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Artigos de revistas sobre o tema "Humanities -> performing arts -> dance"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 28 de julho de 2025

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1

Natalia Ivanivna, YORDAN. "IMPROVEMENT OF PERFORMING PROFESSIONAL COMPETENCES OF PERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES." Academic Notes. Series: Pedagogical Sciences 13 (April 30, 2025): 164–69. https://doi.org/10.59694/ped_sciences.2025.13.164.

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ERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES The modern trends in the use of the discipline of parker gymnastics in the process of improving the performing professional competencies of full-time (part-time) higher education students in the field of knowledge «Culture, Arts and Humanities», specialty B6 Performing Arts (0215 Music and performing arts), specialization B6.01 Performing Arts and B6.03 Choreography are investigated. Its importance for the development of professional physical qualities of artists, in particular flexibility, muscle strength, enduranc

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WHATLEY, SARAH. "Archives of the Dance (21): Siobhan Davies Dance Online." Dance Research 26, no. 2 (2008): 244–57. http://dx.doi.org/10.3366/e0264287508000212.

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In 2006, an Arts and Humanities Research Council (AHRC) grant was awarded to researchers at Coventry University to create a digital archive of the work of Siobhan Davies Dance. The award is significant in acknowledging the limited resources readily available to dance scholars as well as to dance audiences in general. The archive, Siobhan Davies Dance Online, 1 will be the first digital dance archive in the UK. Mid-way through the project, Sarah Whatley, who is leading the project, reflects on some of the challenges in bringing together the collection, the range of materials that is going to be

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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment." Anales de Historia del Arte 32 (July 14, 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.

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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretic

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McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.

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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contes

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Bench, Harmony, and Kate Elswit. "Visceral Data for Dance Histories." TDR: The Drama Review 66, no. 1 (2022): 37–61. http://dx.doi.org/10.1017/s1054204321000708.

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Between 1947 and 1960, choreographer Katherine Dunham spent over 5,000 days in hundreds of cities on six continents. During that time, almost 200 dancers, drummers, and singers traveled with her, performing 166 repertory pieces. Dunham’s expansive work lends itself to digital approaches that illuminate the complex ways history is iterated across bodies, and how the specific questions raised by dance history underpin a visceral approach to the digital humanities.

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Bench, Harmony, and Kate Elswit. "Dance History and Digital Humanities Meet at the Archives: An Interim Project Report on Dunham's Data." Dance Research 38, no. 2 (2020): 289–95. http://dx.doi.org/10.3366/drs.2020.0314.

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This interim project report addresses the ongoing work of Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry. The project centres choreographer Katherine Dunham's transnational circulation, and takes a critical mixed methods approach informed by feminist and anti-racist discussions in the digital humanities in order to explore the questions and problems that make data analysis and visualization meaningful for dance history. Dunham's Data sits on robust datasets that we have manually curated from currently undigitized sources – an iterative and evaluative process t

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Samarasinghe, Kamani. "A Review of the International Music Conference Themed “Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being”." Journal of Research in Music 2, no. 1 (2024): 54–62. http://dx.doi.org/10.4038/jrm.v2i1.26.

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The 5th International Conference of Faculty of Music, University of the Visual & Performing Arts 2023 (ICFM-2023) was held in the Faculty of Music premises in Colombo from 22 to 23 November 2023 with the main theme ‘Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being’, brought together an assembly of over a hundred scholars and researchers from India and Sri Lanka and some other countries. The conference featured nineteen sessions delving into various dimensions of the musical landscape with the hope of fostering profound discussions across diverse areas such a

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Bench, Harmony. "Mapping Touring: Remediating Concert Dance Archives." Dance Research Journal 51, no. 3 (2019): 4–27. http://dx.doi.org/10.1017/s0149767719000342.

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This article introduces the digital humanities and dance studies project Mapping Touring, and employs it in an analysis of Denishawn's touring prior to and immediately following the company's 1925–26 tour to Asia. Situated within the archival turn in dance, Mapping Touring emphasizes the possibilities of spatial and comparative analysis for touring dance artists, with information about their location and repertory drawn from archival sources, gathered and stored in a database, and plotted on interactive maps. With Denishawn as a case study, I contend that digital mapping can make visible some

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Bulag, Uradyn E. "Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities.:Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities." American Anthropologist 105, no. 2 (2003): 452–53. http://dx.doi.org/10.1525/aa.2003.105.2.452.

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Kennedy, Teri. "Why Arts Matter to People and Families Living With Dementia: Interprofessional Health Humanities Collaboration." Innovation in Aging 4, Supplement_1 (2020): 566–67. http://dx.doi.org/10.1093/geroni/igaa057.1872.

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Abstract This presentation will share examples of arts-based and creative interventions serving people and their families living with dementia representing evidence-based and promising practices in the United States. Such interventions offer effective non-pharmacological approaches to dementia care including use of the visual arts (e.g., drawings, paintings, sculpture) and performing arts (e.g., music, theatre); literature and writing including reminiscence, biographical approaches, and life story work; photography and Photovoice; and dance and movement as intervention modalities. Current evid

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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language." Herança 7, no. 1 (2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.

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This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves i

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Morris, Gay. "Dance Studies/Cultural Studies." Dance Research Journal 41, no. 1 (2009): 82–100. http://dx.doi.org/10.1017/s0149767700000541.

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In the mid-1990s several articles appeared in the dance literature calling for a greater alliance between dance scholarship and cultural studies. More recently, dance scholarship has come to be labeled “dance studies,” suggesting that such a link has occurred. Since interdisciplinarity is a key element of cultural studies, it is appropriate to investigate interdisciplinarity in dance studies by examining dance's relationship to cultural studies. This genealogical task, though, is not as straightforward as it might seem. Cultural studies' relationship to the disciplines has not been stable over

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Bory, Alison, and Ariel Nereson. "A Set of Questions for a Field in Motion: Susan Leigh Foster’s “Choreographies of Protest” and Dance Studies in Theatre Journal." Theatre Journal 75, no. 4 (2023): 413–23. http://dx.doi.org/10.1353/tj.2023.a922212.

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Abstract: In her landmark essay “Choreographies of Protest,” Susan Leigh Foster articulated the central concerns of the (at the time) developing field of dance studies. Foster’s following analysis, embedded in her argument about the compositional elements of social action, advanced core dance studies methodologies. On the occasion of the 75th anniversary of Theatre Journal , this essay revisits “Choreographies of Protest,” published in the October 2003 issue, and considers its significance to the fields of theatre, performance, and dance studies. Foster’s famous guiding questions that appeared

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Arnold, Peter J. "Objectivity, Expression, and Communication in Dance as a Performing Art." Journal of Aesthetic Education 29, no. 1 (1995): 61. http://dx.doi.org/10.2307/3333517.

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Mansfield, Louise, Tess Kay, Catherine Meads, et al. "Sport and dance interventions for healthy young people (15–24 years) to promote subjective well-being: a systematic review." BMJ Open 8, no. 7 (2018): e020959. http://dx.doi.org/10.1136/bmjopen-2017-020959.

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ObjectiveTo review and assess effectiveness of sport and dance participation on subjective well-being outcomes among healthy young people aged 15–24 years.DesignSystematic review.MethodsWe searched for studies published in any language between January 2006 and September 2016 on PsychINFO, Ovid MEDLINE, Eric, Web of Science (Arts and Humanities Citation Index, Social Science and Science Citation Index), Scopus, PILOTS, CINAHL, SPORTDiscus and International Index to Performing Arts. Additionally, we searched for unpublished (grey) literature via an online call for evidence, expert contribution,

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Kaul, Adam R. "Performing Ecstasies: Music, Dance, and Ritual in the Mediterranean." Folk Life 46, no. 1 (2007): 165–66. http://dx.doi.org/10.1179/flk.2007.46.1.165.

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Lim, Youngmi. "Korean Fan Dance for Fun: Performing Alterity in Contemporary Japan." Ethnos 80, no. 2 (2013): 192–222. http://dx.doi.org/10.1080/00141844.2013.831942.

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AMES, MARGARET. "Dancing Place/Disability." Theatre Research International 40, no. 2 (2015): 170–85. http://dx.doi.org/10.1017/s0307883315000048.

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This article is developed from a paper presented at IFTR as part of the Performance and Disability Working Group in summer 2013. The work considered is a practice-as-research contribution by Welsh dance theatre company Cyrff Ystwyth towards a large Arts and Humanities Research Council-funded enquiry into performance, place, dislocation and vulnerability. The article uses contrasting concepts drawn from the work of critical theorists and dance scholars André Lepecki and Carrie Noland to think about the implications of Cyrff Ystwyth's site-specific performance authored by choreographer Adrian Jo

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Kasai, Aya, Philippe Chéhère, Rie Harada, Nonoko Kameyama, and Julie Salgues. "La danse du détour: A collaborative arts performance with people touched by Minamata disease." Journal of Applied Arts & Health 14, no. 2 (2023): 207–25. http://dx.doi.org/10.1386/jaah_00139_1.

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In May 2019, a group of dancers, photographers and local participants gathered in Minamata, Japan, a community affected by industrial mercury pollution since the 1950s. Philippe Chéhère, Julie Salgues and the Minamata Dance Collective conducted a series of dance sessions with citizens, students, dancers and people touched by Minamata disease in various places of significance in Minamata and explored the potential of movement and its transformation in people and the environment. Through choreographic poetry, they explored the site and the story of Minamata involving 180 people, using dance as a

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Bond, Chrystelle Trump. "Southern Dance Traditions—Communities in Motion (Center for Appalachian Studies and Services, Tennessee Humanities Council, and Congress on Research in Dance; East Tennessee State University, 1–3 March 1990)." Dance Research Journal 22, no. 2 (1990): 45–47. http://dx.doi.org/10.1017/s0149767700002631.

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Covington-Ward, Yolanda. "Roberts, Allen F.: A Dance of Assassins . Performing Early Colonial Hegemony in the Congo." Anthropos 109, no. 2 (2014): 737–38. http://dx.doi.org/10.5771/0257-9774-2014-2-737.

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Han, Yuchen, and Lin Zhang. "Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object." Herança 7, no. 1 (2023): 165–76. http://dx.doi.org/10.52152/heranca.v7i1.829.

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The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and

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Chakrabarti, Pritha. "Performing the region: Sadhona Bose and the modern Bengali film dance." South Asian History and Culture 8, no. 2 (2017): 155–70. http://dx.doi.org/10.1080/19472498.2017.1304089.

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Dormani, Carmela Muzio. "So You Think You Can Salsa: Performing Latinness on Reality Dance Television." Journal of Popular Culture 53, no. 3 (2020): 720–38. http://dx.doi.org/10.1111/jpcu.12929.

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Reed, Susan A. "Performing Respectability: The Berav, Middle-Class Nationalism, and the Classicization of Kandyan Dance in Sri Lanka." Cultural Anthropology 17, no. 2 (2002): 246–77. http://dx.doi.org/10.1525/can.2002.17.2.246.

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Zafeiroudi, Aglaia. "Analyzing and Discussing the Evolution of Arabesque Movement According to Dance Elements and Aesthetics." Academic Journal of Interdisciplinary Studies 12, no. 6 (2023): 41. http://dx.doi.org/10.36941/ajis-2023-0152.

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The present paper examines the different types and variations of arabesque dance movement from ancient times until today. The study analyzes and discusses the elements of arabesque dance, its common cultural elements as visualized through a chronological lens, its choreography, and its aesthetics in order to explore its development in terms of needs that arose from period-specific trends and dance stereotypes. The meaning of the term “arabesque” has changed from simply “a group of dancers,” now representing a delicate and highly masterful art. The gradual refinement of arabesque by dancers and

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Reus, Teresa Gómez. "Performing the (post‐modern) dance of gender: Nancy Spero and images of women." Journal of Gender Studies 2, no. 1 (1993): 45–55. http://dx.doi.org/10.1080/09589236.1993.9960528.

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SCHÜẞLER, LOTTE. "Theatre Exhibitions, Models and the Quest for Anschauung." Theatre Research International 47, no. 1 (2022): 79–98. http://dx.doi.org/10.1017/s0307883321000614.

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The large-scale theatre exhibitions in Vienna (1892), Berlin (1910) and Magdeburg (1927) contained extensive displays on the history of German-language theatre. This article analyses the pedagogical and epistemological discussions about different ways of mediating theatre history that formed part of the context of the three exhibitions. Curators and scholars used the German term Anschauung to measure the transfer of knowledge in historical exhibitions, reconstruction models and historiography books. This article contributes to the recent scholarship on forms of exhibiting, collecting and archi

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Adley, Melanie. "Book Review: Performing Femininity: Dance and Literature in German Modernism. By Alexandra Kolb. Berlin: Peter Lang, 2009. Pp. viii + 316. £40.00." Journal of European Studies 40, no. 3 (2010): 294–95. http://dx.doi.org/10.1177/00472441100400030808.

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Cohen, Adrienne J. "Performing excess: urban ceremony and the semiotics of precarity in Guinea-Conakry." Africa 89, no. 4 (2019): 718–38. http://dx.doi.org/10.1017/s0001972019000871.

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AbstractIn Conakry, the capital city of the Republic of Guinea, dance ceremonies called sabars, derived from a Senegalese genre of the same name, have become extremely popular for wedding celebrations. Sabar's rise in Guinea coincided with the liberalization of the country's economy and the opening of national borders in the wake of state socialism (1958–84) – events that have produced profound uncertainty for average citizens. This article explores sabar as a practice that grapples affectively with the social and economic changes neoliberal reform has engendered within Guinea. Sabar ceremonie

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Rasmussen, Susan J. "The ‘head dance’, contested self, and art as a balancing act in Tuareg spirit possession." Africa 64, no. 1 (1994): 74–98. http://dx.doi.org/10.2307/1161095.

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AbstractAmong the Kel Ewey Tuareg of north-eastern Niger, particularly in noble circles, spirit possession is associated with Sudanic/servile cultural origins; so, too, are dancing and drumming. I argue that, in performing a sideways swaying motion of the head and shoulders referred to locally as a dance, women in possession trance transform Sudanic culture. The head dance as flowing, controlled movement, and its central trope of ‘swaying like the branch of a tree’, encapsulate key cultural symbols to make them almost acceptable in traditional noble Tuareg aesthetic/symbolic terms. Yet this mo

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Li, Qing. "Research on the Integration and Innovation of Culture and Tourism in Dance Performances in Xi'an, China During the Historical Evolution Process." Herança 7, no. 1 (2023): 21–32. http://dx.doi.org/10.52152/heranca.v7i1.828.

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As a famous historical and cultural city in China, Xi'an has a long history and rich cultural heritage. In the long process of historical evolution, culture and tourism have become essential pillars of the development of Xi'an. As a unique art form, dance performance not only has the function of inheriting historical memories but also can convey cultural connotations and stimulate emotional resonance. This article provides an in-depth analysis of the current situation and problems in the field of cultural and tourism dance performances in Xi'an. It explores the paths and strategies for its int

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Ersoy, Zehra. "‘Building Dancing’: Dance within the Context of Architectural Design Pedagogy." International Journal of Art & Design Education 30, no. 1 (2011): 123–32. http://dx.doi.org/10.1111/j.1476-8070.2011.01679.x.

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Alves Guimarães, Maria Claudia. "The Brazilian Contemporary Dance Scene of the Periferia." Pamiętnik Teatralny 73, no. 1 (2024): 57–81. http://dx.doi.org/10.36744/pt.1623.

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The aim of this article is to discuss the recent changes in scenic dance in Brazil. Until the beginning of the 2000s, scenic dance was primarily practiced by middle class white dancers, whereas more recently there is a greater representation of Afro-Brazilians and socially less privileged people who come from the outskirts of cities (periferia). The author argues that this change of paradigm is happening due to cultural policies implemented by local governments, as they attempted to provide entertaining and creative activities to help diminish violence in large urban centers, starting in the 1

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Hewamanne, Sandya. "Performing 'Dis-respectability': New Tastes, Cultural Practices, and Identity Performances by Sri Lanka's Free Trade Zone Garment-Factory Workers." Cultural Dynamics 15, no. 1 (2003): 71–101. http://dx.doi.org/10.1177/a033109.

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This article describes and analyzes how female garment-factory workers in Sri Lanka's Free Trade Zones collectively express their difference from dominant classes and males and articulate their identities as a gendered group of migrant industrial workers by cultivating different tastes and by engaging in oppositional cultural practices. In the urban, modernized, and globalized areas of the FTZs, women develop unique tastes in the realms of music, dance, film, reading material, styles of dress, speech, and mannerisms. By performing subcultural styles that are subversive critiques of dominant va

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Du, Jingge. "Challenging stigmatization through cultural dance: Exploring the role of fengyang flower drums in shaping collective identity, revitalizing tradition, and overcoming social prejudice." Herança 6, no. 2 (2023): 217–31. http://dx.doi.org/10.52152/heranca.v6i2.778.

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As an important form of China's intangible cultural heritage, traditional cultural dances such as the Fengyang Flower Drums have a long history and rich value, but they are currently facing the dilemma of being blocked from dissemination, difficult to pass on, and being "stigmatized". This paper explores the Fengyang Flower Drum as a vehicle to study its positive role in shaping collective identity, revitalizing traditions, and overcoming social prejudice. The development and promotion of the Fengyang Flower Drum have helped disadvantaged groups shape their collective identities and gain emoti

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Yeung, Jerry, Alfredo Bautista, Carrey Tik-Sze Siu, Po-Chi Tam, and Kit-Mei Wong. "Arts and Creativity in Hong Kong Kindergartens: A Document Analysis of Quality Review Reports." Creativity. Theories – Research - Applications 9, no. 1 (2022): 87–107. http://dx.doi.org/10.2478/ctra-2022-0005.

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Abstract In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB’s website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively min

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Paiva, Adam. "Preventing, predicting, and simulating the noise impact of one indoor music venue on another through a large glass wall." Journal of the Acoustical Society of America 152, no. 4 (2022): A32. http://dx.doi.org/10.1121/10.0015441.

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Jaffe Holden has worked on a confidential new project in Cambridge, MA in a proposed new building which will feature a 2-venue performing arts center in the lower floors of the building. The PAC includes a multi-use theater for music, speech, and dance with a large upstage wall made predominantly of a glass curtain-wall system. On the opposite side of the glass is an atrium with a second smaller venue that will also feature loud music programming. The client would like to allow as much flexibility in programming for both spaces as possible, while avoiding acoustic impact between the two spaces

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Dragone, Simone. "Finding Kokoro through the Eyes: Butoh in Roberta Carreri’s Work and Pedagogy." Pamiętnik Teatralny 72, no. 3 (2023): 17–40. http://dx.doi.org/10.36744/pt.1638.

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In 1984, Roberta Carreri, Odin Teatret actress since 1974, saw Niwa (The Garden), a Butoh dance performance by Muteki-Sha, and attended a three-day workshop with Natsu Nakajima, direct heir of the Butoh pioneer Tatsumi Hijikata. In 1986, she traveled to Japan to work with Natsu Nakajima and Kazuo Ohno. The meeting with the Asian masters changed her approach to training and the creative process. For her, the most remarkable aspect of this apprenticeship was the work with the eyes. The way the eyes are used in Butoh conditioned Carreri’s training and the creative process of her solo performance

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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE". ART-platFORM 1, № 1 (2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.

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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions. The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined. The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addit

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Tayeb, Leila. "To Follow Bousaadiya." Middle East Journal of Culture and Communication 16, no. 3 (2023): 313–36. http://dx.doi.org/10.1163/18739865-01603006.

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Abstract This article takes the figure of Bousaadiya, once performed in varying iterations throughout central North Africa, as an entry point to approach the problematics of mobility and memory in Libya. Bousaadiya performance, a multidimensional set of practices that I read critically as dance, produces an embodied social ground upon which Libyans have enacted and contested racialized practices of belonging and a mobile gravesite where it is possible to interrogate regional histories of enslavement and their material and symbolic legacies. While reading Bousaadiya performance enables an excav

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Hammergren, Lena. "Choreography and Narrative: Ballet's Staging of Story and Desire. Susan L. FosterGendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture. Amy Koritz." Signs: Journal of Women in Culture and Society 23, no. 4 (1998): 1075–77. http://dx.doi.org/10.1086/495305.

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Hooker, Lynn. "Performing the old world, embracing the new: Festivalization, the carnivalesque, and the creation and maintenance of community in north american hungarian folk music and dance camps." Hungarian Studies 22, no. 1-2 (2008): 89–101. http://dx.doi.org/10.1556/hstud.22.2008.1-2.7.

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Szymajda, Joanna, and Anton Ovchinnikov. "Dancing the New Realities: The Beauty and a Beast of the War." Pamiętnik Teatralny 73, no. 1 (2024): 15–39. http://dx.doi.org/10.36744/pt.2369.

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This essay is a record of the experience of the ongoing war in Ukraine, presented from the perspective of the contemporary dance artist Anton Ovchinnikov. Captured almost in statu nascendi, his moral dilemmas and difficult choices—personal and artistic—constitute a kind of a war diary, a record of a moment in history. The author also asks important questions about artistic responsibility, whose relevance resounds ever more strongly in the face of the continuing conflict. Joanna Szymajda’s introduction offers a historical panorama of artistic phenomena and attitudes in response to the state of

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Nolan, Mary L., and Rebecca Godwin. "Is belly dancing in pregnancy safe and beneficial? The views of two expert panels." Journal of Applied Arts & Health 00, no. 00 (2022): 1–11. http://dx.doi.org/10.1386/jaah_00097_1.

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This article describes a study of the impact of belly dancing on women’s experience of pregnancy, labour and birth. In order to identify the core movements of belly dancing suitable for pregnant women, an expert panel of belly dance teachers was convened. Next, based on the teachers’ consensus, a video demonstrating the core movements was produced. Finally, a second expert panel was convened, comprising midwives and childbirth educators, who were asked to comment on the video from their professional standpoints. The panel considered that the movements demonstrated were safe and would help with

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Daugherty, Elaine DiFalco, and Heather Trommer-Beardslee. "Movement breaks for classroom and online learning: An outreach project connecting university and elementary school students." Journal of Applied Arts & Health 13, no. 1 (2022): 97–105. http://dx.doi.org/10.1386/jaah_00090_1.

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After witnessing their own children learn online during the 2020 COVID-19 global pandemic, Heather Trommer-Beardslee and Elaine DiFalco Daugherty collaborated with their university students to create instructional movement videos designed for elementary teachers to use as movement breaks during the school day. Knowing that movement triggers the human brain to reinvigorate focused learning, the video sequences were developed as a tool to aid teachers in providing opportunities to break up long periods of sitting and engage students in active dance play to stimulate multiple senses and therefore

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Mitra, Royona. "living a body myth, performing a body reality: reclaiming the corporeality and sexuality of the Indian female dancer." Feminist Review 84, no. 1 (2006): 67–83. http://dx.doi.org/10.1057/palgrave.fr.9400301.

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Manning, Susan. "Dancing Modernism/Performing Politics. Mark FrankoThe Male Dancer: Bodies, Spectacle, Sexualities. Ramsay BurtCorporealities: Dancing Knowledge, Culture and Power. Susan Foster." Signs: Journal of Women in Culture and Society 23, no. 1 (1997): 225–29. http://dx.doi.org/10.1086/495242.

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Falkeid, Unn. "Zygmunt G. Barański and Martin McLaughlin, eds. Dante the Lyric and Ethical Poet: Dante lirico e etico. Legenda. London: Modern Humanities Research Association, 2010. xiv + 246 pp. index. $89.50. ISBN: 978–1–906540–04–3." Renaissance Quarterly 64, no. 1 (2011): 157–58. http://dx.doi.org/10.1086/660372.

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Hannoosh, Michèle. ""Quanto dirne si dee non si può dire" : Delacroix lecteur de Dante." Dante e l'Arte 10 (December 18, 2023): 41–62. http://dx.doi.org/10.5565/rev/dea.200.

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La figure de Dante plane sur l’œuvre d’Eugène Delacroix. Depuis son tout premier envoi au Salon en 1822, Dante et Virgile aux Enfers, jusqu’a son Ugolinde 1860, le peintre français n’a cessé de s’inspirer du maître florentin. Plus qu’une une source de sujets, cependant, Dante était partout présent dans ll’esprit et l’imagination de Delacroix. Dans cet article, j’étudierai les divers moyens dont sa lecture de Dante a influencé la pensée esthétique de Delacroix. Le peintre lisait Dante, le traduisait en vers et en prose, réfléchissait sur son style et sur sa place dans l’histoire littéraire ; pl

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