Zeitschriftenartikel: „Dancing body“

1

Flanderová, Veronika. „For the dancing body“. Kontradikce 4, Nr. 2 (2020): 198–204. http://dx.doi.org/10.46957/con.2020.2.19.

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2

Ericksen, Julia A. „Dancing the Body Beautiful“. Contexts 11, Nr. 2 (Mai 2012): 48–53. http://dx.doi.org/10.1177/1536504212446460.

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3

Born, Caroline. „Life Dancing: Birthing the Body“. Self & Society 21, Nr. 1 (März 1993): 18–20. http://dx.doi.org/10.1080/03060497.1993.11085303.

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4

Markula, Pirkko. „The Dancing Body without Organs“. Qualitative Inquiry 12, Nr. 1 (Februar 2006): 3–27. http://dx.doi.org/10.1177/1077800405282793.

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5

Bergonzoni, Carolina. „We Are Travellers: The Body as a Compass“. Journal of the Canadian Association for Curriculum Studies 18, Nr. 2 (16.03.2021): 192–98. http://dx.doi.org/10.25071/1916-4467.40590.

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

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Summers-Bremner, Eluned. „Reading Irigaray, Dancing“. Hypatia 15, Nr. 1 (2000): 90–124. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01081.x.

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

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7

Franko, Mark. „The Dancing Body in Renaissance Choreography“. Journal of Aesthetics and Art Criticism 47, Nr. 2 (1989): 199. http://dx.doi.org/10.2307/431845.

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8

Jisun Lee und MalborgKim. „Dancing Body in Digital Image Era“. Korean Journal of Dance Studies 37, Nr. 37 (Juli 2012): 63–84. http://dx.doi.org/10.16877/kjds.37.37.201207.63.

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9

Foster, Susan Leigh, und Mark Franko. „The Dancing Body in Renaissance Choreography“. Theatre Journal 40, Nr. 3 (Oktober 1988): 429. http://dx.doi.org/10.2307/3208343.

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10

김기화 und 백현순. „The Phenomenon of Dancing 'Body' Awareness“. Journal of Korean Dance 35, Nr. 3 (September 2017): 29–50. http://dx.doi.org/10.15726/jkd.2017.35.3.002.

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11

Barnett, Angela. „The dancing body as a screen“. Computers in Entertainment 7, Nr. 1 (Februar 2009): 1–32. http://dx.doi.org/10.1145/1486508.1486513.

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12

Tjersland, Hanne. „The dancing body in peace education“. Journal of Peace Education 16, Nr. 3 (02.09.2019): 296–315. http://dx.doi.org/10.1080/17400201.2019.1697066.

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13

Lee,Jin-Woo. „Nietzsche, Body, and “Dancing as Thinking”“. Journal of Korean Nietzsche-Society ll, Nr. 25 (April 2014): 7–40. http://dx.doi.org/10.16982/jkns.2014..25.001.

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14

Smrekar, Eva. „Symptom as event of the (dancing) body“. Maska 36, Nr. 205 (01.12.2021): 100–110. http://dx.doi.org/10.1386/maska_00092_1.

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Abstract At the end of the nineteenth century, the French school of modern neurology together with its leading representative Jean-Martin Charcot (182593) carried out controversial clinical studies on hysteria at the Salpêtrière Hospital, including the famed weekly public demonstrations of female hysterics, which had a profound influence on the development of modern performing practices and the discourse of their critical reception. The text thus focuses especially on the constitution of modern hysteria as a historical continuation of the alternative dance history of the ancient and Middle Ages writings on dancing mania and the dancing plague. But it also tries to analyse the inherent interconnectedness of performance and madness through the archival prism of pathological choreography and the politics of the modern body.

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Romano, Gianluca, Jan Schneider und Hendrik Drachsler. „Dancing Salsa with Machines—Filling the Gap of Dancing Learning Solutions“. Sensors 19, Nr. 17 (23.08.2019): 3661. http://dx.doi.org/10.3390/s19173661.

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Dancing is an activity that positively enhances the mood of people that consists of feeling the music and expressing it in rhythmic movements with the body. Learning how to dance can be challenging because it requires proper coordination and understanding of rhythm and beat. In this paper, we present the first implementation of the Dancing Coach (DC), a generic system designed to support the practice of dancing steps, which in its current state supports the practice of basic salsa dancing steps. However, the DC has been designed to allow the addition of more dance styles. We also present the first user evaluation of the DC, which consists of user tests with 25 participants. Results from the user test show that participants stated they had learned the basic salsa dancing steps, to move to the beat and body coordination in a fun way. Results also point out some direction on how to improve the future versions of the DC.

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16

Bergonzoni, Carolina. „When I Dance My Walk: A Phenomenological Analysis of Habitual Movement in Dance Practices“. Phenomenology & Practice 11, Nr. 1 (11.07.2017): 32–42. http://dx.doi.org/10.29173/pandpr29336.

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In this article, I describe the experience of dancing-a-walk. My specific focus is on the shift that I perceive in my body when I dance-a-walk rather than functionally walking. Following a firstperson perspective, I demonstrate how my experience of practicing dancing-a-walk interrogates the habit of walking and makes it come alive again as an expression of the body. First, I show how the practice of dancing-a-walk challenges the dichotomy between abstract and concrete movement proposed by Maurice Merleau-Ponty in the Phenomenology of Perception. Indeed, dancing-a-walk is an example of a concrete and yet already abstract movement. Then, I turn to concepts such as habits and body memory. By identifying how the perception of my body changes when I dance everyday movements (i.e., walking) versus when I execute such movements functionally, I aim to develop a new perspective on and vocabulary for a phenomenological definition of concrete/abstract movements within the context of dance.

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Calvillo, Verónica. „Dancing as an Embodied Cognition: Body Memory in Reyna Grande's Dancing with Butterflies“. Confluencia: Revista Hispánica de Cultura y Literatura 32, Nr. 2 (2017): 39–52. http://dx.doi.org/10.1353/cnf.2017.0003.

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18

Sarkar, Kaustavi. „The Frigid Description of the Dancing Body“. Performance Research 18, Nr. 6 (Dezember 2013): 38–45. http://dx.doi.org/10.1080/13528165.2013.908054.

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19

Wulff, Helena. „Memories in Motion: The Irish Dancing Body“. Body & Society 11, Nr. 4 (Dezember 2005): 45–62. http://dx.doi.org/10.1177/1357034x05058019.

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20

Mills, Dana. „Dancing the thesis, writing on the body“. Arts and Humanities in Higher Education 13, Nr. 4 (Oktober 2014): 395–403. http://dx.doi.org/10.1177/1474022213493978.

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21

Feves, Angene. „Trying to discover the renaissance dancing body“. Dance Chronicle 12, Nr. 3 (Januar 1989): 386–93. http://dx.doi.org/10.1080/01472528908569018.

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22

Arkin, Lisa C. „Dancing the Body: Women and Dance Performance“. Journal of Physical Education, Recreation & Dance 65, Nr. 2 (Februar 1994): 36–43. http://dx.doi.org/10.1080/07303084.1994.10606853.

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23

Markula, Pirkko. „Dancing the ‘Data’“. International Review of Qualitative Research 4, Nr. 1 (Mai 2011): 35–50. http://dx.doi.org/10.1525/irqr.2011.4.1.35.

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

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Todi, Cristina. „5. Coregraphic Arts Education from the Intercultural Perspective“. Review of Artistic Education 15, Nr. 1 (01.03.2018): 161–64. http://dx.doi.org/10.2478/rae-2018-0016.

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

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25

Gil, José. „Paradoxical Body“. TDR/The Drama Review 50, Nr. 4 (Dezember 2006): 21–35. http://dx.doi.org/10.1162/dram.2006.50.4.21.

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

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Hölscher, Stefan, und Laura Luise Schultz. „Undoing Gender/Dancing Affect“. Peripeti 9, Nr. 17 (01.01.2012): 40–45. http://dx.doi.org/10.7146/peri.v9i17.108238.

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

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Roseau, Catherine. „The DANCING BODY, An Art of the Immaterial“. Psychosomatique relationnelle N° 1, Nr. 1(en) (02.06.2013): 25–29. http://dx.doi.org/10.3917/psyr.131en.0025.

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28

van Blommestein, Sharmain. „The Dancing Whore and the Body as Spectacle“. International Journal of Civic, Political, and Community Studies 10, Nr. 4 (2013): 107–19. http://dx.doi.org/10.18848/2327-0047/cgp/v10i04/43536.

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29

Anderson, E. „Dancing Modernism: Ritual, Ecstasy and the Female Body“. Literature and Theology 22, Nr. 3 (22.07.2008): 354–67. http://dx.doi.org/10.1093/litthe/frn024.

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30

Kunst, Bojana. „Subversion and the Dancing Body: Autonomy on Display“. Performance Research 8, Nr. 2 (Januar 2003): 61–68. http://dx.doi.org/10.1080/13528165.2003.10871929.

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31

Haley, Rochelle. „Constructions of the moving body: drawing and dancing“. Studies in Theatre and Performance 38, Nr. 3 (15.08.2018): 289–301. http://dx.doi.org/10.1080/14682761.2018.1506966.

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32

Keogh, Justin W. L., Andrew Kilding, Philippa Pidgeon, Linda Ashley und Dawn Gillis. „Physical Benefits of Dancing for Healthy Older Adults: A Review“. Journal of Aging and Physical Activity 17, Nr. 4 (Oktober 2009): 479–500. http://dx.doi.org/10.1123/japa.17.4.479.

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Dancing is a mode of physical activity that may allow older adults to improve their physical function, health, and well-being. However, no reviews on the physical benefits of dancing for healthy older adults have been published in the scientific literature. Using relevant databases and keywords, 15 training and 3 cross-sectional studies that met the inclusion criteria were reviewed. Grade B–level evidence indicated that older adults can significantly improve their aerobic power, lower body muscle endurance, strength and flexibility, balance, agility, and gait through dancing. Grade C evidence suggested that dancing might improve older adults’ lower body bone-mineral content and muscle power, as well as reduce the prevalence of falls and cardiovascular health risks. Further research is, however, needed to determine the efficacy of different forms of dance, the relative effectiveness of these forms of dance compared with other exercise modes, and how best to engage older adults in dance participation.

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Wright, Jan, und Shoshana Dreyfus. „Belly Dancing: A Feminist Project?“ Women in Sport and Physical Activity Journal 7, Nr. 2 (Oktober 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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Hargan, Jennifer, Emilie Combet, Paul Dougal, Mhairi McGowan, Mary Ann Lumsden und Dalia Malkova. „Efficacy of a Culture-Specific Dancing Programme to Meet Current Physical Activity Recommendations in Postmenopausal Women“. International Journal of Environmental Research and Public Health 17, Nr. 16 (07.08.2020): 5709. http://dx.doi.org/10.3390/ijerph17165709.

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This study investigated the efficacy of participation in culture-specific dancing to meet current physical activity recommendations and increase cardio-respiratory fitness in postmenopausal women. Sedentary postmenopausal women (n = 24), aged 63 ± 8 years and with BMI of 28 ± 3 kg/m2 completed a 4-week Scottish dancing study. The dancing sessions of approximately 75 min were performed twice a week and each session was based on five Scottish dances performed in 3 sets. Heart rate (HR) measurements were obtained during all dances to evaluate whether the intervention achieves the criteria of moderate to vigorous aerobic exercise intensity. Body composition, waist circumference, and HR during Chester Step test were measured before and after dancing intervention. HR achieved during individual dances ranged from 64 ± 5% to 80 ± 5% of HRmax and the mean HR of the five dances corresponded to 72 ± 7% of HRmax. Post-intervention mean HR was lower throughout Level 2 (Pre, 112 ± 13 bpm; Post, 106 ± 13 bpm; p = 0.005) and Level 3 (Pre, 122 ± 14 bpm; Post, 115 ± 14 bpm; p = 0.006) of the Chester test compared with baseline values. The intervention had no impact on body weight or body fat but reduced waist circumference (Pre, 94 ± 8 cm; Post, 91 ± 9 cm; p = 0.006). Thus, traditional Scottish dancing should be advocated to sedentary postmenopausal women, emphasising its potential in meeting current physical activity recommendations in relation of weekly duration and exercise intensity and improving cardiorespiratory fitness.

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Miller, Lynneth J. „Divine Punishment or Disease? Medieval and Early Modern Approaches to the 1518 Strasbourg Dancing Plague“. Dance Research 35, Nr. 2 (November 2017): 149–64. http://dx.doi.org/10.3366/drs.2017.0199.

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Using writings from observers of the 1518 Strasbourg dancing plague, this article explores the various understandings of dancing mania, disease, and divine judgment applied to the dancing plague's interpretation and treatment. It argues that the 1518 Strasbourg dancing plague reflects new currents of thought, but remains closely linked to medieval philosophies; it was an event trapped between medieval and modern ideologies and treated according to two very different systems of belief. Understanding the ways in which observers comprehended the dancing plague provides insight into the ways in which, during the early modern period, new perceptions of the relationship between humanity and the divine developed and older conceptions of the body and disease began to change, while at the same time, ideologies surrounding dance and its relationship to sinful behavior remained consistent.

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

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

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Donaghue, Ngaire, Tim Kurz und Kally Whitehead. „Spinning the pole: A discursive analysis of the websites of recreational pole dancing studios“. Feminism & Psychology 21, Nr. 4 (November 2011): 443–57. http://dx.doi.org/10.1177/0959353511424367.

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Pole dancing is an activity that came to prominence in strip clubs. Despite its widespread reinvention as a fitness activity for women, pole dancing is still strongly associated with, and indeed trades on, its exotic, erotic and sexual connotations. In this article, we examine how the pole dancing industry portrays itself to potential participants via a discursive analysis of the websites of 15 major pole dancing studios in Australia. In particular, we examine some of the ways in which pole dancing trades on its erotic associations and capitalizes on the emerging postfeminist sensibility in western countries and its advocacy of empowerment through sexual agency, while at the same time promoting an alternative, ironic construction in which pole dancing is simply something a bit different – a novel way to get an upper body workout while having ‘a bit of a laugh’. We argue that the tensions between authenticity and parody uncovered by our analyses reflect a tension that infuses ‘raunch culture’ more widely, and discuss the insecurity and contingency of the ‘empowerment’ offered in these practices.

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

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

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Glidden, Hope H., und Mark Franko. „The Dancing Body in Renaissance Choreography (C. 1416-1589)“. South Atlantic Review 53, Nr. 1 (Januar 1988): 109. http://dx.doi.org/10.2307/3200409.

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Trexler, Richard C., und Mark Franko. „The Dancing Body in Renaissance Choreography (c. 1416-1589)“. Dance Research Journal 20, Nr. 1 (1988): 57. http://dx.doi.org/10.2307/1478824.

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Winther, Helle, Susanne Næsgaard Grøntved, Eva Kold Gravesen und Ingeborg Ilkjær. „The Dancing Nurses and the Language of the Body“. Journal of Holistic Nursing 33, Nr. 3 (23.12.2014): 182–92. http://dx.doi.org/10.1177/0898010114561063.

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Gottschild, Brenda Dixon, und Seán Curran. „The Black Dancing Body: An Interview with Seán Curran“. Dance Research Journal 36, Nr. 1 (2004): 27–42. http://dx.doi.org/10.1017/s0149767700007555.

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BDG: Seán, I want to start with something that you said yesterday about never having been able to do Bill's [Bill T. Jones's] movement the way he did it—or was it the way he wanted it done? Could you talk about that?SC: The way he did it. Bill has a very inventive, deeply personal, and unique way of moving, perhaps because he didn't come up through the sort of modern dance training sought by many African-American dancers. People in college told Bill that he should go to New York to be “finished” by Alvin Ailey and he really did not have an interest in that. Bill studied dance with Percival Borde and contact improvisation with Lois Welk and was a track star in high school and college. He did a lot of musical theater in high school with an English teacher he loved very much. Bill was about dancing his own way.

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Almasy, Rudolph Paul, und Mark Franko. „The Dancing Body in Renaissance Choreography (c. 1416-1589).“ Sixteenth Century Journal 19, Nr. 3 (1988): 506. http://dx.doi.org/10.2307/2540501.

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Bahia, Joana. „Dancing with the Orixás“. African Diaspora 9, Nr. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.

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This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-Brazilian religion has become a central element in re-creating an idea of “Africa” in Europe that is part of a longer history of the circulation of black artists and practitioners of Candomblé between West Africa, Europe and Latin America, and the resulting creation of transnational artistic-religious networks.

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

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

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Celda Real, Olga. „Pina Bausch and the Dancing Body: Social Constructionism and Identity in Nelken, The Rite of Spring and Kontakthof“. Itamar, Nr. 8 (08.07.2022): 22. http://dx.doi.org/10.7203/itamar.8.24812.

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This article aims to consider the social construct of the dancing body and its role in the building of identity focusing primarily on the female dancing body as exercised in the seminal works of Nelken, The Rite of Spring and Kontakthof by the German expressionist choreographer Pina Bausch. The phenomenological discourse in these works ‘embody the social and cultural dynamics in which they are generated’1, making of them unique performative experiences. In these pieces of tanztheater, the characters embodied in the dancing bodies on stage are both, universal and anonymous, and the stories they tell are about human connexions and their consequences in a defined sphere. In these fundamental choreographies by Pina Bausch our perception of dance art leads to a response that goes beyond aesthetic dispositions and forces the spectator into an explorative interdisciplinary journey of self-discovery. As Pina Bausch herself said, ‘it is not about how people moves, but what moves them’ (Pina Bausch in Bringshaw, 2009).

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Kumari, Nisha, und M. Gautam Shetty. „A STUDY ON INFLUENCE OF CLASSICAL INDIAN DANCE PRACTICE ON CARDIO – RESPIRATORY WELL BEING“. International Ayurvedic Medical Journal 8, Nr. 10 (18.10.2020): 4643–48. http://dx.doi.org/10.46607/iamj1208102020.

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Dance is a Rhythmic form of exercise. It involves slow to intense kinetic footwork, swaying hand gestures and subtle eye - facial expressions. It activates skeletal muscles, stimulates functioning of smooth muscles and enhances the contractility of cardiac muscles. Along with this dance practice also alters breathing mechanism with reference to enhancement of vital capacity. Thus, dancing regularly helps the overall functionality of Cardio – Respiratory system which changes the individual’s wellbeing. The following study analyses the mode of action of dancing over the system of the internal body and explains the same with Physical and subjective parameters. Regular dancing helps an individual in betterment of functions of cardiac and respiratory system.

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Owen, Louise. „“Work That Body”: Precarity and Femininity in the New Economy“. TDR/The Drama Review 56, Nr. 4 (Dezember 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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Pohjola, Hanna, Paavo Vartiainen, Pasi A. Karjalainen und Vilma Hänninen. „The Potential of Dance Art in Recovery From a Stroke: A Case Study“. Nordic Journal of Dance 10, Nr. 1-2 (01.12.2019): 32–43. http://dx.doi.org/10.2478/njd-2019-0004.

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Abstract This article presents a case study on the subjective experience of recovering from a stroke. The aim was to seek personal meanings attached to the process of a solo choreography and its relationship with the subjective reconstruction of the body. The qualitative research used a stimulated recall method alongside a series of in-depth interviews. According to the findings, the ‘re-inhabiting’ of the body was enabled through body awareness and improvisation with regard to the choreographic process. The physical impairment caused by a stroke shifted towards the experience of being able-bodied while dancing, thus allowing the entire body and its current possibilities to be explored. Themes such as active agency and self-efficacy also emerged. The case study suggests that dancing not only acts as an enjoyable social and physical activity but also contributes to feelings of wholeness. Connectedness with wholeness enabled reconstructed self-trust and agency.

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George-Graves, Nadine, und Brenda Dixon Gottschild. „The Black Dancing Body: A Geography from Coon to Cool“. Dance Research Journal 37, Nr. 1 (01.07.2005): 132. http://dx.doi.org/10.2307/20444626.

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