Bibliografie tematiche / Dancers of India (Dance Company)

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Letteratura scientifica selezionata sul tema "Dancers of India (Dance Company)"

Autore: Grafiati
Pubblicato: 29 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Dancers of India (Dance Company)"

1

Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection". Leonardo 39, n. 5 (ottobre 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Abstract (sommario):
Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.
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2

Croft, Clare. "Dance Returns to American Cultural Diplomacy: The U.S. State Department's 2003 Dance Residency Program and Its After Effects". Dance Research Journal 45, n. 1 (3 dicembre 2012): 23–39. http://dx.doi.org/10.1017/s0149767712000265.

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Abstract (sommario):
By focusing on a 2003 dance residency program sponsored by the U.S. State Department, this article locates twenty-first century American cultural diplomacy in a post-9/11 political context. The article focuses specifically on collaboration between San Francisco–based Margaret Jenkins Dance Company and Kolkata, India–based Tansuree Shankar Dance, which grew from the 2003 residency, to consider how artists find ways to facilitate cultural diplomacy that might be a blueprint for future American cultural diplomacy efforts. The article also addresses, however, the limits of that collaboration—limits that highlight the central tension of American cultural diplomacy: a desire to build relationships of so-called “mutual understanding” while also forwarding American national interests.
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3

Bronner, Shaw, Sheyi Ojofeitimi e Donald Rose. "Injuries in a Modern Dance Company". American Journal of Sports Medicine 31, n. 3 (marzo 2003): 365–73. http://dx.doi.org/10.1177/03635465030310030701.

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Abstract (sommario):
Background Professional dancers experience high rates of musculoskeletal injuries. Objective To analyze the effect of comprehensive management (case management and intervention) on injury incidence, time loss, and patterns of musculoskeletal injury in a modern dance organization. Study Design Retrospective/prospective cohort study. Methods Injury data were analyzed over a 5-year period, 2 years without intervention and 3 years with intervention, in a modern dance organization (42 dancers). The number of workers’ compensation cases and number of dance days missed because of injury were compared across a 5-year period in a factorial design. Results Comprehensive management significantly reduced the annual number of new workers’ compensation cases from a high of 81% to a low of 17% and decreased the number of days lost from work by 60%. The majority of new injuries occurred in younger dancers before the implementation of this program. Most injuries involved overuse of the lower extremity, similar to patterns reported in ballet companies. Benefits of comprehensive management included early and effective management of overuse problems before they became serious injuries and triage to prevent overutilization of medical services. Conclusions This comprehensive management program effectively decreased the incidence of new cases and lost time. Both dancers and management strongly support its continuance.
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4

Kumar, Lavanya P., e Shruti J. Shenoy. "Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India". Medical Problems of Performing Artists 36, n. 3 (1 settembre 2021): 199–206. http://dx.doi.org/10.21091/mppa.2021.3022.

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Abstract (sommario):
BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s". Review of International American Studies 13, n. 2 (31 dicembre 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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Abstract (sommario):
At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s". Review of International American Studies 13, n. 2 (31 dicembre 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

Testo completo
Abstract (sommario):
At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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7

Collins, Aletta. "A Choreographer's Approach to Opera". Dance Research 33, n. 2 (novembre 2015): 269–72. http://dx.doi.org/10.3366/drs.2015.0141.

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Abstract (sommario):
My first professional commission as a choreographer was not for a dance company but for an opera company, for the Bregenz Festival in Austria. In 1988, while I was still a student at London Contemporary Dance School, I was approached to choreograph Camille Saint-Saëns's Samson et Dalila; the commission also included giving ‘movement’ to the chorus (a group of 120 singers) and directing the dancers when they were not dancing. The dancers were a classical company from Sofia, Bulgaria, a company of thirty none of whom spoke English.
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Scialom, Melina, Aguinaldo Gonçalves e Carlos Roberto Padovani. "Work and Injuries in Dancers: Survey of a Professional Dance Company in Brazil". Medical Problems of Performing Artists 21, n. 1 (1 marzo 2006): 29–33. http://dx.doi.org/10.21091/mppa.2006.1006.

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Abstract (sommario):
This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in São Paulo, Brazil. Through an observational, cross-sectional, retrospective procedure using a questionnaire that collected qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals (which is the activity occupying the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company’s artists started their dance careers. Medical care usually was sought within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.
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Østern, Tone Pernille. "Teaching Dance Spaciously". Nordic Journal of Dance 1, n. 1 (1 dicembre 2010): 46–57. http://dx.doi.org/10.2478/njd-2010-0007.

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Abstract (sommario):
Abstract This article focuses on and discusses the concept of space as a theoretical tool in connection with dance pedagogy. The author suggests that to look at the dance class as spacious contributes to the dance teacher’s awareness of the fact that she operates in, and also creates, many different spaces as she teaches. This awareness might support the teacher in broadening the dance space in order to embrace differences among dancers, thereby providing the word spacious with a second meaning: generous. The author’s interest in the concept of space as a theoretical device to help understand what goes on in a dance class was born during the analysis of the video material collected for her PhD in dance (Østern, 2009). The practical investigation of the study dealt with formulating an approach to dance pedagogy with a group of mixed-ability dancers based on an understanding of the meaning-making processes among the different dancers in the project. Dialoguing with scholars like Maurice Merleau-Ponty (1962/2002), Valerie Briginshaw (2001), Shaun Gallagher, Dan Zahavi (2008) and Leena Rouhiainen (2007), the author distinguished different spaces in the dance improvisation classes she was teaching, video recording and analysing. Through this process, she developed a theory on the fact that in a dance improvisation class with differently bodied dancers meaning was made in different ways, touching on and producing different spaces. The author concludes that one main advantage of regarding a dance class as spacious is that it allows for an understanding that in class meaning-making can happen in different ways, within different spaces. Together with the dancers, the dance teacher moves in and out of these spaces as she teaches. Tone Pernille Østern (Doctor of Arts in dance) is a dance artist, teacher and researcher based in Trondheim, Norway. She is the artistic leader of the Inclusive Dance Company (www.dance-company.no) which is a small independent contemporary dance company. She has developed the Dance Laboratory (www.danselaboratoriet.no) which is a performing group with differently bodied dancers. The Dance Laboratory also formed the basis of her field work in relation to her PhD in Dance at the Theatre Academy in Helsinki (Østern, 2009). Østern is also the leader of the MultiPlié Dance and Diversity Festival, a biennial in Trondheim since 2004. The festival tries to stretch and discuss ideas about what dancing is and who can be a dancer. From 2009 she also takes up the position as assistant professor at the Program for Teacher Education at the NTNU University where she teaches and carries out research. E-mail: inclusive@dance-company.no / tone.pernille.ostern@plu.ntnu.no
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Escobar Álvarez, Juan Antonio, Pedro Jiménez Reyes, Miguel Ángel Pérez Sousa, Filipe Conceição e Juan Pedro Fuentes García. "Analysis of the Force-Velocity Profile in Female Ballet Dancers". Journal of Dance Medicine & Science 24, n. 2 (15 giugno 2020): 59–65. http://dx.doi.org/10.12678/1089-313x.24.2.59.

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Abstract (sommario):
Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mechanical variables of the force-velocity profile could be beneficial for dancers as a guide to specific training regimens that can result in improvement of either maximal force or velocity capabilities. The aim of this study was to compare the mechanical variables of the force-velocity profile during jumping in different company ranks of ballet dancers. Eighty-seven female professional ballet dancers (age: 18.94 ± 1.32 years; height: 164.41 ± 8.20 cm; weight: 56.3 ± 5.86 kg) showed high force deficits (> 40%) or low force deficits (10% to 40%) regardless of their company rank. Our results suggest that dance training mainly develops velocity capabilities, and due to the high number of dramatic elevations that dance performance requires, supplemental individualized force training may be beneficial for dancers. The individualization of training programs addressed to the direction of each individual's imbalance (high force or low force) could help dancers and their teachers to improve jump height and therefore dance performance.
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Tesi sul tema "Dancers of India (Dance Company)"

1

Sen, Sabina Sweta. "When our senses dance : sensory-somatic awareness in contemporary approaches to Odissi dance in India". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24294.

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Abstract (sommario):
This research investigates sensory-somatic awareness based approaches to the conditioning, training and performance of Odissi dance in India. Through a multidisciplinary and embodied methodology it analyses the practices of three contemporary Odissi dance institutes and a selection of individual dancers in India, who are moving beyond the traditional methodology. Drawing from ethnographic fieldwork in India, this research explores how sensory-somatic approaches incorporated by these dancers generate meaning-making and in what ways this enriches the dancers’ experience of dancing Odissi. As an outcome of the fieldwork, the term sensory-somatic is proposed and analysed in line with the dancers’ embodied experience of dancing Odissi. The analysis entails a paradigm that embraces the corporeal, sentient and socio-cultural bodymind, and the sensory aspects of senses, sensation, perception, sensibility and sensuality. These form two layers: the somatic and sensory which merge together as the sensory-somatic awareness. It takes into consideration the sensory perception and awareness leading to an agentic, enactive and embodied meaning-making and emotional engagement of the dancers. It also examines how the changing socio-cultural situation has been continuously affecting the Odissi dance embodiment. This thesis does not address the religious aspect and the experience of the audience in Odissi performance. The main focus remains the dancers’ individual experience of learning and performing Odissi dance. Moving away from the study of Odissi dance just as a reflection of the state, regional culture and representation of mythologies, this thesis is an investigation of the Odissi dancer’s meaningful, embodied and lived experience of Odissi dancing. It contributes to the debates on body-mind relationship, emotional engagement, place of the ‘self’, the student-oriented learning, psychophysical training and performance, and rasa-bhāva aesthetics. This study reveals that the sensory-somatic awareness is based upon reflexivity, independent enquiry, psychophysical health, bodymind awareness and leads to empowerment, agency, autonomy, plurality, confidence and responsibility, a level of relief from gender biases, and an inclusive approach to learning and performing.
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2

Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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Abstract (sommario):
This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.
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Libri sul tema "Dancers of India (Dance Company)"

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Misra, Susheela. Some dancers of India. New Delhi: Harman Pub. House, 1992.

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2

Nevile, Pran. Nautch girls of India: Dancers, singers, playmates. Paris: Ravi Kumar Publisher, 1996.

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3

Rajiv, Chandran, a cura di. So many journeys. New Delhi: Niyogi Offset, 2005.

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4

International Würzburg colloquium on India studies (3rd : 2005 : Würzburg, Germany), a cura di. Between fame and shame: Performing women - women performers in India. Wiesbaden: Harrassowitz, 2011.

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5

Anawalt, Sasha. The Joffrey Ballet: Robert Joffrey and the making of an American dance company. New York: Scribner, 1996.

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Anawalt, Sasha. The Joffrey Ballet: Robert Joffrey and the making of an American dance company. Chicago: University of Chicago Press, 1997.

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7

Dāsa, Debaprasāda. Nr̥tyānusaraṇī. Kaṭaka: Prāci Sāhitya Pratishṭhāna, 2002.

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8

Sarkar, Munsi Urmimala, a cura di. Engendering performance: Indian women performers in search of an identity. Thousand Oaks, Calif: SAGE Publications, 2010.

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9

Helpern, Alice J. The technique of Martha Graham. Dobbs Ferry, NY: Morgan & Morgan, 1994.

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Halpern, Alice J. The technique of Martha Graham. Pennington, N.J: Society of Dance History Scholars, at Princeton Periodicals, 1991.

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Capitoli di libri sul tema "Dancers of India (Dance Company)"

1

Rudisill, Kristen. "Japanese dancers, Bollywood dance: finding authenticity at Tokyo's Namaste India Festival". In Inter-Asia in Motion, 180–97. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003434160-12.

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2

Jahanbegloo, Ramin. "The Poetry of Indian Music". In Talking Poetry, 63—C14.P6. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0015.

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Abstract (sommario):
Abstract India has undergone, the Indian creativity and imagination have undergone certain desirable transformations and certain undesirable interruptions and disjunctions. For instance, in both classical India and mediaeval India, literature and the arts were together, sharing the same symbology, the same repertoire of imagery, the same leitmotifs, the same narratives, etc. In poetry and visual arts, in music, and in dance as well. With the intervention of the so-called modern, which was largely induced by an encounter with the West, the colonizing West, some serious changes took place. Music and dance became ‘classical’, poetry, theatre, visual arts became ‘modern’. They parted company in a certain sense.
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Mathur, SB, Sudhakar Bokephode e DD Balsaraf. "Making an Elephant ‘Dance’". In Indian Business Case Studies Volume VI, 33–40. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869425.003.0004.

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Abstract When a media consultant made a presentation to Cyrus Mistry, pitching how he could help create the brand Cyrus Mistry, the then chairman of Tata Sons asked him, ‘Do you know who is the chairman of 3M?’, referring to the American conglomerate which is famous for post-Its. He wanted to make the point that the company/group brand is more important than the personality, Mistry, and his family, the Shapoorji Pallonjis, have always been reticent when it comes to public interactions, or at least when it came to the media. His father Pallonji Shapoorji Mistry was known as the ‘Phantom of Bombay House’, for his quiet yet powerful presence at the headquarters of the 150-year-old group. The Shapoorji Pallonji group owns a little over 18% of Tata Sons and is the largest minority shareholder. This case study is about Board Room battles in a large Automobile Corporation in India and what happens when the ideologies fail to get to terms at senior board levels.
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Sider, David. "Pyrwias Leading the Dance". In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/006.

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"Endurance/Re-Birth: Her Dancers Take the Lead—Inspirations from Artistic Practitioners". In The Martha Graham Dance Company. Methuen Drama, 2022. http://dx.doi.org/10.5040/9781350145900.ch-4.

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Aloff, Mindy. "Touring". In Dance Anecdotes, 148–53. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0015.

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Abstract A Hands-On Schéhérazade The Diaghilev ballerina Lydia Sokolova told the dance historian Richard Buckle of a one-night stand by the Ballets Russes in Spain when the town insisted on seeing the famous Schéhérazade, even though the company hadn’t brought the production on that tour. So, troupers that they were, the dancers found themselves performing Michel Fokine’s Middle Eastern harem fantasy in the set for his Carnaval and in a conglomeration of costumes from his Les Sylphides (Romantic tutus), Daphnis and Chlöe (chitons), and Cléopâtre (sheer, pleated skirts). Speaking of Schéhérazade’s climactic scene, when the potentate catches his unfaithful wife and concubines cavorting with slaves and orders his guards to slay them all, Sokolova recalled: “Nobody knew who anybody was, or who to make for There were no swords, so they had to strangle us. My dear, we put everything into it. We never had such an ovation, before or since.”
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Oliver, Wendy, e Doug Risner. "An Introduction to Dance and Gender". In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0001.

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Abstract (sommario):
Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives, social construction of gender, gender equity, men in dance, queer theory and GLBT studies, plus gender roles in modern dance, ballet, social, religious, popular and recreational dance. Two of the most-discussed issues within the literature since the mid-1990s are the presentation of women’s bodies onstage, and how male dancers disrupt traditional ideas of masculinity. Dance outside the gender binary is also considered. Gender roles onstage, in class, in rehearsal, in company leadership, in postsecondary dance departments, and in choreographer funding are sites of inquiry within this book of empirical research studies and essays.
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Baird, Bruce. "Yoshioka Yumiko". In A History of Butô, 152–58. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197630273.003.0010.

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Abstract (sommario):
This chapter traces the career arc of Yoshioka Yumiko, an important proponent of mixed media butô through her dance company TEN PEN CHIi, and one of the dancers who has most embodied what it means to practice butô as an itinerant woman. Yoshioka keeps up a gruelling schedule of international travel teaching butô workshops around the world and also organized the Ex … it butô festival, bringing butô and dancers of other styles of dance in contact with each other. The chapter describes and analyses the following dances: All Moonshine (choreographed with Seki Minako 1989), I-Ki: An Interactive Body-Dance Machine (direction, JoaXhim Manger, 1999), Test Labor (2001), WA-KU: Déjà vu (2007), BiKa: Beautification (2009), and 100 Light Years of Solitude (2016).
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Paskevska, Anna. "Beyond Secondary Education and a Dancing Career". In Getting Started in Ballet, 127–38. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195117165.003.0011.

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Abstract Acomo:Ly held belief in dance is that younger is not only better: it is essential. According to some dance professionals, if one is intent on a dance career, the years spent attending college are dangerously detracting. Many young dancers feel compelled to enter professional dance schools or apprenticeship within a company often without even having finished high school. Some professionals hold that those who have not achieved the status of soloist by the age of twenty-one or twenty-two will, in all probability, never rise beyond the ranks of the corps de ballet. In order to become a soloist, one must be dancing professionally by the age of eighteen at the latest. ln other words, all energies, leading up to acceptance into a company, must be directed toward dancing; there can be no question of a college education interrupting the momentum. ‘bile the late teens are unquestionably essential formative years during which young dancers must be engaged in honing their skills, this denies a young dancer the chance to enjoy other, “normal” teenage experiences and ignores the many alternatives that are available for continuing an education. These alternatives include enrolling as a part-time student in a university while engaged in a professional company.
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Bläsing, Bettina. "Time Experiences in Dance". In Performing Time, 13–32. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192896254.003.0003.

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Abstract (sommario):
Abstract Dance, as a fully embodied art form, is deeply anchored in space and time. Time in dance is structured through the dynamics of dancers’ bodies, as well as through rhythmic and musical cues. Temporal coordination is fundamental to dance on many levels, from the skilled execution of complex whole-body moves to the concerted action of a dance company. Even though dance does not necessarily depend on the presence of music, the ability to entrain to a rhythm is fundamental on many levels. Equally important are memory-based processes, from the learning, flawless reproduction, and real-time adaptation of choreography to the ad hoc application of an extensive movement repertoire in improvisation. This chapter takes a closer look at how time is experienced both while watching dance and while dancing, during live performances or at club parties.
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