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Linge, Ina. "Queer Ecology in Loïe Fuller’s Modernist Dance and Magnus Hirschfeld’s Die Transvestiten." Environmental Humanities 14, no. 3 (November 1, 2022): 618–40. http://dx.doi.org/10.1215/22011919-9962937.
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Abstract Dance orients the performer’s body toward both environment and pleasure, yet the intersection of environmental and sexual attunement in dance practice remains an underexplored area of research. This article considers how environmental and sexual readings of dance practice can be brought together by proposing a queer ecological approach to modernist dance. Drawing on research in dance studies, feminist and queer science studies, and sexology studies, the article examines the work of Loïe Fuller, an early pioneer of modernist dance, to show how Fuller’s work engages with themes of both sex and nature and consequently introduces environmentally attuned thinking to early twentieth century sexual knowledge production. By examining the parallels and divergences between Magnus Hirschfeld’s early twentieth-century sexological writing about “transvestitism” and Loïe Fuller’s modernist dance, via the copycat dancer Henry Cyril Paget, this article shows that both dance and sexology rethought the relationship between sex and nature by grappling, to different extents, with a queer vision of nature, where nature loses its explanatory force and moral authority. This reveals the importance of nature and the nonhuman in the production of modern concepts of sex, gender, and sexuality and the important role that dance can play in illuminating the intersection of sex and nature.
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Yamaner Okdan, Hale. "Structural analysis of traditional Kadın Zeybek dances in İzmirİzmir ili geleneksel Kadın Zeybek oyunlarının yapısal analizi." International Journal of Human Sciences 13, no. 1 (January 12, 2016): 332. http://dx.doi.org/10.14687/ijhs.v13i1.3499.
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<p>İzmir has a dance culture where <em>zeybek</em> dances are performed predominantly. When the <em>zeybek </em>dances performed by men are danced by women they are called “<em>kadın </em>(female) <em>zeybek</em>”. <em>Kadın zeybek</em> dances are more agile in terms of rhythm, and simpler and elegant in terms of movement when compared to male <em>zeybek </em>dances. In traditional life, women aren’t welcome to dance in the same environment with men. Thus, female dances are performed indoors where men aren’t allowed to participate or even see the woman dancing. The staging of folk dances since the 1930’s has caused this rule applied in traditional life to lose its validity in urban atmosphere. While female dances are carried to the stage over time, men and women started to dance together on stage. As a result of these dances developments traditional dances gained a new category called “mixed dances” meaning dances performed by both sexes. Today, traditional dances are classified under the titles “female dances”, “male dances” and “mixed-sex dances” according to the gender of the dancer. This article is on the structural analysis of the <em>zeybek</em> dances performed by women only.</p><p> </p><p><strong>Özet</strong></p><p>İzmir ili, zeybek türü oyunların ağırlıklı olarak oynandığı bir oyun kültürüne sahiptir. Erkekler tarafından oynanan zeybek oyunlarının kadınlar tarafından oynanan şekline kadın zeybeği denmektedir. Kadın zeybek oyunları erkek zeybek oyunlarına kıyasla ritmik yapı itibarıyla daha kıvrak, oynanış tavrı bakımından daha zarif oyunlardır. Geleneksel yaşamda kadının erkekle aynı ortamda oyun oynaması hoş karşılanmaz. Bu nedenle kadın oyun icraları erkeğin katılamadığı ve hatta oynayan kadını göremediği mekanlarda -kapalı alanlar- gerçekleşir. Halk oyunlarının 1930’lu yıllardan itibaren sahneye taşınması, geleneksel yaşamda uygulanan bu kuralın şehirlerde geçerliliğini yitirmesine neden olmuştur. Zamanla kadın oyunları sahneye taşındığı gibi, kadın ve erkek sahne üzerinde birlikte, yan yana dans etmeye başlamıştır. Bu gelişmeler sonucu geleneksel oyunlar <em>karma oyunlar</em> adı altında –kadın ve erkeğin beraber oynadığı oyunlar- yeni bir kategoriye kavuşmuştur. Günümüzde geleneksel oyunlar oyuncunun cinsiyetine göre kadın oyunları, erkek oyunları ve karma oyunlar şeklindeki üç başlıkta ele alınır. Bu yazı sadece kadınlar tarafından oynanan zeybek türünde oyunların yapısal analizini içerir. </p>
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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.
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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.
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Nektarios, Peter Yioutsos. "Order in ancient Greek dance rituals: The dance of Pan and the Nymphs." Dramaturgias, no. 5 (October 27, 2017): 211–34. http://dx.doi.org/10.26512/dramaturgias.v0i5.8439.
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Dance maintained an important role in antiquity and was believed to be a ritual act that should be treated and performed with the outmost respect, regardless of its severe or ludicrous character. Despite the lack of adequate data, ancient sources now and again provide enough details on dance rituals, so as to be able to recognize and even more reconstruct the structure and order of an ancient performance, the so-called “τάξις” of Alkman. The cult of Pan and the Nymphs was deeply connected to dance and music. They were mostly celebrated in outdoor shrines and sacred grottos throughout the Greek countryside. Numerous votive offerings depict the circular dance of these vegetation deities, a dance representation where the researcher can recognize specific roles amongst the participants: the dance leader, the principal dancer, the chain of dancers and the musician. Their position in the dance ensemble was ranked accordingly, however, sex, age, appearance, and social status were also determining factors always taken into consideration.
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Dimopoulos, Konstantinos, Vasiliki Tyrovola, and Maria Koutsouba. "Social Structures, Gender Dimensions and Semantic Implications in Dance: The Sergiani Custom in the Village of Megala Kalivia (Trikala)." Mediterranean Journal of Social Sciences 8, no. 4 (July 27, 2017): 63–76. http://dx.doi.org/10.1515/mjss-2017-0006.
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AbstractThroughout the world there are rites and customs that take place in the context of a specific time and place. The dance act is a reflection of the local society, as it represents a way of validating or questioning the local structures, interpersonal and gender relations, as well as the community policies. Such custom would be the custom of sergiani in the community of Megala Kalyvia (Trikala). The aim of this paper is to examine the custom of sergiani and the role of the dance in that community. The collection and processing of data is based on the principles of ethnographic study. In order to examine the form of the dance, the structural-morphological model is used, while the dances were notated using the Labanotation system. The interpretation of the dance is based on the methodological optics as established by Hanna (1988), according to whom, in order to reach conclusions regarding the society and gender relations, dance must be taken into account. By controlling the patriarchal sovereignty in that community, the female gender would always find mechanisms to show resistance and renegotiate women’s role, position and relation not only against the opposite sex, but also within women. Those mechanisms are triggered through customary and dance practices, such as the sergiani custom.
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Nichols, Andrea. "Dance Ponnaya, Dance! Police Abuses Against Transgender Sex Workers in Sri Lanka." Feminist Criminology 5, no. 2 (April 2010): 195–222. http://dx.doi.org/10.1177/1557085110366226.
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Newman, Shawn. "It's All in the Hips: Sexual and Artistic Minority in Canadian Concert Jazz Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 118–23. http://dx.doi.org/10.1017/cor.2012.15.
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Contemporary sexual norms in Canada continue to dictate how sexuality should be presented on the stage in many styles of theatrical dance. Jazz dance is not excluded from this practice; in fact, since the early days of social dancing, jazz dance has often been considered synonymous with gratuitously deviant sex and sexuality. In contemporary artistic circles, concert jazz dance often finds itself subject to an additional classification as low-art because of this perceived relationship between sex and the dancing. This artistically marginalized position of concert jazz implies a conservative heteronormativity in Canada that is contrary to our apparent inclusion of subjugated sexual minorities as “normal.” “It's All in the Hips” explores sexuality in contemporary Canadian concert jazz dance to illustrate the potential for representations of marginalized sexualities on stage, and the perceived threat to artistic hegemony. While there is growing research into sexuality on the American stage in ballet and modern dance through scholars such as Jane C. Desmond, Jennifer Fisher, Susan Leigh Foster, and others, and also into jazz's roots in social dancing by Susan Manning, Anthea Kraut, Julie Malnig, and a growing host of scholars, very little work has been done on the Canadian concert jazz scene, save for the work of Iro Tembeck, Mark Miller, Meilan Lam, and a handful of dancers. This paper examines the intersection between sexual and artistic minority in Canadian concert jazz dance and problems that arise for positioning the form to dance audiences as high art.
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Rusmalla, Safran, and Setya Widyawati. "KOREOGRAFI TARI SUFI KOMUNITAS DZIKIR ZHAUWIYAH KECAMATAN KARTOSURO KABUPATEN SUKOHARJO." Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, no. 2 (February 6, 2020): 171–79. http://dx.doi.org/10.33153/grt.v18i2.2875.
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This research is a discussion on Sufi dance on Dzikir Zhauwiyah community. The problem in this study is the form of presentation, function and existence of Sufi dance. To discuss the issue using Sumandyo Hadi’s thoughts on dance elements consisting of elements combined into one, the staple elements of dance consist of 1) motion dance, explaining the motion used for example dance traditions or Kerakyatan, modern or creations, 2) floor patterns/Dance room, 3) dance music, 4) dance titles, 5) dance themes, 6) dancers (number and sex), 7) makeup costumes. To discuss about the function of Sufi dance using the thought of S. D Humardani which mentions that the dance function consists of primary and secondary functions. The results showed that Sufi dance choreography has meaning about the particles in the universe rotating around the sun in a direction to the left. Sufi Dance has a primary function namely as an aesthetic expression while its secondary function is as a means of ritual, meditation, therapy and media dhikr and da’wah function of the function shows that Sufi dance has a existence in the wider community. Keywords: dance, Sufi, Dzikir Zhauwiyah community.
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Yunita, Ririn, and Desfiarni Desfiarni. "BASAWUIK KATO MAELO RASO." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 121. http://dx.doi.org/10.24036/jsu.v9i2.110532.
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The creation of a dance work called "Basawuik Kato Maelo Raso" aims to create creative dance works and to train as well as to educate the creative power of a choreographer to prepare ideas through innovative movements as a communicative language in a dance work. Basawik Kato Maelo Raso(interlocked words and appeared feelings) dance work is a dramatic dance work which focuses on the daily life of Minangkabau youth. Basawik Kato Maelo Raso dance work is a dance work inspired by the social phenomena of community life in traditional ceremonies such as the inauguration of penghulu (leaders), the village official events, and wedding party. Batombe tradition has the meaning as a medium to express feelings of like or dislike to the opposite sex, and it has a different response in each society. Keywords: Basawuik Kato, Maelo Raso
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Dearey, Melissa. "Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video." Theoretical Criminology 22, no. 2 (March 21, 2017): 189–205. http://dx.doi.org/10.1177/1362480617699159.
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This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse.
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Dudzińska, Paulina. "Po cóż patrzeć pod wodę? Obrazy nie-ludzkich seksualności w amfibiotycznym kinie Jeana Painlevégo." Przegląd Humanistyczny, no. 65/4 (April 10, 2022): 49–68. http://dx.doi.org/10.31338/2657-599x.ph.2021-4.4.
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The article discusses the anthropomorphic strategies of presenting sex lives of non-human creatures in the cinematic works of Jean Painlevé (1902–1989). Regarding queer studies, I closely analyse the Love life of the octopus (1965), Sea horse (1934), Acera or the witches dance (1972). These films enable the formulation of the concepts of sex and sexuality that surpass the frames of anthropocentric, reprosexual heterorealism. I also discuss the theory of sexuality in the works of Deleuze and Guattari, indicating their concepts as productive to articulate the notions of sex and sexuality that are inclusive to the non-human.
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Khoirul, Rosyadi, and Edy Purwanto. "The Last Dance: Violence Against Child Sex Workers in Indonesia." Jurnal Inada: Kajian Perempuan Indonesia di Daerah Tertinggal, Terdepan, dan Terluar 6, no. 1 (July 13, 2023): 33–52. http://dx.doi.org/10.33541/ji.v6i1.4716.
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This research is a qualitative research that looks at how violence occurs to child sex workers in Dolly (before it was closed) Surabaya. This research method uses qualitative research with a case study approach. The results showed that child sex workers in Dolly Surabaya experienced physical, economic, or psychological violence from pimps and customers. This happens because of their dependence on pimps or moms economically. Child sex workers cannot put up any resistance.
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Veemees, Kristina. "Social Dance (shakō dansu) in Japan: Between Sociability and Sport." Vienna Journal of East Asian Studies 1, no. 1 (March 1, 2011): 123–45. http://dx.doi.org/10.2478/vjeas-2011-0005.
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Abstract Since the film Shall We Dansu? (1996) and many TV shows, social dance has become known to a wider audience in Japan. Nevertheless, prejudices such as „That doesn‟t suit the Japanese‟ continue to exist, because the intimate body contact in ballroom dancing is hard to accept in a culture where „skinship‟ (body contact) is only important during childhood. For this reason, dance schools were under the law controlling Japanese entertainment and the sex industry until 1998. This article deals with the historical situation and cultural issues of social dance in Japan.
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Schmidt, Mike, Rüdiger Reer, David A. Groneberg, Fabian Holzgreve, and Eileen M. Wanke. "Work-Related Musculoskeletal Disorders of Dance Teachers in Germany: A Retrospective Cross-Sectional Study." Applied Sciences 13, no. 3 (January 22, 2023): 1454. http://dx.doi.org/10.3390/app13031454.
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Maintaining the health of the musculoskeletal system in movement-associated professions, such as dance teachers, is of great importance for a long-lasting professional practice. The aim of this study was to record work-related musculoskeletal disorders and the causes of these disorders for dance teachers in Germany. Using a retrospective cross-sectional survey, data on the occurrence of work-related musculoskeletal disorders were collected from n = 229 dance teachers (n = 181 women) aged 22 to 77 years using an online questionnaire. In addition, differences between sexes and among dance styles were also analysed. The 12-month prevalence was 60.7% (95% CI: 54.0–67.1%), and on average, there were 2.58 disorders per dance teacher per year (95% CI: 2.17–2.99). Work-related musculoskeletal disorders affected male and female dance teachers equally (φ = 0.11, p = 0.088 resp. r = 0.080, p = 0.228). Disorders were mainly registered in the lumbar spine (14.9%) and ankle (12.5%). The joint structures (29.9%) and the musculature (20.9%) were most frequently affected. Specific movements (18.7%) as well as fatigue and overload (15.2%) were mentioned as the most frequent causes irrespective of dance style. Dance teachers were not significantly differently affected for musculoskeletal disorders than the general working German population. Future studies should consider a prospective evaluation of such disorders and develop prevention strategies with consideration of sex- and dance style-specific circumstances.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Sistarelli, Simone, Lucy E. Annett, and Peter J. Lovatt. "Effects of Popping For Parkinson's dance class on the mood of people with Parkinson's disease." British Journal of Neuroscience Nursing 19, no. 4 (August 2, 2023): 130–38. http://dx.doi.org/10.12968/bjnn.2023.19.4.130.
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Background/Aims Depression, low mood and apathy can affect people with Parkinson's disease, impacting on their quality of life. The aim of this study was to investigate the effects of one Popping For Parkinson's dance session on the mood of people with Parkinson's disease. Methods A total of 33 people with Parkinson's disease, with a mean age of 67.5 years (standard deviation 10.3 years), mean Parkinson's level of 1.8 (standard deviation 1.6), took part in one Popping For Parkinson's dance class at four different locations: London (UK), Hatfield (UK), New York City (USA) and Turin (Italy). Participants' mood was measured with the Profile of Mood States questionnaire at four time points: immediately before the dance class, immediately after the dance class, 24hours after the dance class and 1 week after the dance class. Results Participants' total mood score and the subscale score of vigour increased, while the subscales of tension, depression, and confusion decreased on the Profile of Mood States, significantly immediately after the dance intervention. However, at 24 hours and 1week after the dance class, mood scores did not differ significantly compared with baseline measurements. The improvements in mood immediately after the dance class did not differ depending on sex, age, previous dance experience, the location of the dance class, stage of Parkinson's disease, presence of tremor and deep brain stimulation treatment. Conclusions Participating in a Popping For Parkinson's dance class boosts mood in the short term, and this improvement lasts less than 24hours. This finding has implications for the provision of dance classes, suggesting that regular attendance may be necessary for sustained improvements. Further studies are needed to determine whether attending a series of Popping for Parkinson's classes may have longer-term effects.
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Sistarelli, Simone, Lucy E. Annett, and Peter J. Lovatt. "Effects of Popping For Parkinson’s dance class on the mood of people with Parkinson’s disease." International Journal of Therapy and Rehabilitation 30, no. 2 (February 2, 2023): 1–12. http://dx.doi.org/10.12968/ijtr.2021.0069.
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Background/Aims Depression, low mood and apathy can affect people with Parkinson’s disease, impacting on their quality of life. The aim of this study was to investigate the effects of one Popping For Parkinson’s dance session on the mood of people with Parkinson’s disease. Methods A total of 33 people with Parkinson’s disease, with a mean age of 67.5 years (standard deviation 10.3 years), mean Parkinson’s level of 1.8 (standard deviation 1.6), took part in one Popping For Parkinson's dance class at four different locations: London (UK), Hatfield (UK), New York City (USA) and Turin (Italy). Participants’ mood was measured with the Profile of Mood States questionnaire at four time points: immediately before the dance class, immediately after the dance class, 24 hours after the dance class and 1 week after the dance class. Results Participants’ total mood score and the subscale score of vigour increased, while the subscales of tension, depression, and confusion decreased on the Profile of Mood States, significantly immediately after the dance intervention. However, at 24 hours and 1 week after the dance class, mood scores did not differ significantly compared with baseline measurements. The improvements in mood immediately after the dance class did not differ depending on sex, age, previous dance experience, the location of the dance class, stage of Parkinson’s disease, presence of tremor and deep brain stimulation treatment. Conclusions Participating in a Popping For Parkinson’s dance class boosts mood in the short term, and this improvement lasts less than 24 hours. This finding has implications for the provision of dance classes, suggesting that regular attendance may be necessary for sustained improvements. Further studies are needed to determine whether attending a series of Popping for Parkinson’s classes may have longer-term effects.
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Bronner, Shaw. "Injury Characteristics in Pre-Professional Modern Dancers - Prospective Study of Differences Due to Sex, Training Year, and External Causal Mechanisms." Journal of Dance Medicine & Science 25, no. 2 (June 15, 2021): 117–30. http://dx.doi.org/10.12678/1089-313x.061521g.
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As efforts to improve surveillance and decrease injury rates in pre-professional dancer's progress, it is important to identify injury patterns and contexts. The aim of this study was to examine sex, training-based injury characteristics, and external causal mechanisms of injury among pre-professional modern dancers. Using a prospective cohort study design, 180 dancers (females = 140, males = 40, age 18.15 ± 0.68 years) were screened at freshman enrollment and followed for the 4 years of their college training. Injury, defined as medical attention injury (MAI) or time-loss injury (TLI), was classified by diagnosis, tissue category, body region, and incident event (action and dance environment). Negative binomial log-linear analyses evaluated injury rates by sex and training year. Multinomial regression compared injury characteristics and incident events, p < 0.05. Sex characteristics differed in height, mass, years of dance training, and previous injury (p ≤ 0.037). Total, traumatic, and overuse injuries per 1,000 hours decreased across training years for both injury definitions, p < 0.001, with no sex differences. In year 1, dancers were more likely to sustain muscle, tendon, and bone injuries (p ≤ 0.008) and to injure leg, ankle, foot, and hip, thigh, and knee regions (p ≤ 0.001). Jumping and running was the most commonly cited action mechanism in MAI and TLI in both sexes. Females were more likely to report alignment in MAI and TLI and jumping and running in TLI. Males were 1.4 times more likely to sustain muscle or tendon MAI (p = 0.006), while reporting partnering in MAI. Ballet class and rehearsals accounted for the majority of attributed dance environment mechanisms in MAI and TLI. Injury rates in pre-professional modern dancers decreased with training. Understanding sex, training, and external causal mechanisms will allow teachers to tailor programs to reduce injuries during training.
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van Winden, D., RM van Rijn, GJP Savelsbergh, RRD Oudejans, and JH Stubbe. "Characteristics and Extent of Mental Health Issues in Contemporary Dance Students." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 121–29. http://dx.doi.org/10.21091/mppa.2020.3019.
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AIMS: This study investigated the extent and characteristics of mental health issues in contemporary dance students, as clear insight into these health problems is lacking. METHODS: During one academic year, 134 dance and dance-teacher students were monitored on a monthly basis using the Performing artist and Athlete Health Monitor (PAHM). RESULTS: In total, 130 students were included in the analyses, comprising 81 dance students and 49 dance-teacher students. The response rate of the monthly questionnaires was 79.7%. Overall, 96.9% of the students reported at least one physical/mental health problem. The incidence proportion (IP) of all reported mental health issues for one academic year was 44.6% (n=58). Furthermore, 29.2% of the students reported a mental health issue as their most severe health problem, of whom 39.4% indicated a substantial mental health issue (i.e., problems leading to moderate, severe, or complete reductions in training volume or performance). The monthly IP of mental health issues ranged from 2.9 to 8.9% and 0 to 5.3% for substantial mental health issues. The most reported types of mental health issues were general anxiety (20.0%), stress due to external factors (18.3%), and constant tiredness (16.7%). Dance-teacher students of all study years and second-year students from both educational programs indicated significantly more mental health issues, while sex showed no significant differences. CONCLUSIONS: Contemporary dance students are at risk of mental health issues. Dance schools should pay special attention to stress, anxiety, and (constant) tiredness of their students. More research is needed to gain insight into specific characteristics and risk factors of mental health issues in dance students.
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Clignet, Remi, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Contemporary Sociology 18, no. 4 (July 1989): 602. http://dx.doi.org/10.2307/2073118.
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Jowitt, Deborah, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Dance Research Journal 20, no. 2 (1988): 57. http://dx.doi.org/10.2307/1478390.
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Koskoff, Ellen, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Ethnomusicology 34, no. 3 (1990): 457. http://dx.doi.org/10.2307/851631.
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Hughes-Freeland, Felicia, and Judith Lynne Hanna. "Dance, Sex and Gender: Signs of Identity, Dominance, Defiance and Desire." Man 24, no. 4 (December 1989): 692. http://dx.doi.org/10.2307/2804306.
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Christensen, Julia F., Camilo José Cela-Conde, and Antoni Gomila. "Not all about sex: neural and biobehavioral functions of human dance." Annals of the New York Academy of Sciences 1400, no. 1 (July 2017): 8–32. http://dx.doi.org/10.1111/nyas.13420.
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Kozai, Andrea C., Emily Twitchett, Sian Morgan, and Matthew Alexander Wyon. "Workload Intensity and Rest Periods in Professional Ballet: Connotations for Injury." International Journal of Sports Medicine 41, no. 06 (February 11, 2020): 373–79. http://dx.doi.org/10.1055/a-1083-6539.
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AbstractFatigue and overwork have been cited as the main cause of injury with the dance profession. Previous research has shown a difference in workload between professional dancers of different rank, but the role of sex has not been examined. The purpose of this study was to determine workload intensity, rest, and sleep profiles of professional ballet dancers. 48 professional ballet dancers (M=25, F=23) took part in an observational design over 7–14 days using triaxial accelerometer devices. Minutes in METS at different intensities, total time asleep and rest breaks were analysed. Significant main effects for rank (p<0.001) and rank by sex (p=0.003) for total PA, working day activity, post work activity and sleep. Sleep ranged between 2.4–9.6 h per night. All participants spent more time between 1.5–3 METS outside of work. Significant amounts of exercise where carried out outside of their work day, therefore when injury is reported per 1000 h dance activity, this extra-curricular activity might need to be included. When looking at potential causes of injury in dance, a global perspective of physical activity is required that includes activity outside of work and sleep patterns, all activities that influence physiological recovery.
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Wanke, Eileen M., Jasmin Haenel, and David Alexander Groneberg. "Musculoskeletal Pain in Latin American Formation Dance: Localization, Assessment, and Related Behavior." Journal of Dance Medicine & Science 24, no. 1 (March 15, 2020): 24–32. http://dx.doi.org/10.12678/1089-313x.24.1.24.
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Competitive Latin formation dance, a form of dancesport, places extreme physical demands on dancers that can cause pain. Due to the sex-specific requirements of dancesport, sex-specific differences in pain are probable. The aim of this study was to analyze pain with regard to prevalence, localization, perception, assessment, and related behavior in male and female Latin formation dancers. The quantitative cross-sectional observational study was carried out with 41 female and 31 male dancers of a national premier league by use of an anonymous online survey, with 3- and 12-month pain intervals being recorded. Of all participating subjects, 33 females and 26 males confirmed having been in pain during the most recent 3 months and provided detailed information on the pain factors being studied. In order to operationalize pain characteristics, existing pain assessment measures were adapted for dancers. For the most painful body regions, accompanying symptoms, pain intensity, pain perception, and pain evaluation were surveyed. The pain behavior section included questions about trusted persons and dancing despite pain, as well as pain management strategies. As to pain localization, several parts of the lower extremity (hip joint, groin, ankle joint, forefoot, and toes) were significantly more affected in females than in males (p < 0.05). Sensory and affective pain perception ranged from "hardly" to "moderate," with female dancers being more severely affected. Almost 80% of each sex continued dancing despite pain. Intrinsic motives and solidarity with the dance team were most often given as reasons for this behavior. Primarily, sex-specific physical requirements seemed to be most relevant in the occurrence of pain; in addition, pain assessment characteristics and personal behavior were related to attitudes regarding pain and injury. Therefore, in addition to sex, motivational and socio-cultural factors should be considered in future studies of this subject.
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Burns, Jan. "Gender identity and women with learning disabilities: the third sex." Clinical Psychology Forum 1, no. 137 (March 2000): 11–15. http://dx.doi.org/10.53841/bpscpf.2000.1.137.11.
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Louise is a woman with Down’s Syndrome. She was referred because the staff at her residential home are concerned that she has an eating disorder. She has lost three stones in the last few months and is now slightly below the average weight for a woman of her height. Louise is 40, but presents as a woman of a much younger age. She likes to wear crop tops, appear fashionable, dance andflirt with young men.
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Asmara, Rangga, and Widya Ratna Kusumaningrum. "An Early Childhood Sex Education Model: Deconstructing Symbolic Meanings of Sintren Dance based on Gender Perspectives." SALASIKA: Indonesian Journal of Gender, Women, Child, and Social Inclusion's Studies 2, no. 1 (January 31, 2019): 39–60. http://dx.doi.org/10.36625/sj.v2i1.36.
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This study aims to: (1) describe symbols of Sintren dance based on gender perspectives and (2) develop an early childhood sex education model by deconstructing the symbolic meanings of Sintren dance texts based on gender perspectives. This research used two research-designs i.e. semiotic analysis and design based research. Semiotics analysis used is the Derrida’s deconstruction model. The analysed data were from the text of Sintren dance performance of Paguyuban Sintren Sekar Arum Glandang Village, Bantarbolang Sub district, Pemalang Regency. The methods used for gathering the data were observation techniques, documentation studies, and in-depth interviews. The method for analysing the data referred to the Derrida’s deconstruction analysis model, including (1) the interpretation of presence-absence and its difference by unboxing the existing interpretation, (2) the interpretation of trace which refers to the sense of the origin of reality, and (3) reproduction or recreation. Meanwhile, the design-based research procedure was adapted from the Reeves’ model, covered: identifying needs and its potencies from deconstruction process, developing a prototype model, validating the model in the form of expert validation, testing the model, and reflection. The model was constructed to emphasize on the kids’ awareness of their conditions, care, and protection from any sexual harassment. The materials were validated and scored “good” to be used, predominantly it concerns about cognitive, affective, and psychomotor aspects.
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Aksu, Neslihan, Vefa Atansay, Taner Aksu, and Işık Karalök. "Patellofemoral Chondropathy Areas in Folk Dancers: An MRI Study." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 34–38. http://dx.doi.org/10.21091/mppa.2021.1005.
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BACKGROUND: Patellofemoral chondropathy (PFC) is one of the most important causes of patellofemoral pain syndrome. PFC may occur as a result of anatomic reasons such as patellar malalignment and/or increased patellofemoral joint stresses. Most research on this subject has involved sports injuries and anatomic variations. The literature is scarce on PFC related to the dance. METHODS: Fourteen dancers (14 knees, all male) were found to have PFC based on MRI evaluations and clinical examinations between January 2010 and December 2019 (3 dancers were excluded due to prior surgeries of the knee). Age, sex, side of injury, range of motion, Q angle, types of dances, body mass index, and patellar specifics (alta, baja, Wiberg) were recorded for 11 dancers included in the study. We observed PFC at the femoral contact areas (FCA) and patellar contact areas (PCA) of Goodfellow description. RESULTS: Chondral lesions were observed at Gooodfellow areas FCA-3 in 2 dancers, FCA-4 in 5 dancers, PCA-2 in 10 dancers, PCA-3 in 10 dancers, and PCA-4 in 9 dancers. CONCLUSION: Dance styles that include frequent deep flexions and strolling on a flexed knee joint may be risk factors for chondral lesions in the contact area of the femur in male dancers.
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McMains, Juliet. "Rebellious Wallflowers and QueerTangueras: The Rise of Female Leaders in Buenos Aires’ Tango Scene." Dance Research 36, no. 2 (November 2018): 173–97. http://dx.doi.org/10.3366/drs.2018.0237.
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This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.
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Wanke, Eileen M., Helmgard Mill, Alice Wanke, Jacqueline Davenport, Fistd Checcetti, Franziska Koch, and David A. Groneberg. "Dance Partner or Dance Floor?: Exogenous Factors Resulting in Accidents in Professional Dancers." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 131–36. http://dx.doi.org/10.21091/mppa.2013.3027.
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OBJECTIVE: Injury prevention in professional dancers is very important due to the high risk for acute injuries posing a threat to dancers’ careers. Causative factors of acute injuries in professional dance can be divided into exogenous and endogenous factors. Although both are known in professional dance, there is still a lack of data to have a differentiated view. The aim of this study is to analyze exogenous factors resulting in work accidents of professional dancers. METHODS: The data for the evaluation were obtained from work accident reports (n = 1,438, female 722, male 716) from six Berlin Theatres. Evaluation and descriptive statistics were conducted by SPSS 18 and Excel 2007. RESULTS: About half (48.5%, n = 698) of all work accidents are caused by exogenous factors. The “dance partner” is the most common exogenous factor (39.9%), followed by the dance floor (28.24%) and props (13.6%). The lower extremity is the most frequent structure injured in either sex (male 47.3%, female 61.3%), followed by the upper extremity in females (14.6%) and spine in male dancers (19.8%). The stage is the most common injury location in both genders (males 63.9%, females 56.8%). Acute injuries caused by exogenous factors were particularly sustained during performances (males 58.8%, females 50.5%) and during rehearsals (males 33%, females 39.9%). CONCLUSION: This study shows the key significance of exogenous factors in acute injuries in professional dance. Preserving the dancers’ health and preventing injuries takes top priority, and therefore, interventions in the artistic work cannot be ruled out when preventive measures are implemented.
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Murray, Rosalind L., Jill Wheeler, Darryl T. Gwynne, and Luc F. Bussière. "Sexual selection on multiple female ornaments in dance flies." Proceedings of the Royal Society B: Biological Sciences 285, no. 1887 (September 19, 2018): 20181525. http://dx.doi.org/10.1098/rspb.2018.1525.
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Sex-specific ornaments typically occur in males, but they can also develop in females. While there are several models concerning the evolution of male-specific ornaments, it is not clear how, or under what circumstances, those models apply to female-specific ornament evolution. Here, we present a manipulative field experiment that explores the theoretical ‘trait space’ of multiple female-specific ornaments to study how these unusual traits evolved. We measured the attractiveness of two female-specific ornaments (pinnate leg scales and inflatable abdominal sacs) in the dance fly Rhamphomyia longicauda in a wild mating swarm. We found significant directional preferences for larger ornaments of both types; however, variation in one of the ornaments (abdominal sacs) was almost three times more effective at improving attractiveness. The abdominal ornament was consistently effective in increasing attractiveness to males regardless of leg ornament expression, while leg ornament size was only effective if abdominal ornaments were very small. These results are consistent with predictions from a sexual conflict model of ornament expression in supporting the probable role of deception in the evolution of female-specific ornaments among dance flies. Sexual conflict can be an important force in generating elaborate sex-specific ornaments in females as well as males.
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Ota, Nao, Manfred Gahr, and Masayo Soma. "Couples showing off: Audience promotes both male and female multimodal courtship display in a songbird." Science Advances 4, no. 10 (October 2018): eaat4779. http://dx.doi.org/10.1126/sciadv.aat4779.
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Social environments can shape animal communication. Although mutual courtship displays are generally thought to function in private communication between a male and a female, we provide experimental evidence that they work in a broader social context than previously thought. We examined the audience effect on mutual courtship in blue-capped cordon-bleus, a socially monogamous songbird. This species is characterized by conspicuous courtship shared between sexes: Both sexes sing songs and sometimes add a unique dance display that looks like human tap dancing. We found that in both sexes, multimodal courtship displays (song accompanied by dance) were promoted in the presence of an audience, especially if it was the opposite sex. In contrast, unimodal displays (song without dance) were suppressed by audiences. Because birds directed the courtship dancing toward their partners (but not the audience), multimodal courtship displays are likely meant to advertise their current mating status to other cordon-bleus.
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Howard-Snyder, Frances. "Human Contact." After Dinner Conversation 3, no. 8 (2022): 92–111. http://dx.doi.org/10.5840/adc20223877.
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How does perception of sexual assault confirm or create the reality? In this work of sex ethic short story fiction, Viola is a college student at a local party. She starts drinking at the party, and gets drunk. She strikes up a conversation with, and takes an interest in Greg, one of the fellow college students at the party. She drinks and dance into the night. Eventually, with her consent, her friends leave the party, leaving her to continue socializing with people at the party. She ends up meeting a guy and having drunken sex with him at the party. The next morning she meets up with a few of her female friends that question her about the previous night. At first, they chalk up her drunken sex as a “we’ve all been there” moment, however, her friends ask her to recount the night and eventually explain to her they think she was raped. Viola isn’t so sure, but she is starting to see their perspective.
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Honig, Bonnie. "Epistemology of the Curtain: Sex, Sound, and Solidarity in Singin' in the Rain and Sorry to Bother You." Cultural Critique 121, no. 1 (September 2023): 1–41. http://dx.doi.org/10.1353/cul.2023.a905073.
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Abstract: Singin' in the Rain (Donen and Kelly, 1952) and Sorry to Bother You (Boots Riley, 2018) carry a common thread: one (mostly) enacts and the other subverts the "epistemology of the curtain." The curtain, iconic to sound studies' acousmatic sound objects, is a figure of forensic knowing, but Sorry queers it, decentering Singin 's curtained couples with a crowd and highlighting, maybe even repairing, the raced dance theft that Carol Clover first traced in Singin '. Harlem's Black Hoofers of early twentieth-century dance, usually unremunerated and uncredited, return with a vengeance in Sorry as the equisapiens that Cash Green first encounters in a men's room. Where Schaeffer named Pythagoras as a figure for sound studies, the queered curtain of sound studies might call, rather, for Pan.
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Hall, Marshall, Henry Lim, Suhhyun Kim, Kimberly G. Fulda, and Sajid A. Surve. "A Cross-Sectional Study Comparing Traumatic Alopecia Among B-Boys and B-Girls to Other Dance Styles and Its Impact on Dance Performance and Health." Journal of Dance Medicine & Science 27, no. 1 (March 2023): 13–19. http://dx.doi.org/10.1177/1089313x231176598.
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Introduction: Breaking, often mislabeled as breakdancing in the media, is a dance style originating from the Bronx of New York in the early 1970s. A unique condition in this population is a form of alopecia known as “headspin hole,” or “breakdancer overuse syndrome” of the scalp. This form of hair loss may show a variety of patterns based on the activities of the dancer. The purpose of this study was to investigate the relationship between alopecia and breaking, the level of concern dancers have regarding hair loss, barriers to medical treatment, and how it affects their dancing. Methods: This was a cross-sectional study using an online survey. The survey addressed participants’ demographics, hair, dancing styles, training, and health history. Questions about the effects of hair loss on the participants were also asked. Results: This study found that there was a significant difference in hair loss among breakers compared to non-breakers. This was not seen after controlling for age and sex. However, the concern for hair loss was significant even after controlling for these variables. Similarly, hair loss was significantly associated with the frequency of headspins. Despite these concerns, breakers were less likely to seek medical attention. Conclusions: This study showed that there are significant disparities in hair loss between breaking and other dance styles. Hair loss due to breaking has been shown to have significant effects on an individual’s concerns, which may be compounded by the fact that this population is less likely to seek out medical care and have significantly greater substance use compared to the other dancers surveyed. Further research is necessary to investigate interventions to prevent and treat hair loss in this population and the means to decrease the gap in health care in the dance population.
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Berry, Maya J. "Black Feminist Rumba Pedagogies." Dance Research Journal 53, no. 2 (August 2021): 27–48. http://dx.doi.org/10.1017/s014976772100019x.
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AbstractRumba guaguancó, a sub-genre of Afro-Cuban popular dance, has been widely defined as a dance of courtship, characterized as a male pursuit of a woman's sex. The article analyzes alternative meanings of the sub-genre articulated in the pedagogical practices of black women rumba dancers. Insights were gleaned from the author's own dance training in Havana while conducting original ethnographic research between 2009 and 2018. What the author terms “a black feminist choreographic aptitude” taught by rumberas (women rumba dancers) speaks to the pointedly gendered valances of worsening racialized class inequality in contemporary Cuba. Building on Blanco Borelli's theory of “hip(g)nosis,” the article interrogates the racialized and gendered discourses historically reproduced through dominant definitions of rumba, limiting women of African descent to sexual objects. The study argues for increased critical attention to pedagogy as a hermeneutical tool, centering those subjects historically marginalized from the production of knowledge about their bodies.
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Woldemariam, Metasebia. "A Review of “Dance and the Hollywood Latina: Race, Sex, and Stardom”." Quarterly Review of Film and Video 30, no. 4 (July 2013): 396–99. http://dx.doi.org/10.1080/10509208.2011.649654.
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Arrowsmith, Rupert Richard. "Transcultural Literature and Art, Dance and Sex in the Early Twentieth Century." Wasafiri 26, no. 3 (September 2011): 38–49. http://dx.doi.org/10.1080/02690055.2011.583759.
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Dahl, Sofia, David Huron, Garvin Brod, and Eckart Altenmüller. "Preferred Dance Tempo: Does Sex or Body Morphology Influence How We Groove?" Journal of New Music Research 43, no. 2 (March 17, 2014): 214–23. http://dx.doi.org/10.1080/09298215.2014.884144.
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Luke, Anthony C., Susan A. Kinney, Pierre A. D’Hemecourt, Jessica Baum, Michael Owen, and Lyle J. Micheli. "Determinants of Injuries in Young Dancers." Medical Problems of Performing Artists 17, no. 3 (September 1, 2002): 105–12. http://dx.doi.org/10.21091/mppa.2002.3016.
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The epidemiology of dance injuries requires further study, in order to properly implement effective health interventions. This study aimed to pilot injury surveillance tools to assess the incidence of injuries in adolescent pre-professional dancers and identify the intrinsic and extrinsic risk factors associated with dance injuries. The study involved a prospective, cohort design. A population of adolescent dancers at a liberal arts high school dance program in Natick, Massachusetts, was studied over the nine-month school year in 2000/2001. Intrinsic risk factors, including anatomical characteristics, past medical history, menstrual history, and dance experience, were assessed with a pre-participation history and orthopedic physical exam. The extrinsic risk factors, including training, fatigue, stress, shoes, and calcium intake, were assessed with surveys completed every two weeks by the dancers. Study outcomes were: 1) self-reported injuries (SRIs), 2) reported injuries (RIs) assessed by a physical therapist in the school clinic, 3) duration of injuries, and 4) severity of injuries. Descriptive statistics and univariate analyses were performed on each risk factor. Thirty-nine of 55 dancers participated in the study. The average age was 15.3 years, and 85% of the dancers were female. The return rate for the biweekly surveys was 90%. Over one school year, there were 112 self-reported injuries, averaging 2.8 SRIs per dancer, and 71 reported injuries assessed by the physical therapist, averaging 1.4 RIs per dancer. Consistent with other studies, the most common locations for injuries were ankles, lower leg/calf, and back, usually caused by overuse, muscle strains, and sprains. Although the female dancers reported dancing significantly more hours (3.3 hours per day) than the males (2.7 hours/day), the males had a higher injury rate of SRIs (8.4 injuries/1,000 exposure hours of dancing vs. 4.1 injuries/1,000 hours) as well as RIs (5.5 injuries/1,000 hours vs. 2.6 injuries/1,000 hours). Older age and male sex were risk factors associated with SRIs and RIs. Most risk factors were found not to be statistically associated with the number of SRIs or RIs. Self-reported injuries occur frequently in pre-professional student dancers, who seek medical care in more than half the cases. Health professionals involved with dancers should be familiar with posterior ankle and low back problems. The rates of injuries appear almost twice as high in male dancers than female dancers. The main limitations to this study were small sample size and misclassification, recall, and reporting biases. With the information and tools of this pilot study, a multi-center study can be carried out to better assess risk factors on a larger dance population. Further research should aim to standardize injury definitions and classifications.
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Damsholt, Inger. "The Brudevals, ‘Danishness’ and lived reality." Nordic Journal of Dance 11, no. 1 (June 1, 2020): 16–27. http://dx.doi.org/10.2478/njd-2020-0003.
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AbstractThis article represents part of the author’s ongoing empirical study of the Danish brudevals (bridal waltz) tradition recognized by the means of three characteristic conditions: a specific piece of music by Niels W. Gade, a particular group choreography in which a circle of clapping guests slowly move closer to the newlywed couple and a final section of the ritual in which guests cut the tips of the groom’s socks. The purpose of the article is to highlight how current realisations of the dance reveal the brudevals as a dynamic living tradition and to show the complexity of the political implications it can have when dancing it. Drawing on Sarah Ahmed’s affect theory, the article argues that different negotiations of the brudevals naturalise various understandings of ‘Danishness’. The article argues that an alternative contemporary form of the brudevals, which incorporates a montage of international popular dance and music, produces a version of national identity that underlines the notion of world citizenship as a significant part of being Danish. In realisations of the brudevals danced by same-sex couples, a kind of ‘Danishness’ is produced through affect that naturalises and celebrates Lesbian, gay, bisexual, transgender, queer/questioning, intersex and asexual (LGBTQIA) marriages. Finally, a Turkish-Danish brudevals produces a multiculturalist understanding of ‘Danishness’, which does not conform to a specific national cultural heritage but can encompass several ethnic groups.
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Tocto-Sarango, Maricela, Diego Andrés Heredia-León, and Fabián Arturo Sanmartín-Rodríguez. "Parish reasons for the practice of extracurricular physical exercise: differences according to sex and sport." Revista Metropolitana de Ciencias Aplicadas 6, Suplemento 1 (March 1, 2023): 330–37. http://dx.doi.org/10.62452/dyd6jh12.
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The objective of this study was to identify the reasons for the practice of extracurricular physical exercise in children based on gender and sport. An analytical cross-sectional study design was used; through the application of the self-report questionnaire of Reasons for the Practice of Physical Exercise. The study sample consisted of 41 participants aged 6 to 12 years (M = 9.54, SD = 1.85), of whom 21 were male and 20 were female. The results showed that there are no differences based on sex, on the other hand, depending on the sport, there are differences in the factors: competition, social recognition and health emergencies for the sports of soccer, boxing and folk dance, while for the factors of muscular strength and endurance and health emergencies the differences were only found in the disciplines soccer and folk dance. It is concluded that coaches should encourage motivation so that these physical sports skills are oriented towards the various reasons for practice, which will contribute to a healthy lifestyle in athletes of childhood ages.
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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.
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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk dance books from the 1960s. In these books, dances are attached to certain geographical areas, which is not merely contextual information but also entails stylistic features of a specific dance. Most dances are connected to a certain parish, and in some cases the province is mentioned, as well. In practice, for most folk dancers, the names of the areas do not have much significance as material domain, but they are elements of a map of a danced region, and as such the dances are a part of imaginative geographies, performed spaces. Following the British geographer Derek Gregory, I see folk dances as a continuation of performances that necessarily creates novelty, which allows one to experience spaces differently. The books are danced atlases presenting the Nordic region as a series of performed spaces. They address how the Nordic region has been represented in a danced form, emphasizing affiliation and unity, as well as distinction and disjointedness.
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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 03 (January 2006): 349–89. http://dx.doi.org/10.1017/s0003161500064518.
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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin. The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do. There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round. When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened. . . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176 The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 3 (January 2006): 349–89. http://dx.doi.org/10.1353/tam.2006.0048.
Full textAbstract:
The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin.The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do.There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round.When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened.. . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Buttram, Mance E., Steven P. Kurtz, and Roddia J. Paul. "Sexual risk behaviours associated with unlicensed driving among young adults in Miami’s electronic dance music nightclub scene." Sexual Health 14, no. 6 (2017): 584. http://dx.doi.org/10.1071/sh17073.
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Literature indicates that unlicensed driving (UD) offenders report substance use risk behaviours, yet data related to sexual risk behaviours is unknown. This study examined sexual and other risk behaviours among young adults in Miami, Florida, comparing UD and non-UD offenders (n = 498). Compared with others, UD offenders were more likely to report group sex history, being high for sex half the time or more, purchasing sex and sexually transmissible infection history. Results suggest that locating sexual risk reduction interventions inside of the justice system would benefit UD offenders.
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Hardege, J. D., H. D. Bartels-Hardege, Y. Yang, B. L. Wu, M. Y. Zhu, and E. Zeeck. "Environmental control of reproduction in Perinereis nuntia var. brevicirrus." Journal of the Marine Biological Association of the United Kingdom 74, no. 4 (November 1994): 903–18. http://dx.doi.org/10.1017/s0025315400090135.
Full textAbstract:
Perinereis nuntia brevicirrus (Grube 1857), collected from a rocky shore at Qingdao (China) were cultured under different temperature, daylength and moonlight regimes. Ripe individuals were found in the field after an increase of water temperature in early summer, with a semilunar spawning peak from the beginning of June to the end of September. In laboratory experiments, daylength has no influence on maturation and reproduction. Temperature-controlled culture produces gravid, reproducing specimens at any time of the year after an increase in water temperature. For reproduction both sexual partners leave their burrows and swarm at the water surface in the early morning, performing a nuptial dance. The spawning behaviour, the nuptial dance and the release of gametes, are controlled by sex pheromones which are present in the coelomic fluid of mature worms. A sex pheromone from Platynereis dumerilü, 5-methyl-3-heptanone, is found in Perinereis nuntia brevicirrus and causes an increase in swimming activity during reproduction and the release of a small amount of sperm from males. This signal induces the release of eggs by the females followed by the release of masses of sperm by the male due to a second female pheromone.
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Deaux, Kay. "Review of Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire." Contemporary Psychology: A Journal of Reviews 34, no. 3 (March 1989): 296. http://dx.doi.org/10.1037/027824.
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Willson, Margaret. "Playing the dance, dancing the game: Race, sex and stereotype in anthropological fieldwork*." Ethnos 62, no. 3-4 (January 1997): 24–48. http://dx.doi.org/10.1080/00141844.1997.9981551.
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