respected in society because women are part of a social structure that needs to be properly managed and maintained so as not to be undermined by other social structures. The danceToxic is inspired by the phenomenon of social life of young people who have relationships with the opposite gender without following the norms that develop in society. This dance is made using the development of motives based on space, time, energy and developed using composition science. The form of presentation in this work is representationa

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Owen, Louise. "“Work That Body”: Precarity and Femininity in the New Economy." TDR/The Drama Review 56, no. 4 (2012): 78–94. http://dx.doi.org/10.1162/dram_a_00215.

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Adapting elements of exotic dance, burlesque, and circus, fitness pole dancing is taught and practiced globally. Exemplifying post-feminism's putative “freedoms,” it represents a scene of precarious labor in the new economy, and evidences the continued purchase of older patriarchal constructions of “women's work” and “precarity” in capitalism.

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Zakić, Mirjana, and Sanja Ranković. "Women's leadership in professional ensembles of folk dances and songs in Serbia." New Sound, no. 62-2 (2023): 109–19. http://dx.doi.org/10.5937/newso23062109z.

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In this paper women's leadership will be reviewed through the professional biographies of two women who, in the role of director, managed the stage presentation of folk dance and music in Serbia. One of them is Olga Skovran, who laid the foundation of folklore professionalism in Serbia and the region and established the Ensemble "Kolo". She was the Ensemble's general manager from 1948 to 1965. The other woman is Snežana Jovanović, who has been the head of the Folk Dance and Song Ensemble of Kosovo and Metohija "Venac" from Gračanica since 2013. This paper will reflect on the professional posit

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Huka, Relin Yosi, Imanuel Letma, and Novi Marliyani Nafi. "KAJIAN ETNOMUSIKOLOGI NYANYIAN DESA YO DAY NENGO SEBAGAI PENGIRING TARIAN LEGO-LEGO PADA MASYARAKAT DESA KAMAIFUI, KECAMATAN MATARU, SUKU ABUI, KABUPATEN ALOR." Tambur : Journal of Music Creation, Study and Performance 2, no. 2 (2023): 85–108. http://dx.doi.org/10.52960/jt.v2i2.172.

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This study aims to describe and analyze the singing accompaniment to the Lego-lego dance entitled Yo Day Nengo Village, in the people of Kamaifui village, Mataru sub-district, Alor district, the authors obtained the results, namely. The method used is a qualitative method with an ethnographic approach, especially ethnomusic. The results showed (a) Lego-lego is a traditional dance belonging to the Kamaifui people; (b) the traditions that are still maintained by the people of Kamaiifui village to this day are the cakalele dance, war dance, gong and moko as traditional musical instruments and wom

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Shelton, Miriam. "The dance of deception: Pretending and truth telling in women's lives." New Ideas in Psychology 13, no. 1 (1995): 103–4. http://dx.doi.org/10.1016/0732-118x(95)90293-e.

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Mautuka, Desis P. H., Putu S. Yanti, and Yohanes Krisyanto. "Women's Participation in the Development of Cultural Tourism Destinations in Takpala and Monbang Traditional Villages, Alor Regency, East Nusa Tenggara, Indonesia." European Modern Studies Journal 9, no. 1 (2025): 100–111. https://doi.org/10.59573/emsj.9(1).2025.9.

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Women are an important part of tourism development because the tourism sector has created jobs for women and men, this is because the number of women working in the tourism sector is 54.22 percent while men are around 45.78 percent. Women's participation in the traditional villages of Takpala and Monbang is in the fields of accommodation, culinary souvenirs and lego-lego dance to welcome tourists visiting the traditional villages of Takpala and Monbang, but the minimal role of the government is in providing training related to the development of cultural tourism, as women's participation has n

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천은영. "The Relationship between Positive Psychological Capital, Dance Emotion and Adaptative Performance of Career Women's Participating in Life Dance." Official Journal of the Koeran Society of Dance Science 32, no. 1 (2015): 107–20. http://dx.doi.org/10.21539/ksds.2015.32.1.107.

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Ozah, Marie Agatha. "Can We Dance Together? Gender and Performance Space Discourse in Égwú Àmàlà of the Ogbaru of Nigeria." Yearbook for Traditional Music 42 (2010): 21–40. http://dx.doi.org/10.1017/s0740155800012649.

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This performance study is situated within the twentieth century and into the present, a period characterized by a number of sociohistorical developments. This epoch, as noted by Oyewumi (2004:1), “witnessed a host of social and cultural transformations.” During this period, gender appeared as one of the determining factors for categorizing and analysing societies. Given that gender is fundamentally a sociocultural construct, its discursive formations through the performance of égwú àmàlà are peculiar to the Ogbaru people. Égwú àmàlà is a women's dance genre that employs music, dance, and drama

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Miller, Tyrus. "Shifting: Worker Culture and Life Reform in the Madzsar School." Dance Research Journal 45, no. 2 (2013): 124–31. http://dx.doi.org/10.1017/s0149767713000041.

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This recent exhibition in Budapest assembles a fascinating documentation of the life and work of Dr. Alice Madzsar-Jászi (Photo 1), who, from her first opening of a dance school in 1912 to her untimely death in 1935, wove an intricate path through the cultural, political, and artistic avant-gardes of modern Hungary. At the turn of the century, just ten years before Madzsar launched her school, Isadora Duncan had made her solo debut in Budapest, where her improvisation to Strauss's “Blue Danube Waltz” had affected the Hungarian audience like “an electric shock” (Duncan 1927: 74). Madzsar was on

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Munro. "Navigating Change: Agency, Identity, and Embodiment in Haredi Women's Dance and Theater." Shofar 38, no. 2 (2020): 93. http://dx.doi.org/10.5703/shofar.38.2.0093.

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Munro, Heather L. "Navigating Change: Agency, Identity, and Embodiment in Haredi Women's Dance and Theater." Shofar: An Interdisciplinary Journal of Jewish Studies 38, no. 2 (2020): 93–124. http://dx.doi.org/10.1353/sho.2020.0024.

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윤필규, 김재은, and Roh mi ra. "The Meanings of Middle-Aged Women's Experiences of Participation in Line Dance." Korean Journal of Dance 17, no. 2 (2017): 79–90. http://dx.doi.org/10.26743/kaod.2017.17.2.008.

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HEATH, DEBORAH. "the politics of appropriateness and appropriation: recontextualizing women's dance in urban Senegal." American Ethnologist 21, no. 1 (1994): 88–103. http://dx.doi.org/10.1525/ae.1994.21.1.02a00050.

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Kim, HeeJin, SueYeon Kim, and HyuKyoung Park. "Experiences of Middle-aged Women in the ‘Line Dance Company’ as Serious Leisure: Focus on the General Public." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 19 (2024): 987–1003. http://dx.doi.org/10.22251/jlcci.2024.24.19.987.

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Objectives The purpose of this study is to explore the experiences of middle-aged women participating in the ‘Line Dance Dance Company’ as a form of serious leisure. Methods This study aimed to understand the value and significance of line dance group activities in participants' lives. It employed a qualitative case study approach, specifically using a descriptive case study method. Data were collected through in-depth interviews with participants involved in line dance group activities. A total of six cases were analyzed using repetitive comparative analysis methods to identify common themes

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Gomez, Abel. "(Re)writing, (Re)righting, (Re)riteing Hupa Womanhood." Bulletin for the Study of Religion 47, no. 3-4 (2019): 28–30. http://dx.doi.org/10.1558/bsor.37432.

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In We Are Dancing For You, Risling Baldy explores the meaning and process of the revival of the Ch'ilwa:l, the Flower Dance, a coming-of-age ceremony for women of her tribe. The text opens with an epigraph from Lois Risling, a Hupa medicine woman and the author's mother, "The Flower Dance is a dance that I wish all young women could have. . . .[This dance] does heal. That kind of intensive trauma where women have been abused and mutilated both spiritually and emotionally and physically." (ix). These words offer a sense of what is at stake in this text. As Risling Baldy explains, Native women i

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