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Published: 26 July 2024
Last updated: 28 July 2024

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1

Gendre, Daniel. Daniel Gendre: UdSSR. Zürich: Offizin Zürich, 2008.

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2

Housted, Erik. Fattig-Holm: Tre guldalderskæbner : guldsmeden Michael Holm 1774-1860, kobberstikkeren Jens Holm 1776-1859, maleren Heinrich Gustav Ferdinand Holm 1803-1861. København: Rhodos, 1994.

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3

Jensen, Jørgen Bonde. H.C. Andersen og genrebilledet. København: Babette, 1993.

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4

Madsen, Preben Juul. Danske genremalere: Fortællende billeder i 1800-tallet. København: P. Fogtdal, 1988.

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5

1947-, Thomas Helen, ed. Dance, gender, and culture. New York: St. Martin's Press, 1993.

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6

Portræt af et lokalsamfund: Fra amagerdragt til røvgevir. Aarhus, Denmark]: Aarhus Universitetsforlag, 2020.

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7

editor, Svenningsen Jesper, Villumsen Anne-Mette editor, Fuglsang kunstmuseum, Nivaagaards malerisamling, Ribe kunstmuseum (Denmark), and Skovgaardmuseet i. Viborg, eds. Wilhelm Marstrand: En store fortæller. Niva: Nivaagaards Malerisamling, 2020.

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8

Maryono. Pragmatik genre tari pasihan gaya Surakarta. Jebres, Surakarta: ISI Press Solo, 2010.

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9

Tomko, Linda J. Dancing class: Gender, ethnicity, and social divides in American Dance, 1890-1920. Bloomington: Indiana University Press, 1999.

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10

Hanna, Judith Lynne. Dance, sex and gender: Signs of identity, dominance, defiance, and desire. Chicago: University of Chicago Press, 1988.

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11

Wivel, Mikael. Lysets tøven: Niels Larsen Stevns og de store fortællinger. [København]: Christian Ejlers f̓orlag, 1994.

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12

Lázár, Imre. Dance of the avatar: Embodying gender and culture through dance. Hauppauge, New York: Nova Science Publishers, Inc., 2015.

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13

Saikin, Magali. Tango y género: Identidades y roles sexuales en el tango argentino. Stuttgart: Abrazos Books, 2004.

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14

Tomizawa, Yutaka. Onna no mae de gōkyū suru otokotachi: Jirei chōsa, gendai Nihon jendākō. Tōkyō: Bajiriko, 2008.

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15

John, Mercer. Melodrama: Genre, style, sensibility. London: Wallflower, 2004.

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16

Pandey, Shashi Ranjan. Gender at the grassroots Vietnam: Swedish-Danish Fund for the Promotion of Gender Equality in Vietnam. Bangkok: Women's Action and Research Initiative, 2001.

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17

Daniel, Daniela. Pfeiffer, 1986.

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18

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, 2014.

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19

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, 2012.

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20

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, Incorporated, 2011.

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21

Portier-Young, Anathea E. Daniel and Apocalyptic Imagination. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.13.

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The book of Daniel forms a bridge between Israel’s classical prophetic literature and the genre apocalypse. Daniel has often been classified among the prophets, but also stands apart. An examination of revealed knowledge and textual authority in Daniel clarifies the relationship among Daniel, earlier prophets, and Mesopotamian divinatory wisdom. Daniel’s apocalyptic imagination combines prophetic language and imagery with new visionary experience, offering readers powerful new language, symbols, and models for embodied practice. Cross-disciplinary studies of imagination suggest ways that Daniel’s prophetic and apocalyptic imagination allowed ancient readers to interact with the legacies of the Mesopotamian and Hellenistic empires while simultaneously rejecting their totalizing narratives. The book ignites a fuse in readers’ imaginations, inviting and empowering audiences to break out of the prison of imperial imaginaries and to imagine in their place an alternative structure of governance, a path to religious and national freedom, and heavenly existence beyond death.
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22

Daniel, Yvonne. Igniting Diaspora Citizenship. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0010.

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This book concludes by discussing the transcendence, resilience, and citizenship that have come to define Diaspora dance. It first explains the transcendent tendencies of Diaspora dance, emphasizing how its several genres have spread through migration, transnational connections, and communication technologies to Caribbean niches in other parts of the world. It then considers the resilience of both Diaspora dance and Diaspora dancers in response to change, able to recover spirit and energy in a quick but cool fashion as they deal with a variety of challenges. It also examines how citizenzhip is invoked in the social meaning of Diaspora dance amidst recreational or theatrical display, noting how historical drum/dances, quadrilles, and contredanses have signaled not only entertainment and diversion but also agency. Finally, the author reflects on her experiences and field research in Spanish, French/Kreyol, English/Creole, Dutch, former Danish and Portuguese Circum-Caribbean dances, as well as the contributions of Katherine Dunham in the field of Diaspora dance.
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23

Positioning Daniel Defoe's non-fiction: Form, function, genre. Newcastle upon Tyne, UK: Cambridge Scholars, 2011.

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24

Gray, Laurel Victoria. Women's Dance Traditions of Uzbekistan. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350249509.

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The first comprehensive work in English on the three major regional styles of Uzbek women’s dance –Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women’s dance.
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25

DeFrantz, Thomas F. Switch. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.44.

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Moving from the political margins toward a black mainstream, many African American social dances often emerge in queer communities of color. This chapter explores politically embodied consequences and affects of queer social dances that enjoy concentrated attention outside their originary communities. J-setting, voguing, and hand-dancing—a form of queer dance popular in the 1970s–1980s—offer sites to consider the materialization of queer black aesthetic gesture, in dances that redefine gender identities and confirm fluid political economies of social dance and motion. These queer dances simultaneously resist and reinscribe gender conformity in their aesthetic devices; they also suggest alternative histories of black social dance economies in which queer creativity might be valued as its own end. Ultimately, the chapter suggests a haunting presence of queers-of-color aesthetic imperatives within political mobilizations of black social dance, continually—and ironically—conceived as part and parcel of rhetorics of liberation and freedom of movement.
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26

Sunardi, Christina. Constructing Gender and Tradition through Senses of History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0004.

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This chapter looks at how performers constructed senses of gender—including boundaries of femaleness and maleness—as they established what comprised tradition through their senses of history. It emphasizes that the ways performers connected femaleness, the female style dance Beskalan Putri, the past, spiritual power, and Malang indicates ways of thinking that in effect maintain cultural space for the magnetic power of femaleness and connect female power to Malangan identity. The senses of femaleness and its power that performers associated with Beskalan Putri were so strong that they shaped the ways performers understood and talked about the histories of other dances discussed in this chapter, including Ngremo Lanang, Ngremo Putri, and Beskalan Lanang, as well as the expression of gender in these dances. These perceptions also provide deeper insight into what has concerned performers about the performance of Ngremo Tayub and Ngremo Putri since the 1990s.
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27

Sunardi, Christina. Where Tradition, Power, and Gender Intersect. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0006.

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This chapter analyzes performer interactions, bringing together many of the themes and issues discussed in previous chapters to demonstrate some of the ways that micro-moments of interaction on- and offstage are critical moments of complex cultural and ideological work. Building on Benjamin Brinner's attention to the importance of competence and authority in shaping interactions between performers as well as the ways such interactions affect what is performed, this chapter focuses on the relationship between the dancer and the drummer. It argues that contradictions between dominant ideologies that privilege the knowledge of a more senior male and a performance structure in which leadership roles are flexible provide spaces for men and women to negotiate their authority and articulate senses of gender in different ways as they negotiate the form and content of a dance.
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28

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 2016.

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29

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 1993.

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30

Bosse, Joanna. Performing Race, Remaking Whiteness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0007.

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This chapter explores the intersection between race and ballroom dance by focusing on the racial stereotypes encoded within Standard and Latin genres. More specifically, it considers more tacit aspects of ballroom dance, race, whiteness, and exoticism, and how they are encoded as different aspects of beauty in American expressive forms. The chapter first considers the performance of Standard and Latin dances before discussing the competition dances of both genres. It also examines a third category employed at the Regent Ballroom and Banquet Center, the Nightclub/street dances, and proceeds by looking at the relationship between essentialism and the performance of race. It argues that the performance of ballroom dance is structured by the dualistic and racialized notions of a rational self, a normalized whiteness, and an embodied, explicitly racialized other.
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31

Silverman, Carol. Diasporic Ethnicity, Gender, and Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.015.

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Focusing on Muslim Macedonian Roma in New York, this article analyzes dance as a gendered expressive behavior embedded in community ritual events. Dance expresses social relationships, status, and familial alliances; it is a dynamic interactive behavior that can transform and build relationships, foster communication in the community, or enact conflict. Because solo female dance may be interpreted as sexualized, its dynamics are carefully monitored; women thus performatively negotiate their display of dance in varied contexts. Two generations of Roma are compared in terms of attitudes, style, and repertoire, showing how dance and music have retained their symbolic place in community life and ritual.
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32

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.
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33

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 1995.

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34

Thomas, Helen. Dance, Gender and Culture. MacMillan Press Ltd, 1995.

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35

Hoover, Lou Henry. To be a Showboy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0002.

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Lou Henry Hoover writes about his experience of creating persona-driven performance, performing gender, and using camp to toe the line between comedy and tragedy. As an artist, Lou works at the intersection of drag king-ing, burlesque, and modern dance to create a persona—“Lou Henry Hoover—as a way to draw attention to the artifice of gende sexuality. In the essay, Hoover discusses how the stage offers a platform to borrow from the drag queen performance, the genre of queer performance most often association with play with artifice, and then remix that better known form of camp with other dance forms and a wider range of masculinity and femininity. The essay discuses Hoover’s work with several collaborators, most notably artistic and life partner Kitten LaRue, and Hoover’s work in several contexts, ranging from theatrical venues in New York and Seattle to television appearances with Tony Bennett and Lady Gag.
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36

Dancing Odissi: Paratopic Performances of Gender and State. Seagull Books, Limited, 2019.

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37

Bleeker, Maaike. Lecture Performance as Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0015.

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The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.
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38

Dance, gender and culture. Basingstoke, England: Macmillan, 1993.

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39

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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40

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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41

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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42

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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43

Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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44

Sagolla, Lisa Jo. Rock ‘n’ Roll Dances of the 1950s. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798216009573.

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This descriptive and analytic study examines how 1950s rock 'n' roll dancing illuminates the larger cultural context out of which the dancing arose. Rock 'n' Roll Dances of the 1950s provides a fresh, highly animated lens through which to observe and understand the cultural climate of 1950s America, examining, not only the steps and aesthetic qualities of rock 'n' roll dances, but also their emblematic meanings. Exploring dance as a reflection and expression of cultural trends, the book takes a sharply analytical look at rock 'n' roll dances from the birth of the genre in the mid-1950s to the decade's end. Readers will explore the emergence of teen culture in the '50s, rock 'n' roll's association with delinquency, and the controversy ignited by the physical movements of early rock 'n' roll artists. They will learn about the influence of black culture on 1950s dances and about the trendsetting TV show American Bandstand. Particularly telling for those wishing to grasp the underlying tensions of the decade is a discussion of the dance floor as a platform for racial integration.
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45

Oliver, Wendy, and Doug Risner. Dance and Gender: An Evidence-Based Approach. University Press of Florida, 2017.

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46

Dance and Gender: An Evidence-Based Approach. University Press of Florida, 2018.

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47

Dance and Gender: NfA Collection of Empirical Research. University Press of Florida, 2017.

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48

Allegranti, B. Embodied Performances: Sexuality, Gender, Bodies. Palgrave Macmillan, 2011.

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49

Allegranti, B. Embodied Performances: Sexuality, Gender, Bodies. Palgrave Macmillan, 2011.

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50

Risner, Doug, and Julie Kerr-Berry. Sexuality, Gender and Identity: Critical Issues in Dance Education. Taylor & Francis Group, 2017.

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