Journal articles: 'The Last Dance'

1

Edler, Peter R. "Last Dance." Antioch Review 46, no. 3 (1988): 303. http://dx.doi.org/10.2307/4611900.

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Vanmeenen, Karen. "Last Dance." Afterimage 23, no. 3 (November 1995): 3. http://dx.doi.org/10.1525/aft.1995.23.3.3.

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BURN, JERI. "Last dance." Nursing 32, no. 8 (August 2002): 57. http://dx.doi.org/10.1097/00152193-200208000-00050.

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Lavelle, M. "Last dance?" Science 348, no. 6241 (June 18, 2015): 1300–1305. http://dx.doi.org/10.1126/science.348.6241.1300.

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Haines, Harry Albert. "Last Dance." Missouri Review 18, no. 2 (1995): 209–23. http://dx.doi.org/10.1353/mis.1995.0009.

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Nathan, Daniel A. "The Last Dance." Journal of American History 108, no. 1 (June 1, 2021): 217–22. http://dx.doi.org/10.1093/jahist/jaab056.

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Berg, Ann Vander. "One Last Dance." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 64, no. 2 (June 2010): 1–2. http://dx.doi.org/10.1177/154230501006400213.

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Reeves, R. W. K. "The last dance." Psychiatric Bulletin 17, no. 5 (May 1993): 293. http://dx.doi.org/10.1192/pb.17.5.293.

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In December we held the last dance. Shortly after 1 a.m. the ghosts of long dead patients would have heard the strains of Auld Lang Syne drifting down the hospital corridors. Perhaps they should have joined us.

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Manca, Andrea. "Woody’s last dance." Canadian Medical Association Journal 190, no. 29 (July 22, 2018): E889. http://dx.doi.org/10.1503/cmaj.180356.

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Vaughan, George B. "The Last Dance." Community College Review 34, no. 4 (April 2007): 253–54. http://dx.doi.org/10.1177/0091552106298369.

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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.

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Fowler, Cynthia. "Save the last dance." Nursing 35, no. 12 (December 2005): 32hn8. http://dx.doi.org/10.1097/00152193-200512000-00035.

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Takemoto, Tina. "Crimp’s Last Dance Film Essay." Art Journal 79, no. 3 (July 2, 2020): 19–23. http://dx.doi.org/10.1080/00043249.2020.1801093.

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Spisak, April. "Last Dance by Hanna Schroy." Bulletin of the Center for Children's Books 74, no. 3 (2020): 144–45. http://dx.doi.org/10.1353/bcc.2020.0785.

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Elaine R. Barkin. "XTET: Last Dance for Milton." Perspectives of New Music 49, no. 2S (2012): 66. http://dx.doi.org/10.7757/persnewmusi.49.2s.0066.

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Elaine R. Barkin. "XTET: Last Dance for Milton." Perspectives of New Music 49, no. 2S (2012): 66–81. http://dx.doi.org/10.1353/pnm.2012.0072.

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Mathis-Masury, E. Hollister. "Aesthetic Education and Reform: The German Approach to Dance Education." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 266–68. http://dx.doi.org/10.1017/s2049125500001199.

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Dance education in Germany is traditionally based upon the concept of “aesthetic education.” This presentation delineates Rousseau's original terminology, contrasting it with the German interpretation, which reduces the originally reflexive idea to a simple antithesis of rationalism. This dualistic development is key to understanding the systematic exclusion of dance from formal education: at the moment in which dance is relegated to be the “other” of rationalism, it is guaranteed a position outside of rationally based educational concepts. The study of other art forms is included therein; why not dancei Is dance Germany's last bastion of irrationality?

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Harris, Curtis M. "The Last Dance, a Lost Opportunity." Journal of Sport History 47, no. 3 (2020): 273–75. http://dx.doi.org/10.1353/sph.2020.0055.

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Vogan, Travis. "Sport Scholars on The Last Dance." Journal of Sport History 47, no. 3 (2020): 263. http://dx.doi.org/10.1353/sph.2020.0077.

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Moyle, Richard. "Save the last dance — for me?" Musicology Australia 16, no. 1 (January 1993): 48–57. http://dx.doi.org/10.1080/08145857.1993.10415223.

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Dunin, Kinga. "The Shameless Dance Cannot Last Forever." Teksty Drugie 1 (2017): 177–84. http://dx.doi.org/10.18318/td.2017.en.1.11.

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Tucker, Aaren. "Last Chance Dance by Lakita Wilson." Bulletin of the Center for Children's Books 76, no. 6 (February 2023): 206. http://dx.doi.org/10.1353/bcc.2023.0103.

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Vevar, Rok, and Irena Z. Tomažin. "Dance, voice, speech, sound." Maska 36, no. 203 (September 1, 2021): 71–84. http://dx.doi.org/10.1386/maska_00075_1.

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This text is part of a research collection of examples that we selected for the workshop On Voice and Dance for the European Dancehouse Network at the international contemporary dance festival CoFestival 2020 together with Irena Z. Tomažin, a dancer, experimental musician and choreo-vocalist, who has given the contemporary dance community in Ljubljana some excellent performances in this field, in which the body and the voice posed a series of puzzling problems for us. The text is a selective outline of the topics at hand, it goes into the history of contemporary dance, cites some fundamental reference articles and books, to which many others could certainly be added. It focuses on selected aspects of choreo-vocalistics, the sound of the body and choreographies, and aims to use this material to inform further research with the help of considerably more ambitious thinkers. Last but not least, it is a product of last year’s CoFestival curatorial topic, The Amplifiers of Voices, with which we wanted to give some attention to the silenced voice of contemporary dance in a pandemic situation with empty stages. This article has no illusions that it could capture and address the topic in its immense complexity and comprehensiveness, and we apologize to the dancers we have unintentionally omitted in our treatment.

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Cardinal, Marita K., Kim A. Rogers, and Bradley J. Cardinal. "Inclusion of Dancer Wellness Education Programs in U.S. Colleges and Universities: A 20-Year Update." Journal of Dance Medicine & Science 24, no. 2 (June 15, 2020): 73–87. http://dx.doi.org/10.12678/1089-313x.24.2.73.

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During the 1990s dancer wellness education began to be codified and understood empirically in U.S. colleges and universities. Those efforts stemmed from a burgeoning knowledge base in dance medicine and science that continues to evolve. However, the current status of dancer wellness education remains largely undocumented. The purpose of this study was to explore the inclusion of dancer wellness education in U.S. colleges and universities. The results were derived from a cross-sectional study of 199 higher education dance administrators at 4-year institutions that were selected using stratified random sampling procedures with data collected through an online survey. Seventy-two participants (36.18%) completed at least part of the survey, and of those 62 (86.11%) completed the entire survey. The majority of dance programs were undergraduate-only (71%), not accredited by the National Association of Schools of Dance (67%), and emphasized dance performance and choreography (89%). Sixty percent offered a formal dancer wellness program, 70% had at least one dancer wellness specialist on faculty, and 20% offered training programs to become dancer wellness specialists. Fewer than half (42.19%) preferred their faculty to have college or university level study in dancer wellness, and only 17.19% required it. Of 11 possible curricular topics, the typical undergraduate program included 64.52% and the typical graduate program 51.87%. Regardless of program level, the top five topics were anatomy, kinesiology, somatics, dance conditioning, and dance injuries. The average school offered 58% of identified supplementary programs at "high levels." Only modest differences were found between programs based on degree level, accreditation status, or program affiliation. Although some positive trends in the evolution of dancer wellness education have occurred over the last two decades, there remains a need for ongoing advocacy and widespread implementation in U.S. colleges and universities.

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Engelhart, Monica. "The Dancing Picture - The Ritual Dance of Native Australians." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 75–90. http://dx.doi.org/10.30674/scripta.67224.

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What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out. This last aspect leads us to the second item of interest regarding the ritual dance in Australia, an issue that has been discussed at length regarding masked dancers in other societies, i.e., the question of whether the dancer is identified with the being represented, or merely performs as an actor in a play. In this discussion, the very technique of dancing may have some explanatory faculty, at least as long as we are dealing with Native Australian ritual dance.

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Vukadinovic, Maja. "Psychological research in dance." Zbornik Matice srpske za drustvene nauke, no. 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.

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This paper examines dance as a significant ethnological, historical, geographical, sociological, artistic, musical, aesthetic, psychological, biological, and psychotherapeutic phenomenon. The main focus is on its psychological aspects and the interconnectedness of psychological and physical components, which enables a unique experience not only for the person who dances but also for the observers. In the first part, the complex phenomenon of dance is elaborated, differences between spontaneous dance and dance as an artistic discipline are highlighted and a new comprehensive definition of dance is offered. Secondly, different aspects of dance are looked at through the prism of questions that intrigue researchers in various psychological disciplines such as developmental psychology, social, cognitive, health and clinical psychology, physiological, evolutionary, and finally the psychology of creativity. The last chapter provides the basic determinants of artistic dance from the perspective of the psychology of creativity. Specific issues related to artistic dance are discussed, including the characteristics of a creative person - choreographer or performer, creative process, work of art - dance, audience and creative environment. The paper concludes with a brief overview of the importance of psychology for the field of dance, and vice versa, emphasizing the continuous interchange between the two.

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Suddler. "Michael Jordan's “Last Dance” around Social Responsibility." Journal of Sport History 47, no. 3 (2020): 271. http://dx.doi.org/10.5406/jsporthistory.47.3.0271.

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Suddler, Carl. "Michael Jordan's "Last Dance" around Social Responsibility." Journal of Sport History 47, no. 3 (2020): 271–72. http://dx.doi.org/10.1353/sph.2020.0054.

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Myers, Phyllis Marie Goudy, L. A. DeSpelder, and A. L. Strickland. "The Last Dance: Encountering Death and Dying." Teaching Sociology 16, no. 1 (January 1988): 98. http://dx.doi.org/10.2307/1317710.

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Mursula, K., and I. Virtanen. "The last dance of the bashful ballerina?" Astronomy & Astrophysics 525 (December 10, 2010): L12. http://dx.doi.org/10.1051/0004-6361/200913975.

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31

Sinnott, J. T. "The Last Dance: Encountering Death and Dying." JAMA: The Journal of the American Medical Association 289, no. 2 (January 8, 2003): 235–36. http://dx.doi.org/10.1001/jama.289.2.235.

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Hodler. "Sport Scholars on The Last Dance." Journal of Sport History 47, no. 3 (2020): 263. http://dx.doi.org/10.5406/jsporthistory.47.3.0263.

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Harris. "The Last Dance, a Lost Opportunity." Journal of Sport History 47, no. 3 (2020): 273. http://dx.doi.org/10.5406/jsporthistory.47.3.0273.

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Cox, Courtney M. "Jordan Takes the Lead on The Last Dance." Journal of Sport History 47, no. 3 (2020): 264–66. http://dx.doi.org/10.1353/sph.2020.0051.

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Mavrogen, Sophie I., George Markousis-Mavrogenis, and Genovefa Kolovou. "“Save the Last Dance” for Cardiovascular Magnetic Resonance." European Cardiology Review 13, no. 2 (2018): 95. http://dx.doi.org/10.15420/ecr.2018.19.1.

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Despite high mortality, cardiovascular disease (CVD) is underestimated in autoimmune rheumatic diseases (ARDs), due to its atypical presentation. The multi-faceted nature of CVD in ARDs created the need of a dedicated outpatient cardio-rheumatic clinic. Clinical examination, rest/exercise ECG, echocardiography, nuclear techniques and cardiac catheterisation were used as first-line diagnostic tools. Although the currently used non-invasive modalities perform well in cardiology, they are unable to diagnose the complex CVD pathophysiology of ARDs. The application of cardiovascular magnetic resonance (CMR) offers some significant advantages. CMR is versatile and can be used to perform functional, stress-rest perfusion, fibrosis and evaluation of great, peripheral and coronary vessels patency, without the use of ionising radiation, allowing early diagnosis of CVD and prompting modifications of anti-rheumatic and cardiac treatment.

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Minton, Sandra Cerny. "The Last Guru: Robert Cohan's Life in Dance." Journal of Dance Education 14, no. 1 (January 2, 2014): 39. http://dx.doi.org/10.1080/15290824.2013.869707.

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Rostas, Susanna. "From church to pyramid." Ciencias Sociales y Religión/Ciências Sociais e Religião 23 (August 31, 2021): e021016. http://dx.doi.org/10.20396/csr.v23i00.14916.

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Sometime after coming to Mexico City in the early twentieth century, the Concheros gradually became involved in the growing cultural interest in the Aztec past. By the last decades, however, they found themselves in an antagonistic situation with those dancers who called themselves the Mexica who, although they performed the same dances, espoused mexicanidad a strong neo-nationalistic and neo-indianist ideology. The Mexica reject Spanish colonialism and have discarded the clearly Catholic ritual practices of the Concheros who habitually dance outside Churches: the Mexica’s preference is for pyramids. The article, using historical and fieldwork data, examines the growing use of archaeological sites as they have slowly been refurbished, focusing on two: Teotihuacan and Cholula. Importantly, in the last two decades, a gradual rapprochement between the Concheros and the Mexica has occurred as the overall ethos of the dance has been changing once again.

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Tamir, Ilan. "A rare dance." International Review for the Sociology of Sport 56, no. 3 (February 15, 2021): 442–48. http://dx.doi.org/10.1177/1012690221993653.

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The enormous success of The Last Dance, the sports documentary on Michael Jordan’s career, and especially his last season, is the result of a rare confluence of factors, each of which is a unique and rare phenomenon in the history of sport. Their combination has already turned the mini-series into a global media event of the kind that is usually reserved for live broadcasts of extraordinary events. A basketball player with unusual personal and professional abilities, supported by a highly polished and well-oiled marketing system; the specific window of time in which his star shone – the late 1990s, when the era of media commercialization and globalization flourished, yet before the emergence of social media and their typical critical discourse; the rise in sports documentaries in recent years; and encasing all of these is the time of the documentary’s broadcast, when sports life across the world ceased due to the coronavirus. The mini-series, which seemingly deals with a single season in the career of a single player in a single sport, is actually so much more. It is a composition reflecting much wider social, sports and media phenomena.

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Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.

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This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

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Bengi, Suciati Simah, Yusnizar Heniwaty, and Dilinar Adlin. "PENGEMASAN TARI GUEL DALAM BENTUK KARTU POS SEBAGAI MEDIA PEMBELAJARAN." Gesture : Jurnal Seni Tari 7, no. 1 (December 31, 2018): 18. http://dx.doi.org/10.24114/senitari.v7i1.11903.

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Abstract-This study discusses Guel dance learning media created in the form of postcards. Aims to be able to direct students in identifying, appreciating, and expressing dances of the Gayo area, especially Guel dance. Theories used in the research of packaging theory according to Cahyorini and Rusfian (2011: 28), theory of learning media according to Heinich in Susilana (2016: 06), and graphic media theory according to Susilana and Riyana (2016: 14) Packaging is a theory used for graphic design, in terms of producing the product, and the image media in the form of postcards used to make Guel dance material as a learning medium. The time of the study was conducted from August to October 2017. The research site was at Sanggar Renggali Jalan Merah Mege Hakim Bale Bujang Laut Tawar, Central Aceh District. The population of several artists Gayo and all members of Sanggar Renggali because learning Guel dance is a dance learning materials in schools in Takengon and Samples are 2 people Gayo artists and 2 dancers dance Guel. Data collection techniques include observation, interview, literature study, and documentation, and then analyzed by qualitative descriptive method. Based on research that has been done Guel dance is a tradition dance Gayo community that has been used as learning materials in the schools of Middle Secondary in Central Aceh district. Guel dance which is packed in the form of postcards as a medium of learning with menggunkana first step of planning is preparing the material, determining the location, selection of dancers, and prepare the facilities and infrastructure. The second step of implementation is taking photos, editing process, then the last step is the completion of postcards and final writing. And produces packaging of learning media of Guel dance that is in the form of postcard. Keywords: Packaging, Guel Dance, Postcard Media

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Halchuk, Oksana. "The reminiscences of Salome’s dance and the Danse Macabre in authors’ models of the late 19th — early 20th centuries literature." Synopsis: Text Context Media 27, no. 3 (2021): 128–35. http://dx.doi.org/10.28925/2311-259x.2021.3.1.

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The subject of the study is the topos of dance. The article identifies the factors of its actualization in the literature of the late 19th — early 20th centuries; considers the origins of its reading through the prism of Eros and Thanatos; analyses works with “dance” imagery, and clarifies its role in the texts poetics. These tasks aim to outline the author’s models that utilize “Dance of the Seven Veils” and “The Danse Macabre”. Comparative, mythological-archetypal, historical-cultural research methods have been applied to study the specifics of dance interpretation in the aesthetic coordinates of modernism. The interest in these aspects of the archetypal topos existence and the need to define the author’s representations as variants of the national determine the relevance of the study. Results of the Study. The reminiscences of Salome’s dance and the Dance of Death are due to the perception of the era as a “plague age”; aesthetic understanding of dance as a personification of the phenomenon of death; interest in the body as a socio-cultural concept and its sensory cognition; a revival of the art of dance; interest in the theme of the East; popularity of erotic motives and the character “woman-child”; the relevance of archetypal codes for the triad “life — death — art”. Charles Baudelaire’s poetry is analyzed as the origins of the modernist interpretation of dance at the intersection of Thanatos and Eros. His dance imagery is characterized by its ironic understanding through the prism of existential categories and interpretation in the context of eschatological and aesthetic issues. The development of the Baudelaire tradition is reflected in the examples of the “new drama”: Lesya Ukrainka reminiscences Salome’s dance as an embodiment of bodily freedom (The Forest Song) and dance as a sign of humility and choice of “death” of the spirit (The Orgy). In Henrik Ibsen’s A Doll’s House the tarantella is both an image of a festive atmosphere and a sign of falsified values of the characters. The dance heralds the catastrophe of Nora’s “puppet” house and at the same time opens up prospects for finding one’s self. The Danse Macabre for Mykhailo Kotsyubynsky (Ivan’s dance with Chuhaister in Shadows of Forgotten Ancestors) and Thomas Mann (dance seen in Aschenbach’s bizarre dream in Death in Venice) is connected with the infernal. It symbolizes the heroes’ awareness of the new “reality” and the transition to another level of worldview; concentrates on thanatological and erotic and defines the complex relationship of mind and body as issues of works. For both characters, the dance is a warning of imminent physical death. But for Aschenbach, it is also the last act of dying as an artist, a symbol of his soul’s death. In contrast, for Ivan, it is a duel-dance to protect his beloved, reunion with whom gains his integrity.

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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.

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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.

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Harms, Victoria. "American Exceptionalism, the Cold War, and The Last Dance." Journal of Sport History 47, no. 3 (2020): 269–70. http://dx.doi.org/10.1353/sph.2020.0053.

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Gertsman, Elina. "THE BERLIN "DANCE OF DEATH" AS THE "LAST JUDGMENT"." Source: Notes in the History of Art 24, no. 3 (April 2005): 10–20. http://dx.doi.org/10.1086/sou.24.3.23207935.

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Akindes, Fay Yokomizo. "Pahala’s Last (Bon) Dance: The Dead Are Not Dead." Qualitative Inquiry 7, no. 1 (February 2001): 21–34. http://dx.doi.org/10.1177/107780040100700102.

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Wong, Arnold Y. L., Cliffton Chan, Claire Hiller, Patrick S. H. Yung, Kenney K. L. Lau, Dino Samartzis, and Brenton Surgenor. "Is Scoliosis Associated with Dance Injury in Young Recreational Dancers? A Large-Scale Cross-Sectional Epidemiological Study." Journal of Dance Medicine & Science 26, no. 1 (March 15, 2022): 41–49. http://dx.doi.org/10.12678/1089-313x.031522f.

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Some studies suggested that adolescent scoliotic dancers were more likely to sustain dance injuries than non-scoliotic dancers. This study aimed to investigate the association between scoliosis and dance injury among children and adolescent recreational dancers. Identical web-based and paper-based questionnaires were distributed to children and adolescent recreational dancers to collect demographic information, dance experiences, history and location of dance injuries, as well as the frequency of dance injury in the last 12 months. The prevalence rates of the top three dance injury sites (lower back, knee, and ankles) were estimated. Associations between the presence of scoliosis and various dance injuries in the last 12 months were evaluated by multivariate logistic regression. Data from 704 respondents (644 females, 13.3 ± 2.4 years) was analyzed. Ninety-one respondents (12.9%) reported scoliosis and 11 respondents (1.6%) were wearing scoliosis braces. The 12-month prevalence rates of lumbar, knee, and ankle injuries in scoliotic dancers (24.2%, 22.2%, and 28.5%, respectively) were significantly higher than those of non-scoliotic dancers (10.4%, 14.9%, and 14.8%, respectively). Scoliosis was an independent risk factor for lumbar spine injury (Odds ratio, OR = 2.7), knee injury (OR = 2.6), and multi-site dance-related injury (OR = 1.9). Given the observed strong associations between scoliosis and lumbar or knee dance injuries in the current study, future studies are warranted to investigate the underlying causes.

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Spalding, Susan Eike. "Written Out of History: Black Square Dance Traditions." Congress on Research in Dance Conference Proceedings 2015 (2015): 168–73. http://dx.doi.org/10.1017/cor.2015.26.

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Old time square dancing (in a big circle) was an early-twentieth-century home- and community-based recreation among all ethnicities in the Central Appalachian region. It disappeared in most places by the 1940s, re-emerging in white rural communities in the 1960s. By contrast, one Virginia African American community continued square dancing until the early 1970s, much longer than others. Their last dances were held just as square dancing again became popular in white communities. The movement of the dance itself, its context and meaning to the dancers, and elements of regional and national society and culture may have contributed both to its longevity and to its demise. The presentation is based on interviews and movement analysis as well as on bibliographic research. It is based upon research for the author's book Appalachian Dance: Creativity and Continuity in Six Communities (University of Illinois Press, 2014).

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Shreevas, Purva Pandit. "RECENT TEACHING TECHNIQUES IN CLASSICAL DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3398.

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Most among the recent dancers from last decades are pursuing dance as a performer as well as a teacher. As performer we all are reaching our goals, to perform impressively, make new adaptations in our dance techniques and even maintaining the traditional style of our dance. With all of this we are able to reach students to an extent. These days students are inclined towards classical dance, parents choose classical dance over western, but the number is still low. I know this is just the beginning, still a long way to go.

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Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (April 18, 2020): 202. http://dx.doi.org/10.3390/rel11040202.

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Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.

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Nasti, Kathleen. "The Shape and Form of South Korea's Twenty-First Century Dance Landscape." Congress on Research in Dance Conference Proceedings 2015 (2015): 136–45. http://dx.doi.org/10.1017/cor.2015.22.

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The twentieth century Korean dance landscape began in a state of near eradication following perennial unrest that spanned a thirty-five year Japanese Annexation, the Korean War, and eighteen years of dictatorial rule by President Park Chung-hee. However, despite these years of turmoil, oppression, censorship, poverty, war, and isolation, the last quarter of Korea's twentieth century prompted a dance renaissance. This paper explores the archival modalities used to import Western dance forms and ideals to Korea, the cultural changes in Korea that created an opening for different philosophies and aesthetics in dance, and the new interest in dance scholarship and science, and supposes ideas for Korea's dance future.

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Journal articles on the topic 'The Last Dance'

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