Статті в журналах: "Dancing bodies"

1

Gvion, Liora. "Dancing bodies, decaying bodies." YOUNG 16, no. 1 (February 2008): 67–87. http://dx.doi.org/10.1177/110330880701600105.

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2

Bader, Sandra. "DANCING BODIES ON STAGE." Indonesia and the Malay World 39, no. 115 (November 2011): 333–55. http://dx.doi.org/10.1080/13639811.2011.614085.

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3

Bellerose, Christine. "Ancestral bodies dancing snow." Choreographic Practices 9, no. 1 (April 1, 2018): 81–96. http://dx.doi.org/10.1386/chor.9.1.81_1.

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4

Foster, S. L. "DANCING BODIES: An Addendum, 2009." Theater 40, no. 1 (January 1, 2010): 25–29. http://dx.doi.org/10.1215/01610775-2009-016.

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5

Kharchuk, M. S., and E. N. Gromozova. "The Effect of Phosphorus Metabolism on the Motion of Saccharomyces cerevisiae Volutin Granules." Mikrobiolohichnyi Zhurnal 83, no. 3 (June 17, 2021): 46–55. http://dx.doi.org/10.15407/microbiolj83.03.046.

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It is known that moving volutin granules (“dancing bodies”), mechanism of which occurrence remains poorly understood, can be observed in yeast vacuoles. This study was performed to reveal the presence of a connection between moving volutin granules of Saccharomyces cerevisiae and polyphosphate metabolism in conditions of phosphoric starvation and hypercompensation. Methods. Cytological, biochemical, statistical methods were used in the study. Results. It was observed that the inactivation of the PPN1 gene, which encodes exopolyphosphatase Ppn1, resulted in a change in the number of cells with moving volutin granules (“dancing bodies” index) in the studied conditions. The index of “dancing bodies” was almost always lower in mutant CRN strain than in parent CRY strain. Using linear correlation analysis and factor analysis with the method of principal component, it was established that the “dancing bodies” index in both strains had significant correlation coefficients with exopolyphosphatase activity (EPPA) and the content of polyphosphate fractions (polyP). The difference was that this index in parent strain correlated better with the first three fractions of inorganic polyphosphates, while in mutant strain – with polyP4 and EPPA. Conclusions. Obtained data indicated the direct connection of motion of volutin granules with phosphoric metabolism in the studied conditions. It is assumed that the phenomenon of “dancing bodies” may be a consequence of the activity of vacuolar polyphosphatases.

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6

Bruner Reyes, Patrick. "Relational Bodies: Dancing With Latina, Chicana and Latin American Bodies." Feminist Theology 22, no. 3 (April 29, 2014): 253–68. http://dx.doi.org/10.1177/0966735014527198.

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Samuel, Gerard M. "(Dis)graceful dancing bodies in South Africa." Choreographic Practices 6, no. 1 (April 1, 2015): 107–24. http://dx.doi.org/10.1386/chor.6.1.107_1.

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McCormack, Derek P. "Geographies for Moving Bodies: Thinking, Dancing, Spaces." Geography Compass 2, no. 6 (October 14, 2008): 1822–36. http://dx.doi.org/10.1111/j.1749-8198.2008.00159.x.

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9

Borovica, Tamara. "Dancing the Strata: Investigating Affective Flows of Moving/Dancing Bodies in the Exploration of Bodily (Un)Becoming." Qualitative Inquiry 25, no. 1 (December 11, 2017): 26–36. http://dx.doi.org/10.1177/1077800417745919.

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This article draws on recent sociological work that explores the intangible, sensory, and affective dimensions of social life. In particular, I look at elusive, sensory, and affective elements of young women’s bodily becoming, through feminist lens. My intention behind this is to problematize narrow understandings of (women’s) embodiment in social sciences. I explore the stratification of bodies (through sex, gender, class, and race) and the way in which stratification works on bodies, what it produces, and how it limits and/or enforces bodily potentials. To this end, I follow affective flows between young women’s dancing bodies as they participate in a performance ethnography I have conducted to explore embodiment. To work with partial, dynamic, multisensory data, and to explore the potentiality of what bodies sense, feel, and do, I use a poetic analysis of the participants’ dance encounters.

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10

Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical vessels. The symposiasts’ own dextrous interaction with the objects echoes the dancers’ behaviors, so that human and ceramic bodies come together in shared movement. The handling of vases thus suggests a tactile, embodied experience shared between dancers and viewers; by evoking viewers’ familiarity with handling similar vessels, the vase-paintings invite viewers to join in the dance.

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11

Maples, Holly. "Embodying Resistance: Gendering Public Space in Ragtime Social Dance." New Theatre Quarterly 28, no. 3 (August 2012): 243–59. http://dx.doi.org/10.1017/s0266464x12000437.

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In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and the apache dance, or clumsy, un-gendered movement, popular in the animal dances of the day. Through ragtime dancing, women performed acts of rupture on their bodies and the urban cityscape, transforming social dancing into public statements of gendered resistance. Holly Maples is a lecturer in Drama at the University of East Anglia. Both a theatre practitioner and a scholar, she trained as an actress at Central School of Speech and Drama in London and completed her PhD in Theatre Studies at Trinity College Dublin. Her book, Culture War: Conflict, Commemoration, and the Contemporary Abbey Theatre, has recently been published in the ‘Reimagining Ireland’ series by Peter Lang.

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12

PICART, CAROLINE JOAN (KAY) S. "Transnationalities, Bodies, and Power: Dancing Across Different Worlds." Journal of Speculative Philosophy 22, no. 3 (January 1, 2008): 191–204. http://dx.doi.org/10.2307/25670712.

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PICART, CAROLINE JOAN (KAY) S. "Transnationalities, Bodies, and Power: Dancing Across Different Worlds." Journal of Speculative Philosophy 22, no. 3 (January 1, 2008): 191–204. http://dx.doi.org/10.2307/jspecphil.22.3.0191.

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14

Greenhill, Pauline. "Making Morris (Fe)Male: Gender and Dancing Bodies." Ethnologies 19, no. 1 (1997): 113. http://dx.doi.org/10.7202/1087651ar.

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Caroline Joan (Kay) S. Picart. "Transnationalities, Bodies, and Power: Dancing Across Different Worlds." Journal of Speculative Philosophy 22, no. 3 (2008): 191–204. http://dx.doi.org/10.1353/jsp.0.0040.

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16

Craig, Maxine Leeds. "Presidential dancing: The bodies of heads of state." Critical Studies in Fashion & Beauty 6, no. 1 (June 1, 2015): 61–74. http://dx.doi.org/10.1386/csfb.6.1.61_1.

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17

Mahurin, Sarah. ""Speakin Arms" and Dancing Bodies in Ntozake Shange." African American Review 46, no. 2-3 (2013): 329–43. http://dx.doi.org/10.1353/afa.2013.0068.

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18

Melpignano, Melissa. "A Necropower Carnival: Israeli Soldiers Dancing in the Palestinian Occupied Territories." TDR: The Drama Review 67, no. 1 (March 2023): 186–202. http://dx.doi.org/10.1017/s1054204322000910.

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Israeli soldiers dancing to global pop hits in the Occupied Palestinian Territories look like they are having fun, and there is always something entertainingly contradictory in watching army bodies circumventing the military codes. But the choreographic analysis of three viral videos from the 2010s reveals how dancing serves the Israel Defense Forces’ territorializing and necropower strategy.

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19

Power-Sotomayor, Jade. "Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs." Performance Matters 6, no. 2 (March 16, 2021): 43–59. http://dx.doi.org/10.7202/1075798ar.

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Afro-Puerto Rican bomba, the island’s oldest extant genre of drum, dance, and song, is a fundamentally sonic practice. Unique in the tight relation between the execution of movements and the simultaneous sounding of the lead drum, bomba dance enacts a challenge to the Western focus on the visual spectacle of dancing and draws attention to what Ashon Crawley calls the “choreosonic,” or the inextricable linking of movement and sound. Bomba dance attends to creating rhythmic variation through specific movement choices strategically placed within and simultaneously producing the sonic framework of drumming and dancing. As such, it requires a listening that ultimately structures a relationality that interrupts the colonial, white supremacist and heteropatriarchal logic that contains Puerto Rican bodies. Through a close reading of different bomba dancings, this article examines how the dancer’s sounded movements claim, not space itself, but a relation to space and place, pulling bodies into the social and unravelling temporal boundedness. It argues that bomba’s growing popularity on the island and in the diaspora is a measure of its capacity for “listening to flesh,” “listening to flesh speak,” underscoring how this particularly addresses and is attuned to a subaltern, racialized, and femme-identified flesh. As such, bomba is an important case study examining the intersections between sound studies and performance studies, blurring clear distinctions between listening to and doing sound.

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20

Sparshott, Francis, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." Dance Research Journal 19, no. 2 (1987): 42. http://dx.doi.org/10.2307/1478171.

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21

Goldberg, Marianne, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." Theatre Journal 39, no. 4 (December 1987): 546. http://dx.doi.org/10.2307/3208278.

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22

LaMothe, Kimerer L. "Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam." Body and Religion 2, no. 1 (June 14, 2018): 127–31. http://dx.doi.org/10.1558/bar.35773.

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23

Auslander, Philip, and Susan Leigh Foster. "Reading Dancing: Bodies and Subjects in Contemporary American Dance." TDR (1988-) 32, no. 4 (1988): 7. http://dx.doi.org/10.2307/1145884.

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24

Bordwell, Marilyn. "Dancing with death: Performativity and “undiscussable” bodies instill/here." Text and Performance Quarterly 18, no. 4 (October 1998): 369–79. http://dx.doi.org/10.1080/10462939809366237.

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25

Atkinson, Paul, and Dr Michelle Duffy. "Seeing movement: Dancing bodies and the sensuality of place." Emotion, Space and Society 30 (February 2019): 20–26. http://dx.doi.org/10.1016/j.emospa.2018.12.002.

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26

Schmitz, Nancy Brooks. "Reading dancing: Bodies and subjects in contemporary American dance." New Ideas in Psychology 10, no. 2 (July 1992): 269–71. http://dx.doi.org/10.1016/0732-118x(92)90038-2.

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27

Choi, Yeomi. "‘Just Dance’: Filmic Representations of Dancing Bodies and Gender." Journal of Korean Association of Physical Education and Sport for Girls and Women 36, no. 4 (December 31, 2022): 39–58. http://dx.doi.org/10.16915/jkapesgw.2022.12.36.4.39.

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28

Badley, Graham Francis. "Human (and Posthuman?) Dancing: An Assemblage." Qualitative Inquiry 26, no. 6 (February 15, 2019): 697–702. http://dx.doi.org/10.1177/1077800419830125.

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Here is an assemblage of mystories, I-stories, and we-stories focusing (fuzzily) on the contribution that dance-stories could or might make to critical qualitative inquiry. This ensemble of fragments, collected or made-up bits and pieces, challenges us as academics or general readers to figure out what the performances of dancing human (or even posthuman) bodies could or might tell us.

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29

Acorn, Amanda. "Dancing New Habitual: Relational Embodiments in Improvised Dance Practice." Public 33, no. 67 (April 1, 2023): 145–59. http://dx.doi.org/10.1386/public_00151_1.

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This essay explores dance practice-as-research and phenomenological methods to articulate an experiential, embodied dialogue with the material world. Drawing on practice notes from a phase of embodied research, the text argues for dance as a salient tool in reimagining, traditional forms of knowledge production and imagines the speculative possibilities of our communicative capacities with different bodies, human and non-human. Using practice-as-research as a frame I posit that dance-based systems of improvisation have the potential to deepen and articulate our habitual sensory faculties, expanding relational dialogues. Using scores and task-oriented improvisation in practice with more-than-human bodies, the text focuses on a process of discovery through the lived body and articulates an experiential practice, as one that enlivens bodies and builds worlds.

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Wojciechowska, Magdalena. "“I was ashamed, and now I am proud as I finally know how to let go.” How Female Polers Perceive, Experience, and Give Meanings to Their Bodies—An Ethnographic Case Study." Qualitative Sociology Review 19, no. 4 (October 31, 2023): 26–51. http://dx.doi.org/10.18778/1733-8077.19.4.02.

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Although the popularity of recreational pole dancing continues to gain momentum, its prevailing association with the erotic sphere and resulting stereotypes shape it as a borderline activity. Notably, the way pole dancing is approached and enacted elucidates how bodies, especially female embodiment, are socially constructed and controlled. Thus, to look at that issue from recreational female polers’ perspectives, this article sheds light on how their understandings of the body evolve with their engagement in the leisure activity at hand. That process is analyzed in the context of how women deal with tensions that arise while they navigate between the internalized societal expectations concerning desired femininity and personal agency. Drawing on ethnographic and interview data from pole dance studios in Poland, I discuss how polers’ perspectives on their bodies change from personal and interactional ‘limitations’ to embracing their bodies as interactional partners with whom to achieve their goals. In the process of learning by doing, women get to know their bodies and develop with them a relationship based on trust. Subsequently, growing to understand the bodies as their substantial selves that functionality allows them to achieve the ‘impossible’ as one empowers women. At the same time, I highlight how the process of espousing alternative perceptions of one’s body unfolds under the umbrella of an internalized frame of meanings concerning female embodiment that lures women to fit societal expectations. The interplay between the two sheds light on how female polers navigate toward reclaiming their self-confidence from the clutches of the critical social gaze while negotiating the notion of their bodies. Compelling in that regard is how relying on erotic associations with recreational pole dancing in terms of inciting empowerment through a sexual agency, as some studios do, plays out and factors into female pole dancers’ experiences concerning their leisure activity.

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31

Palazón, Eloy V. "HOW CAN BODIES PERFORM THE FINANCIAL CRISIS? THE FINANCIALIZED BODIES IN CRISTAL PYTE AND SHARON EYAL’S CHOREOGRAPHIES." Acotaciones. Revista de Investigación y Creación Teatral 2, no. 43 (December 10, 2019): 75–100. http://dx.doi.org/10.32621/acotaciones.2019.43.03.

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What is the relationship between the economy and dance? How are moving bodies affected by the economic crisis? Is there a cho-reoeconomic condition? If one of the main goals of dance and perfor-mance art during the 20th and 21st centuries has been to understand the relationship between politics and movement, this paper aims at analyzing how financial economy and its crisis can affect the dancing body, and the way dance has the ability to offer alternatives to the finan-cialization of the social body.

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32

Raheem, Amaara, and Simon Ellis. "I am just dancing: Am I just dancing ‐ A conversation between Amaara Raheem and Simon Ellis." Choreographic Practices 12, no. 2 (December 1, 2021): 117–33. http://dx.doi.org/10.1386/chor_00034_7.

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In this conversation, dance-artist Amaara Raheem talks about her choreographic thinking and practice with CHOR co-editor Simon Ellis. They discuss Raheem’s interest in dancing, ritual and research ‘in-residence’, and wonder about the kinds of bodies that dance. They consider how artists intentionally create the conditions for their work and practices to happen. The conversation is in part designed to introduce Raheem as a new co-editor to CHOR’s readership.

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33

Nolan, Mary L., and Rebecca Godwin. "Is belly dancing in pregnancy safe and beneficial? The views of two expert panels." Journal of Applied Arts & Health 00, no. 00 (March 17, 2022): 1–11. http://dx.doi.org/10.1386/jaah_00097_1.

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This article describes a study of the impact of belly dancing on women’s experience of pregnancy, labour and birth. In order to identify the core movements of belly dancing suitable for pregnant women, an expert panel of belly dance teachers was convened. Next, based on the teachers’ consensus, a video demonstrating the core movements was produced. Finally, a second expert panel was convened, comprising midwives and childbirth educators, who were asked to comment on the video from their professional standpoints. The panel considered that the movements demonstrated were safe and would help with pregnancy ailments such as back-ache, pelvic discomfort, constipation, sleeplessness and anxiety and that belly dancing would assist pregnant women’s mental health, positive self-image and confidence in their bodies to give birth. The relational aspect of belly dancing in terms of building a sisterhood of women making the transition to motherhood was also noted.

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McClure, B. ""Endless Possibilities" — Embodied Experiences and Connection in Social Salsa Dancing." PhaenEx 9, no. 2 (December 2, 2014): 112–35. http://dx.doi.org/10.22329/p.v9i2.4026.

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This article offers an analysis of embodied experiences and connections in social salsa dancing. Framed within a theoretical context that views bodily practices as both the enactment of normative ideals and as a negotiation of personal freedom against normative ideals, social salsa dancing offers a rich empirical context to explore how we make sense of our bodies, bodily practices, and embodied experience. Drawing on fieldwork conducted as part of a doctoral study in addition to a decade of personal experience, I argue that social salsa dancing cultivates kinesthetic, tactile, and musical senses, and emphasizes the value of attentive embodied interactions and momentary connections with others. I conclude that exploring the possibilities of these interactions and connections offers a potentially emancipatory way of working on one’s embodied self.

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35

Loos-Sant'Ana, Helga, René Simonato Sant'Ana-Loos, and Aldemar Balbino da Costa. "Rhythm is a Dancer: An Essay about Affectfulness as a Parameter of Human Development." International Journal of Innovation Education and Research 7, no. 2 (February 28, 2019): 28–42. http://dx.doi.org/10.31686/ijier.vol7.iss2.1317.

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This essay is an invitation to consider the possibilities of dancing as a process of education and human development. The intention of this theoretical work is to bring some foundations about how human development may benefit from dancing as a reference for constructing parameters based on affectivity and the search for existential self-realization. With this ambition, we explore the notions of human development, corporeity, affectivity, interaction, playfulness, arts and dancing. The primary foundation is the Theoretical System of Affectfulness and the respective concepts of Affectfulness and Psychic Cell. Further, we dialogue with other authors in order to expand the discussion. We support dancing as an artistic expression with the potential to extend individual’s perception, balance and sensitivity. If experienced as an activity connected with the sense of harmony that gives us existential pleasure, i.e. if the dancers experience corporeity while willing to connect to the implicit needs of their bodies towards a rhythmic harmony, dancing may lead to discovery of the unfragmented essence of being, in consonance with nature and the universe. This is owed to the potential of dancing to outline affective-emotional parameters that may serve as models to be generalized to other interactional situations, contributing to nourishing a cycle of more positive and pleasant interactions.

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Zdravkova Djeparoska, Sonja. "Performance and Religion: Dancing Bodies in Macedonian Orthodox Fresco Painting." Arts 10, no. 4 (December 20, 2021): 88. http://dx.doi.org/10.3390/arts10040088.

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Although dance as a topic has been explored through various theoretical and thematic discourse, little attention has been paid to the presence of dance motifs in Christian imagery. An examination of Orthodox Macedonian medieval fresco painting provides a fascinating point of entry into this overlooked subject. Analysis reveals the presence of two dominant approaches, conditioned primarily by the position of dancing in the philosophical-ethical discourse present in the Bible and other late antique and medieval theological texts. Some frescoes and icons show the body as a channel through which the Lord is glorified. Others show it as an instrument and reflection of immorality instigated by demonic powers. As in each approach, the bodies have differing semantic qualities, valuable information can be obtained about the performing practices present in this historical period.

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37

Goody, Alex. ""The dance of the intelligence"?: Dancing Bodies in Mina Loy." Tulsa Studies in Women's Literature 37, no. 1 (2018): 131–56. http://dx.doi.org/10.1353/tsw.2018.0006.

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38

Foulkes, Julia. "Dancing Revolution: Bodies, Space, and Sound in American Cultural History." Journal of American History 107, no. 3 (December 1, 2020): 724–25. http://dx.doi.org/10.1093/jahist/jaaa355.

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39

Kazan, Tina S. "Dancing Bodies in the Classroom: Moving toward an Embodied Pedagogy." Pedagogy 5, no. 3 (October 1, 2005): 379–408. http://dx.doi.org/10.1215/15314200-5-3-379.

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40

Oriol, Rachel. "Embodied Knowledge as Revolutionary Dance: Representations of Cuban Modern Dance in Alma Guillermoprieto's Dancing with Cuba." Dance Research Journal 51, no. 2 (August 2019): 51–67. http://dx.doi.org/10.1017/s0149767719000184.

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This article examines Alma Guillermoprieto's use of embodied knowledge in her memoir Dancing with Cuba. Descriptions of embodiment reveal her struggle to reconcile the values of modern dance with Ernesto Guevara's symbolic New Man—the ideal revolutionary used to promote physical labor as the means to a socialist utopia. I argue that Guillermoprieto solves this crisis by turning toward language, in particular language that activates the kinesthetic imagination—an archive of embodied experiences dancers rely on to engage choreography. An emphasis on embodied knowledge in the memoir shows how crucial dancing bodies are to the literary archive of the Revolution.

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41

Purkayastha, Prarthana. "Subversive bodies: Feminism and New Dance in India." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 189–99. http://dx.doi.org/10.1386/safm.4.2.189_1.

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This article explores how the Indian navanritya or ‘New Dance’ body, as crafted by choreographers Manjusri Chaki Sircar and Ranjabati Sircar, provided an alternative to the hegemonic representation of femininity in Indian classical dance. The Sircars’ feminist ideology-driven rebuttal of institutional and patriarchal dance pedagogy and praxis produced local critiques of cultural nationalism in and through the dancing body. This article discusses how these new bodies, shaped by a simultaneous eschewal and espousal of Indian cultural legacy, produce a complex picture of negotiation, one in which dialectical relationships between culture and the bodies that are situated within it are seen to emerge.

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42

Quinlan, Meghan. "Boycotting Bodies: The Politics of Practice and Performance." Congress on Research in Dance Conference Proceedings 2016 (2016): 315–22. http://dx.doi.org/10.1017/cor.2016.42.

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Gaga, the movement language developed by Israeli choreographer Ohad Naharin, is often claimed to be apolitical by marketing materials and participants alike. The Batsheva Dance Company is also led by Naharin and highly influenced by Gaga. Unlike Gaga, however, Batsheva is highly politicized because of frequent protests by pro-Palestinian activists. In this presentation, I explore the many complicated layers of Gaga practice to show the multiple ways in which dancing bodies can be politicized. The case of the cultural boycott movement is used to complicate the relationships between practice and performance and how they are understood as political.

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43

Egüez Guevara, Pilar. "Dangerous Encounters, Ambiguous Frontiers." New West Indian Guide 90, no. 3-4 (2016): 225–56. http://dx.doi.org/10.1163/22134360-09003001.

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Dance balls, masquerades, and street carnivals functioned as frontier spaces of otherwise reprehensible encounters between people of different gender, race, and class. I examine dance as a dense point of contact in nineteenth-century Cuba by showing how dance served ruling elites as a disciplining instrument to enforce social and legal boundaries, and was simultaneously used by colonial subjects as a tactic of survival to navigate these barriers. Because dancing lent itself to situations of intimacy and mis-recognition, it challenged Cuban ruling elites’ efforts to police dancing bodies. Dance is offered as a useful methodological venue to illuminate the predicament of the colonial state in governing colonial subjects and bodies. I offer the case of colonial Cuba as a contribution to the study of contact zones and colonial intimacies in Latin America and the Caribbean, in a much-needed examination of the relationships between imperialism, sexuality, and the governance of dance.

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Łapińska, Joanna. "„Nie tańczysz sama przed lustrem. Oni na ciebie patrzą!”. Taniec brzucha jako afektywna strategia uczestnictwa w kulturze w filmie „Czerwony jedwab”." Prace Kulturoznawcze 20 (March 27, 2017): 143–53. http://dx.doi.org/10.19195/0860-6668.20.12.

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“You’re not dancing alone in front of the mirror. They are looking at you!” Belly Dance as an Affective Strategy of Participation in Culture in Satin RougeThe article analyses the film portraits of women performing belly dancing Satin Rouge, 2002 Raja Amari. The film tells the story of awoman who after the death of her husband indulges in entertainment rather unsuitable for aGod-fearing Arab woman: belly dance in aTunis nightclub. The article focuses on dance as an affective strategy of participation in culture. Belly dance understood as aconscious work on one self and abody allows women to express their subjectivity and feel like an individual entity. Female dancing body has the power to affect — the ability to influence other bodies and to express oneself — and thus may create room for negotiation within the hegemonic discourse of men’s power over women in the Arab world.

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Assael, B. "THERESA JILL BUCKLAND. Society Dancing: Fashionable Bodies in England, 1870-1920." American Historical Review 118, no. 3 (May 31, 2013): 933–34. http://dx.doi.org/10.1093/ahr/118.3.933.

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Grau, Andrée. "Dancing bodies, spaces/places and the senses: A cross-cultural investigation." Journal of Dance & Somatic Practices 3, no. 1 (April 27, 2012): 5–24. http://dx.doi.org/10.1386/jdsp.3.1-2.5_1.

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Rizzo, Laura Katz. "Embodied History: The Cultural Revelations of Dancing Bodies in Their Times." Dance Chronicle 32, no. 1 (March 9, 2009): 142–50. http://dx.doi.org/10.1080/01472520802690358.

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Firmino Castillo, María Regina. "Dancing the Pluriverse: Indigenous Performance as Ontological Praxis." Dance Research Journal 48, no. 1 (April 2016): 55–73. http://dx.doi.org/10.1017/s0149767715000480.

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This article discusses ways that Indigenous dance is an ontological praxis that is embodied and telluric, meaning “of the earth.” It looks at how dancing bodies perform in relationship to ecosystems and entities within them, producing ontological distinctions and hierarchies that are often imbued with power. This makes dance a site of ontological struggle that potentially challenges the delusional ontological universality undergirding imperialism, genocide, and ecocide. The author explores these theoretical propositions through her participation in Oxlaval Q'anil, an emerging Ixil Maya dance project in Guatemala, and Dancing Earth, an itinerant and inter-tribal U.S.-based company founded by Rulan Tangen eleven years ago.

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Park, Minu. "Researching Spontaneous Doing: Random Dance as Decolonial Praxis in Dancing Grandmothers." Performing Practice-Based Research 9, no. 1-2 (August 2, 2023): 222–35. http://dx.doi.org/10.7202/1102396ar.

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How are “hunch” and “intuition” passed on, and what kinds of knowledge are they? This essay examines Dancing Grandmothers (2011), a contemporary dance piece by Eun-me Ahn Dance Company, to study the piece’s production and transmission of embodied knowledge. The work’s dramaturgy of imperfection foregrounds makchum (random dance) as an important site of knowledge. The raw aesthetic of makchum revives the connection with the physical unconscious by decolonizing cognitive and embodied knowledge. I borrow from Ben Spatz’s epistemology of embodiment to analyze the “amateur” dance portion of Dancing Grandmothers, a section of the work that goes on stage without a rehearsal, and its invitation for the audience members to respond in embodied listening. Dancing Grandmothers is a form of decolonizing from within, where knowledge shifts mainly through remapping the perceptual rhetoric. It attempts to let the bodies speak for themselves, in equal authority with the dancers who co-create the piece. On top of contributing to a cognitive turn, the joy of dancing central to the performance conveys that animation, vitality, and revival are essential parts of knowledge, generating new energies by stimulating the senses.

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Celda Real, Olga. "Pina Bausch and the Dancing Body: Social Constructionism and Identity in Nelken, The Rite of Spring and Kontakthof." Itamar, no. 8 (July 8, 2022): 22. http://dx.doi.org/10.7203/itamar.8.24812.

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This article aims to consider the social construct of the dancing body and its role in the building of identity focusing primarily on the female dancing body as exercised in the seminal works of Nelken, The Rite of Spring and Kontakthof by the German expressionist choreographer Pina Bausch. The phenomenological discourse in these works ‘embody the social and cultural dynamics in which they are generated’1, making of them unique performative experiences. In these pieces of tanztheater, the characters embodied in the dancing bodies on stage are both, universal and anonymous, and the stories they tell are about human connexions and their consequences in a defined sphere. In these fundamental choreographies by Pina Bausch our perception of dance art leads to a response that goes beyond aesthetic dispositions and forces the spectator into an explorative interdisciplinary journey of self-discovery. As Pina Bausch herself said, ‘it is not about how people moves, but what moves them’ (Pina Bausch in Bringshaw, 2009).

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