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Books on the topic 'Dancing bodies'

Author: Grafiati
Published: 13 April 2024

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1

Dancing women: Female bodies on stage. London: Routledge, 1998.

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2

Society dancing: Fashionable bodies in England, 1870-1920. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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3

Reading dancing: Bodies and subjects in contemporary American dance. Berkeley: University of California Press, 1986.

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4

Foster, Susan Leigh. Reading dancing: Bodies and subjects in contemporary American dance. Berkeley: University of California Press, 1986.

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5

Lisa, Doolittle, and Flynn Anne, eds. Dancing bodies, living histories: New writings about dance and culture. Banff: Banff Centre Press, 2000.

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6

1954-, Doolittle Lisa, and Flynn Anne 1955-, eds. Dancing bodies, living histories: New writing about dance and culture. Banff, Alta: Banff Centre Press, 2000.

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7

Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. New York: Palgrave Macmillan, 2010.

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8

Mukherjee, Suroopa. Surviving Bhopal: Dancing bodies, written texts, and oral testimonials of women in the wake of an industrial disaster. New York: Palgrave Macmillan, 2010.

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9

Quebec), Estivale (2000 Montréal. Estivale 2000: Canadian dancing bodies then and now = Estivale 2000 : les corps dansants d'hier à aujourd'hui au Canada. Toronto: Dance Collection Danse Press/es, 2002.

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10

Parviainen, Jaana. Bodies moving and moved: A phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art. Tampere: Tampere University Press, 1998.

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11

Parviainen, Jaana. Bodies moving and moved: A phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art. Tampere: Tampere University Press, 1998.

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12

Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.

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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. The tasks designed by artists who are involved in the European project Dancing Museums. The Democracy of Beings (2018-21) respond to the essays by suggesting a series of body-mind practices that readers could perform between the various chapters to experience how theory may affect their bodies.
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13

Burt, Ramsay. Dancing Bodies and Modernity. Oxford University Press, 2010. http://dx.doi.org/10.1093/oxfordhb/9780199545445.013.0032.

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14

Olejniczak, Adrian. Manner of Bodies: Dancing. Independently Published, 2019.

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15

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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16

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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17

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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18

Banes, Sally. Dancing Women: Female Bodies Onstage. Taylor & Francis Group, 2013.

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19

Banes, Sally. Dancing Women: Female Bodies on Stage. Taylor & Francis Group, 2004.

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20

Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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21

Zubko, Katherine C. Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Rowman & Littlefield Publishers, Incorporated, 2016.

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22

Zubko, Ph.D., Katherine C. Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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23

Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. University of California Press, 1988.

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24

Burrill, Derek A., and Melissa Blanco Borelli. Dancing with Myself. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.027.

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This chapter acts as a video game battle or interaction between the two authors. It discusses how dance video games construct corporeality. It provides an overview of Microsoft Xbox 360Dance Central’srelationship to choreography, choreographers, and dance analysis. It also theorizes how bodies and corporeality function in a virtual world. Finally, the chapter considers how avatar bodies provide new ways of thinking about the relationship between technology and the body.
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25

(Editor), Lisa Doolittle, and Anne Flynn (Editor), eds. Dancing Bodies, Living Histories: New Writings about Dance and Culture. Banff Centre Press, 2000.

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26

Smith, Christopher J. Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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27

Reading dancing bodies and subjects in contemporary American dance - 1986. University of California Press, 1986.

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28

Smith, Christopher J. Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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29

Dancing Revolution: Bodies, Space, and Sound in American Cultural History. University of Illinois Press, 2019.

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30

Walker, Claire. Dancing bodies in contemporary Hollywood cinema: Aspects of representational sexual differece. 1996.

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31

Kedhar, Anusha. Flexible Bodies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840136.001.0001.

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Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.
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32

Smith, Christopher J. Dancing Revolution. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.001.0001.

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This book is a social history, theorizing participatory dance in New World public spaces as a tool that has enabled subaltern communities’ political resistance to hegemonic control. Drawing upon musicology, ethnomusicology, iconography, anthropology, dance studies, and folklore, and spanning examples from the eighteenth through the twenty-first century, it identifies recurrent strategic patterns in the music, movement, and “noise” that political minorities--including persons of color, economic underclasses, women, gays, and other resistance movements--have employed to oppose, contest, and transgress dominant cultures’ social control. The book applies multidisciplinary analytical practices to movement and sound in historical idioms, little documented by period scholarship, whose data are indirect, inferential, and reconstructive. Case studies include frontier Pentecostalism; Native American resistance; Shakerism; African American communities; the English- and French-speaking Caribbean; film and theatrical dance; the Stonewall Uprising and Chicago 1968 protests; twentieth-century noise ordinances; and punk-rock, hip hop, and twenty-first-century global protest movements. Examples in diverse media, from prose description to watercolor to film, are selected in order to showcase the consistency of these political understandings across diverse situations and to demonstrate the synthesis of analytical approaches, which this topic mandates. The book argues for understanding participatory music and motion--bodies and sound interacting in contested public spaces--as a central, intentional, effective, and recurrent resistance strategy in American social history.
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33

Daniel, Yvonne. Contredanse and Caribbean Bodies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0003.

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This chapter examines the varied meanings attached to social dance, with particular emphasis on contredanse-derived practices in the Caribbean islands. Drawing on fieldwork conducted in 2005–2006, it considers how Caribbean bodies dance sovereignty in front of world powers and the ways that they affirm island and regional integrity in the nonverbal communication of dance performance. After providing an overview of the historical patterns of Caribbean set dancing and the history of the Caribbean from the sixteenth to the eighteenth centuries, the chapter turns to practices such as Cuban contradanza and tumba francesa, Puerto rican contradanza and los seises, and Dominican sarandunga. It then discusses dance movement and dance categories; King and Queen pageantry that typically accompanies quadrille practices; and Queen performance. The chapter suggests that historical contredanse forms represent important values that have influenced past and present performers.
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34

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.
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35

Zubko, Katherine C. Studies in Body and Religion : Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam. Lexington Books/Fortress Academic, 2014.

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36

Schwall, Elizabeth B. Dancing with the Revolution. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469662978.001.0001.

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This book aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. This history of staged performance in ballet, modern dance, and folkloric dance analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, it argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, the book shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.
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37

Mukherjee, S. Surviving Bhopal: Dancing Bodies, Written Texts, and Oral Testimonials of Women in the Wake of an Industrial Disaster. Palgrave Macmillan, 2010.

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38

Mukherjee, S. Surviving Bhopal: Dancing Bodies, Written Texts, and Oral Testimonials of Women in the Wake of an Industrial Disaster. Palgrave Macmillan, 2016.

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39

Weisbrod, Alexis A. Defining Dance, Creating Commodity. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.021.

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This chapter examines how the rhetoric utilized inSo You Think You Can Dance(United States) presupposes details of dance training, including the experience of certain types of bodies and the expectations of racial identity in regards to highly skilled bodies. The structure of the show emphasizes the language of the judges and producers over the work of the dancers. This language, which establishes values and comparisons between bodies, is used to train audience members to read dancing bodies. Examining these patterns of rhetoric, this chapter defines the termconceived body, identifying how it is constructed on both contemporary and hip-hop dancers during the course of the television show’s first eight seasons. Finally, the racialized construction of these dancing bodies is addressed in relation to the spectacle and commodification created by and on these bodies.
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40

Dunagan, Colleen T. Subjectivity and Performative Consumption. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0006.

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Chapter Five addresses how television advertising’s dancing bodies engage in the practice of theory, modeling concepts of subjectivity, authenticity, and performance. It examines how dance and choreographic form play a central role in advertising and create a philosophical locus that highlights advertising’s concepts of subjectivity and identity. The chapter argues that in advertising, the liveness, affect, and spectacle of the dancing body informs the construction of identity, directing viewers to see movement as a form of human agency. By highlighting the body’s ability to assume and discard style, dance-in-advertising promotes consumption-as-performance-of-identity. Ultimately, the author argues that dance in advertising models subjectivity and identity as fluid and relational.
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41

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.
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42

Gotman, Kélina. Translatio. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0004.

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Renegade physician Paracelsus compared St. John’s Day dances to earthquakes, epileptic tremors, and tics. This ecosophical and vitalist concept, according to which all sorts of bodies echo one another’s shaking motions, countered long-held academic prejudice against witchcraft; neither choreomaniacs nor witches were subject to supernatural forces. Rather, the ‘vital spirits’ caused limbs, like branches, to shake. What’s more, dancing was now thought to cure dancing, and municipal authorities keen to keep a Strasbourg dancing mania in check employed guards to help wear dancers out—while exorcism associated religious, municipal, and medical experts. The translatio or passage from collective to individual disorder, epitomized in St. Vitus, now patron saint of all dance maniacs, continued throughout the eighteenth and nineteenth centuries, as neurologists’ theories of chorea, epilepsy and insanity aligned popular carousing with individual quaking motions. Choreomania came to signal the epidemic proliferation of what Giorgio Agamben has styled purposeless gesture.
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43

Siegmund, Gerald. Negotiating Choreography, Letter, and Law in William Forsythe. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0013.

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This chapter considers William Forsythe, an artist whose intellectual choreographies form a unique—and uniquely successful—part of Germany's dance culture. First, it takes a closer look at the relation between bodies and the law that regulates our status as citizens and as political bodies. The piece Human Writes is emblematic of what choreography does with bodies that engage with the letter of the law, a missed encounter that produces dance. Second, it takes Human Writes as exemplary of Forsythe's methodologies to create impossible choreographies that challenge the dancers and necessitate decisions on their part. This will, third, lead toward a definition of choreography. Choreography appears to be a machine-like structure of relational differences, an inhuman symbolic language that, together with the bodies' manifold possibilities of movement, produces a choreographic text. Choreography is confronted with and simultaneously confronts the body, thereby putting it in a state of dancing. By simultaneously including and excluding the body, choreography creates imaginary bodies, possibilities of bodies that both the dancers and the audiences can then explore.
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44

Carter, Julian B. Chasing Feathers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0006.

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This chapter puts Jerome Bel’s 2004 dance Veronique Doisneau in conversation with recent critical work on re-enactment to explore the complex temporal politics that emerge when postmodern dance draws on and restages classical forms. The chapter describes how such restaging can make time fold and pleat around dancing bodies and their audiences, soliciting embodied participation in the power structures of both past and present.
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45

Wells, Christi Jay. Between Beats. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.001.0001.

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Between Beats: The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music’s formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a “legitimate” art form better suited for still, seated listening. Through the concept of “choreographies of listening,” the book explores amateur and professional jazz dancers’ relationships with jazz music and musicians as jazz’s soundscapes and choreoscapes were forged through close contact and mutual creative exchange. The book’s later chapters also critically unpack the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. As musicians and critics sought to secure institutional space for jazz within America’s body-averse academic and high-art cultures, an intentional severance from the dancing body proved crucial to jazz’s re-positioning as a form of autonomous, elite art. Fusing little-discussed material from diverse historical and contemporary sources with the author’s own years of experience as a social jazz dancer, this book seeks to advance participatory dance and embodied practice as central topics of analysis in jazz studies. As it explores the fascinating history of jazz as popular dance music, this book also exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to “elevate” expressive forms such as jazz to elite status.
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46

Dunagan, Colleen T. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0007.

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The Conclusion introduces an area of research that the author has not undertaken but which lingers on the edges, occasionally inserting itself for brief moments as other lines of flight are pursued. Looking at three contemporary examples of dance in advertising, it raises the question of bodily labor in relation to concepts of authorship, copyright, and political economy within the advertising industry. The hope is that the chapter points to possible future lines of inquiry and encourages alternative approaches to studying how dancing bodies negotiate consumer culture and neoliberal capitalism. In the end, while there is much the author does not tackle in this project, her goal has been to acknowledge the role advertising potentially plays in the lives of consumers and how dance participates in this relationship.
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47

Bosse, Joanna. Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0002.

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In this interlude, the author describes the events of a typical Friday night social dance at the Regent Ballroom and Banquet Center by sharing her own experience. She narrates how dancers greet each other warmly and tell stories of their week as they change into their dance shoes. The dancers then head to the dance hall. The early minutes of the dance exude a quiet romance not only reserved for newlyweds. The Friday night ballroom dance is date night for many couples in attendance. The author mentions Sylvia, a real estate agent with two adult children, and her husband Jimmy. The two met at the Regent and continue to dance weekly. Their conversations, as well as those of their fellow couples, are littered with loving glances, small gestures of affectionate intimacy, and the kind of good-natured ribbing only spouses can perpetrate. Eventually the room will be filled with 150 or so dancing bodies. Through dancing, they routinely inhabit each other's personal space.
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48

Borelli, Melissa Blanco. A Taste of Honey. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.015.

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This chapter examines the filmic representations of the mulatta body in the filmsSparkle(1976),Flashdance(1983), andHoney(2003). The main research aim is to unravel how the Hollywood filmic apparatus engages with signifiers of raced sexuality and hierarchies of dance styles to enforce and reify mythic narratives about dance, dancing raced bodies, and dance-making. By establishing a genealogy of the mulatta body in the US context through these dance films, the chapter illustrates how the mulatta subject develops from a tragic figure (inSparkle) to an independent and self-reliant one (inHoney).
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49

Srinivasan, Priya. Domesticating Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.27.

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This chapter examines three scenes of “movement”—from the 2004 Tamil film Chandramukhi, the controversial documentary India’s Daughter that aired on BBC in March 2015, and the Star Plus Television serial of the Mahabharata focusing on the “Draupadi Vastra Haran” in 2014—to question how women’s bodies continue to be domesticated to delegitimize the upwardly mobile woman’s desire for remaking herself. The chapter suggests that neoliberalism has specific choreographies of violence perpetrated against women’s bodies. In particular, the author argues that within the choreographies of neoliberalism, neither public nor private space is safe for women in India. The chapter suggests that where women’s erotic dancing has been domesticated by institutionalized patriarchy in the service of capitalist systems, haunting and possession emerge as movement possibilities of the corporeal/incorporeal body that can negotiate the public/private space of a permeating neoliberal order.
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50

Gotman, Kélina. Choreomania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.001.0001.

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This book traces the emergence and spread of the choreomania concept through colonial medical and ethnographic circles, showing how fantasies of instability—and of the Oriental other—haunted scientific modernity. Scenes from the archives of medical history, neurology, psychiatry, sociology, religion, and popular journalism show how the discursive history of the ‘dancing mania’ moved and transformed with its translations throughout the colonial world. From antiquarian references to ancient Greek bacchanals and medieval St. Vitus’s dances, to scientific reperformances of early modern religious ecstasies, and American government anthropology, ‘choreomania’ arose to signal every sort of gestural and choreographic unrest. Village kermesses, revolutionary crowds, and neuromotor disorders—including hysteria, epilepsy, and chorea—were among the many unruly forms of locomotion indiscriminately compared to bacchanalian turmoil. So too, charges of spontaneous political agitation levied against demonstrators from Africa and South America to the South Seas reveal heightened anxieties about the spread of social disorder. Initially employed to describe ‘contagious’ popular dances, jerking movements, and convulsions, with decolonization, the ‘dancing disease’ increasingly described the fitful drama of anti-European revolt. Closely indebted to the work of Michel Foucault, this book opens a new chapter on the way we think epidemic madness and the organization and disorganization of bodies and disciplines in the modern age. Setting ideas about disruptively moving bodies at the heart of the scientific enterprise, this book argues that disciplines themselves were at once more porous and mobile than is commonly allowed, and that ‘dance’ itself has to be radically reimagined across fields.
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