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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Dance Studies</h1><div class="u-tcGrayDark">54,145 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Dance Studies</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Dance_Studies">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dance_Studies/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dance_Studies/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dance_Studies/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Dance_Studies">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11704106" data-work_id="11704106" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11704106/Tanz_und_Meditation_als_Medien_entschr%C3%A4nkter_R%C3%A4umlichkeit_Erwin_Straus_und_Karlfried_Graf_D%C3%BCrckheim">Tanz und Meditation als Medien entschränkter Räumlichkeit. Erwin Straus und Karlfried Graf Dürckheim</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11704106" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0a747ba9106bf8f4a40f2f4ee9c68c29" rel="nofollow" data-download="{"attachment_id":37146477,"asset_id":11704106,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37146477/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="472916" href="https://univie.academia.edu/KarlBaier">Karl Baier</a><script data-card-contents-for-user="472916" type="text/json">{"id":472916,"first_name":"Karl","last_name":"Baier","domain_name":"univie","page_name":"KarlBaier","display_name":"Karl Baier","profile_url":"https://univie.academia.edu/KarlBaier?f_ri=1556","photo":"https://0.academia-photos.com/472916/853431/14649296/s65_karl.baier.jpg"}</script></span></span></li><li class="js-paper-rank-work_11704106 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11704106"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11704106, container: ".js-paper-rank-work_11704106", }); 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Erwin Straus und Karlfried Graf Dürckheim","created_at":"2015-03-29T01:38:30.798-07:00","url":"https://www.academia.edu/11704106/Tanz_und_Meditation_als_Medien_entschr%C3%A4nkter_R%C3%A4umlichkeit_Erwin_Straus_und_Karlfried_Graf_D%C3%BCrckheim?f_ri=1556","dom_id":"work_11704106","summary":null,"downloadable_attachments":[{"id":37146477,"asset_id":11704106,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":472916,"first_name":"Karl","last_name":"Baier","domain_name":"univie","page_name":"KarlBaier","display_name":"Karl Baier","profile_url":"https://univie.academia.edu/KarlBaier?f_ri=1556","photo":"https://0.academia-photos.com/472916/853431/14649296/s65_karl.baier.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":14617,"name":"Phenomenology of the body","url":"https://www.academia.edu/Documents/in/Phenomenology_of_the_body?f_ri=1556","nofollow":false},{"id":57275,"name":"Meditation","url":"https://www.academia.edu/Documents/in/Meditation?f_ri=1556","nofollow":false},{"id":366996,"name":"Phänomenologie","url":"https://www.academia.edu/Documents/in/Ph%C3%A4nomenologie?f_ri=1556","nofollow":false},{"id":592422,"name":"Raumtheorie","url":"https://www.academia.edu/Documents/in/Raumtheorie?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_69329347 coauthored" data-work_id="69329347" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/69329347/Ensemble">Ensemble</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">"Ensemble", Lecture series, Institute for Theatre Studies in cooperation with the Institute of Musicology, University of Bern</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/69329347" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a3cc7d49c1d53d8d20f6c3653af245c" rel="nofollow" data-download="{"attachment_id":79467132,"asset_id":69329347,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79467132/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33698177" href="https://unibe-ch2.academia.edu/IsabelleHaffter">Isabelle Haffter</a><script data-card-contents-for-user="33698177" type="text/json">{"id":33698177,"first_name":"Isabelle","last_name":"Haffter","domain_name":"unibe-ch2","page_name":"IsabelleHaffter","display_name":"Isabelle Haffter","profile_url":"https://unibe-ch2.academia.edu/IsabelleHaffter?f_ri=1556","photo":"https://0.academia-photos.com/33698177/9931785/39804506/s65_isabelle.haffter.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-69329347">+1</span><div class="hidden js-additional-users-69329347"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unibe-ch1.academia.edu/SaschaWegner">Sascha Wegner</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-69329347'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-69329347').html(); 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The global pandemic has left many dancers feeling isolated and stressed. Without the joy and connection of dancing together in a circle, we may struggle to find meaningful... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49320785" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When times are hard, it's natural not to feel like celebrating. The global pandemic has left many dancers feeling isolated and stressed. Without the joy and connection of dancing together in a circle, we may struggle to find meaningful ways to celebrate when we cannot be together as we used to. Yet now more than ever, circle dance is our best medicine: it brings people together, protects our health and happiness, awakens the life force, and builds community. And because traditional dances have come to us from peoples who have had their share of difficulties, the dances reflect this, and teach us valuable skills to help us through times of challenge and change. This article offers four examples of Greek, Armenian and Bulgarian dances-Pogonisios, Tsámikos Flámbouro, Mairam Govand, and Pravo Rodopsko Horo-which help us choose joy and celebrate life.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49320785" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="de47e6b36b3a966358eeed3b10dd92b5" rel="nofollow" data-download="{"attachment_id":67697149,"asset_id":49320785,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67697149/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38130873" href="https://uniog.academia.edu/LauraShannon">Laura Shannon</a><script data-card-contents-for-user="38130873" type="text/json">{"id":38130873,"first_name":"Laura","last_name":"Shannon","domain_name":"uniog","page_name":"LauraShannon","display_name":"Laura Shannon","profile_url":"https://uniog.academia.edu/LauraShannon?f_ri=1556","photo":"https://gravatar.com/avatar/e16ca87a3224f7c2b382e6e076966166?s=65"}</script></span></span></li><li class="js-paper-rank-work_49320785 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49320785"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49320785, container: ".js-paper-rank-work_49320785", }); 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$(".js-view-count[data-work-id=49320785]").text(description); $(".js-view-count-work_49320785").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49320785").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49320785"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2310" href="https://www.academia.edu/Documents/in/Dance_Movement_Therapy">Dance/Movement Therapy</a>, <script data-card-contents-for-ri="2310" type="text/json">{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="103430" href="https://www.academia.edu/Documents/in/Dance_Movement_Therapy-1">Dance Movement Therapy</a>, <script data-card-contents-for-ri="103430" type="text/json">{"id":103430,"name":"Dance Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy-1?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="479882" href="https://www.academia.edu/Documents/in/Sacred_Dance">Sacred Dance</a><script data-card-contents-for-ri="479882" type="text/json">{"id":479882,"name":"Sacred Dance","url":"https://www.academia.edu/Documents/in/Sacred_Dance?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49320785]'), work: {"id":49320785,"title":"How Traditional Dances Teach Us to Celebrate Life, Even in Difficult Times","created_at":"2021-06-21T02:42:00.599-07:00","url":"https://www.academia.edu/49320785/How_Traditional_Dances_Teach_Us_to_Celebrate_Life_Even_in_Difficult_Times?f_ri=1556","dom_id":"work_49320785","summary":"When times are hard, it's natural not to feel like celebrating. The global pandemic has left many dancers feeling isolated and stressed. Without the joy and connection of dancing together in a circle, we may struggle to find meaningful ways to celebrate when we cannot be together as we used to. Yet now more than ever, circle dance is our best medicine: it brings people together, protects our health and happiness, awakens the life force, and builds community. And because traditional dances have come to us from peoples who have had their share of difficulties, the dances reflect this, and teach us valuable skills to help us through times of challenge and change. This article offers four examples of Greek, Armenian and Bulgarian dances-Pogonisios, Tsámikos Flámbouro, Mairam Govand, and Pravo Rodopsko Horo-which help us choose joy and celebrate life.","downloadable_attachments":[{"id":67697149,"asset_id":49320785,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38130873,"first_name":"Laura","last_name":"Shannon","domain_name":"uniog","page_name":"LauraShannon","display_name":"Laura Shannon","profile_url":"https://uniog.academia.edu/LauraShannon?f_ri=1556","photo":"https://gravatar.com/avatar/e16ca87a3224f7c2b382e6e076966166?s=65"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=1556","nofollow":false},{"id":103430,"name":"Dance Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy-1?f_ri=1556","nofollow":false},{"id":479882,"name":"Sacred Dance","url":"https://www.academia.edu/Documents/in/Sacred_Dance?f_ri=1556","nofollow":false},{"id":790393,"name":"Greek Folk Music","url":"https://www.academia.edu/Documents/in/Greek_Folk_Music?f_ri=1556"},{"id":1644293,"name":"Traditional Greek folk dance","url":"https://www.academia.edu/Documents/in/Traditional_Greek_folk_dance?f_ri=1556"},{"id":3372504,"name":"Women's Ritual Dances","url":"https://www.academia.edu/Documents/in/Womens_Ritual_Dances?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40076494" data-work_id="40076494" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40076494/Women_with_Wings_Right_brain_Consciousness_and_the_Learning_Process_in_Balkan_Dance">Women with Wings: Right-brain Consciousness and the Learning Process in Balkan Dance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Published in Voss, A. & Wilson, S. (eds.) (2017) Re-enchanting the Academy. Auckland & Seattle: Rubedo Press.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40076494" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="827267fcf55bb89ccd13d1d785e610fb" rel="nofollow" data-download="{"attachment_id":60281505,"asset_id":40076494,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60281505/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38130873" href="https://uniog.academia.edu/LauraShannon">Laura Shannon</a><script data-card-contents-for-user="38130873" type="text/json">{"id":38130873,"first_name":"Laura","last_name":"Shannon","domain_name":"uniog","page_name":"LauraShannon","display_name":"Laura Shannon","profile_url":"https://uniog.academia.edu/LauraShannon?f_ri=1556","photo":"https://gravatar.com/avatar/e16ca87a3224f7c2b382e6e076966166?s=65"}</script></span></span></li><li class="js-paper-rank-work_40076494 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40076494"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40076494, container: ".js-paper-rank-work_40076494", }); 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$(".js-view-count[data-work-id=40076494]").text(description); $(".js-view-count-work_40076494").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40076494").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40076494"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="130" href="https://www.academia.edu/Documents/in/Ancient_History">Ancient History</a>, <script data-card-contents-for-ri="130" type="text/json">{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4058" href="https://www.academia.edu/Documents/in/Ritual">Ritual</a><script data-card-contents-for-ri="4058" type="text/json">{"id":4058,"name":"Ritual","url":"https://www.academia.edu/Documents/in/Ritual?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40076494]'), work: {"id":40076494,"title":"Women with Wings: Right-brain Consciousness and the Learning Process in Balkan Dance","created_at":"2019-08-13T09:49:52.322-07:00","url":"https://www.academia.edu/40076494/Women_with_Wings_Right_brain_Consciousness_and_the_Learning_Process_in_Balkan_Dance?f_ri=1556","dom_id":"work_40076494","summary":"Published in Voss, A. \u0026 Wilson, S. (eds.) (2017) Re-enchanting the Academy. Auckland \u0026 Seattle: Rubedo Press. ","downloadable_attachments":[{"id":60281505,"asset_id":40076494,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38130873,"first_name":"Laura","last_name":"Shannon","domain_name":"uniog","page_name":"LauraShannon","display_name":"Laura Shannon","profile_url":"https://uniog.academia.edu/LauraShannon?f_ri=1556","photo":"https://gravatar.com/avatar/e16ca87a3224f7c2b382e6e076966166?s=65"}],"research_interests":[{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=1556","nofollow":false},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":4058,"name":"Ritual","url":"https://www.academia.edu/Documents/in/Ritual?f_ri=1556","nofollow":false},{"id":5256,"name":"History of Textiles","url":"https://www.academia.edu/Documents/in/History_of_Textiles?f_ri=1556"},{"id":187353,"name":"Healing","url":"https://www.academia.edu/Documents/in/Healing?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39302632" data-work_id="39302632" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39302632/Middle_Eastern_Dance_and_What_We_Call_It">Middle Eastern Dance and What We Call It</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article traces the historical background of the term 'belly dance', the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39302632" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article traces the historical background of the term 'belly dance', the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre -- literally, "dance of the belly" -- was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation "belly dance" was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39302632" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12f0c11248b3d2e61aa2d6d5678f6da4" rel="nofollow" data-download="{"attachment_id":59440253,"asset_id":39302632,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59440253/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="903668" href="https://yale.academia.edu/AinsleyHawthorn">Ainsley Hawthorn</a><script data-card-contents-for-user="903668" type="text/json">{"id":903668,"first_name":"Ainsley","last_name":"Hawthorn","domain_name":"yale","page_name":"AinsleyHawthorn","display_name":"Ainsley Hawthorn","profile_url":"https://yale.academia.edu/AinsleyHawthorn?f_ri=1556","photo":"https://0.academia-photos.com/903668/1759245/104108274/s65_ainsley.hawthorn.jpg"}</script></span></span></li><li class="js-paper-rank-work_39302632 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39302632"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39302632, container: ".js-paper-rank-work_39302632", }); });</script></li><li class="js-percentile-work_39302632 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39302632; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39302632"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39302632 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39302632"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39302632; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39302632]").text(description); $(".js-view-count-work_39302632").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39302632").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39302632"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="930" href="https://www.academia.edu/Documents/in/Intercultural_Communication">Intercultural Communication</a>, <script data-card-contents-for-ri="930" type="text/json">{"id":930,"name":"Intercultural Communication","url":"https://www.academia.edu/Documents/in/Intercultural_Communication?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1200" href="https://www.academia.edu/Documents/in/Languages_and_Linguistics">Languages and Linguistics</a>, <script data-card-contents-for-ri="1200" type="text/json">{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1206" href="https://www.academia.edu/Documents/in/Lexicology">Lexicology</a>, <script data-card-contents-for-ri="1206" type="text/json">{"id":1206,"name":"Lexicology","url":"https://www.academia.edu/Documents/in/Lexicology?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a><script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39302632]'), work: {"id":39302632,"title":"Middle Eastern Dance and What We Call It","created_at":"2019-05-29T08:32:53.078-07:00","url":"https://www.academia.edu/39302632/Middle_Eastern_Dance_and_What_We_Call_It?f_ri=1556","dom_id":"work_39302632","summary":"This article traces the historical background of the term 'belly dance', the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre -- literally, \"dance of the belly\" -- was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation \"belly dance\" was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.","downloadable_attachments":[{"id":59440253,"asset_id":39302632,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":903668,"first_name":"Ainsley","last_name":"Hawthorn","domain_name":"yale","page_name":"AinsleyHawthorn","display_name":"Ainsley Hawthorn","profile_url":"https://yale.academia.edu/AinsleyHawthorn?f_ri=1556","photo":"https://0.academia-photos.com/903668/1759245/104108274/s65_ainsley.hawthorn.jpg"}],"research_interests":[{"id":930,"name":"Intercultural Communication","url":"https://www.academia.edu/Documents/in/Intercultural_Communication?f_ri=1556","nofollow":false},{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=1556","nofollow":false},{"id":1206,"name":"Lexicology","url":"https://www.academia.edu/Documents/in/Lexicology?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":2016,"name":"Middle East \u0026 North Africa","url":"https://www.academia.edu/Documents/in/Middle_East_and_North_Africa?f_ri=1556"},{"id":2524,"name":"Sociolinguistics","url":"https://www.academia.edu/Documents/in/Sociolinguistics?f_ri=1556"},{"id":2718,"name":"Linguistic Anthropology","url":"https://www.academia.edu/Documents/in/Linguistic_Anthropology?f_ri=1556"},{"id":12537,"name":"Egypt","url":"https://www.academia.edu/Documents/in/Egypt?f_ri=1556"},{"id":15242,"name":"French art","url":"https://www.academia.edu/Documents/in/French_art?f_ri=1556"},{"id":16234,"name":"Dance History","url":"https://www.academia.edu/Documents/in/Dance_History?f_ri=1556"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=1556"},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556"},{"id":31221,"name":"InterCultural Studies","url":"https://www.academia.edu/Documents/in/InterCultural_Studies?f_ri=1556"},{"id":32566,"name":"Historical sociolinguistics","url":"https://www.academia.edu/Documents/in/Historical_sociolinguistics?f_ri=1556"},{"id":128635,"name":"Belly dance in a social-cultural context","url":"https://www.academia.edu/Documents/in/Belly_dance_in_a_social-cultural_context?f_ri=1556"},{"id":148083,"name":"World's Fairs","url":"https://www.academia.edu/Documents/in/Worlds_Fairs?f_ri=1556"},{"id":253606,"name":"Middle Eastern Dances","url":"https://www.academia.edu/Documents/in/Middle_Eastern_Dances?f_ri=1556"},{"id":585119,"name":"Nineteenth Century Social Dance","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Social_Dance?f_ri=1556"},{"id":992467,"name":"Oriental Dancers","url":"https://www.academia.edu/Documents/in/Oriental_Dancers?f_ri=1556"},{"id":1376388,"name":"Bellydance","url":"https://www.academia.edu/Documents/in/Bellydance?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43490912" data-work_id="43490912" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43490912/Review_Unfinished_Gestures_by_Davesh_Soneji">Review: Unfinished Gestures by Davesh Soneji</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">The essay is basically a review work based upon the book 'UNFINISHED GESTURES: DEVADASIS, MEMORY AND MODERNITY IN SOUTH INDIA' by Davesh Soneji which showcases the heterogeneity of the devadasi community in 19th and 20th century India.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43490912" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="148077170" href="https://independent.academia.edu/AnanshaBorthakur">Anansha Borthakur</a><script data-card-contents-for-user="148077170" type="text/json">{"id":148077170,"first_name":"Anansha","last_name":"Borthakur","domain_name":"independent","page_name":"AnanshaBorthakur","display_name":"Anansha Borthakur","profile_url":"https://independent.academia.edu/AnanshaBorthakur?f_ri=1556","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_43490912 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43490912"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43490912, container: ".js-paper-rank-work_43490912", }); });</script></li><li class="js-percentile-work_43490912 InlineList-item 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" + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43490912]").text(description); $(".js-view-count-work_43490912").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43490912").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43490912"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="29167" href="https://www.academia.edu/Documents/in/Dance">Dance</a>, <script data-card-contents-for-ri="29167" type="text/json">{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42419" href="https://www.academia.edu/Documents/in/Antropology_of_Dance">Antropology of Dance</a>, <script data-card-contents-for-ri="42419" type="text/json">{"id":42419,"name":"Antropology of Dance","url":"https://www.academia.edu/Documents/in/Antropology_of_Dance?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="44293" href="https://www.academia.edu/Documents/in/Literature_Review">Literature Review</a><script data-card-contents-for-ri="44293" type="text/json">{"id":44293,"name":"Literature Review","url":"https://www.academia.edu/Documents/in/Literature_Review?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43490912]'), work: {"id":43490912,"title":"Review: Unfinished Gestures by Davesh Soneji","created_at":"2020-07-01T08:16:41.118-07:00","url":"https://www.academia.edu/43490912/Review_Unfinished_Gestures_by_Davesh_Soneji?f_ri=1556","dom_id":"work_43490912","summary":"The essay is basically a review work based upon the book 'UNFINISHED GESTURES: DEVADASIS, MEMORY AND MODERNITY IN SOUTH INDIA' by Davesh Soneji which showcases the heterogeneity of the devadasi community in 19th and 20th century India.","downloadable_attachments":[],"ordered_authors":[{"id":148077170,"first_name":"Anansha","last_name":"Borthakur","domain_name":"independent","page_name":"AnanshaBorthakur","display_name":"Anansha Borthakur","profile_url":"https://independent.academia.edu/AnanshaBorthakur?f_ri=1556","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556","nofollow":false},{"id":42419,"name":"Antropology of Dance","url":"https://www.academia.edu/Documents/in/Antropology_of_Dance?f_ri=1556","nofollow":false},{"id":44293,"name":"Literature Review","url":"https://www.academia.edu/Documents/in/Literature_Review?f_ri=1556","nofollow":false},{"id":1464341,"name":"Indian Classical Dance and Temple Architecture","url":"https://www.academia.edu/Documents/in/Indian_Classical_Dance_and_Temple_Architecture?f_ri=1556"},{"id":1575986,"name":"Devadasi System and its Literary Articulations","url":"https://www.academia.edu/Documents/in/Devadasi_System_and_its_Literary_Articulations?f_ri=1556"},{"id":2710278,"name":"Dance Performance Reviews","url":"https://www.academia.edu/Documents/in/Dance_Performance_Reviews?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42084579" data-work_id="42084579" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42084579/Serpent_Heart_Animality_Jealousy_and_Transgression_in_Martha_Grahams_Medea">Serpent Heart: Animality, Jealousy, and Transgression in Martha Graham's Medea</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores Martha Graham’s Cave of the Heart and Graham's approach to the Medea myth. It focuses especially on Graham’s decisions to situate Medea in a gynocentric world, not to include the children, and to make Medea’s sexual... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42084579" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores Martha Graham’s Cave of the Heart and Graham's approach to the Medea myth. It focuses especially on Graham’s decisions to situate Medea in a gynocentric world, not to include the children, and to make Medea’s sexual jealousy the central theme. I examine the similarities and differences between Martha Graham’s approach and that of Euripides and show that the two works have a different focus but bring about a similar effect: they both show Medea triumphant at the end, a woman who asserts her power by taking on both subhuman and superhuman features. The similarity of the endings serves in turn to underline basic differences in the two artists’ interests and approaches to the myth: Euripides focuses on the characters’ intellect and mental experience and questions sexual jealousy as being trivial and insignificant, while Martha Graham examines emotion through complex and unfamiliar movements of the body, showcases the overwhelming power of jealousy, and celebrates its intensity and importance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42084579" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5e7b43f420bb387c46f9159a652ade43" rel="nofollow" data-download="{"attachment_id":78112354,"asset_id":42084579,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78112354/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49536488" href="https://cyathens.academia.edu/NinaPapathanasopoulou">Nina Papathanasopoulou</a><script data-card-contents-for-user="49536488" type="text/json">{"id":49536488,"first_name":"Nina","last_name":"Papathanasopoulou","domain_name":"cyathens","page_name":"NinaPapathanasopoulou","display_name":"Nina Papathanasopoulou","profile_url":"https://cyathens.academia.edu/NinaPapathanasopoulou?f_ri=1556","photo":"https://0.academia-photos.com/49536488/40524044/127587462/s65_nina.papathanasopoulou.jpg"}</script></span></span></li><li class="js-paper-rank-work_42084579 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42084579"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42084579, container: ".js-paper-rank-work_42084579", }); 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$(".js-view-count[data-work-id=42084579]").text(description); $(".js-view-count-work_42084579").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42084579").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42084579"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="833" href="https://www.academia.edu/Documents/in/Greek_Tragedy">Greek Tragedy</a>, <script data-card-contents-for-ri="833" type="text/json">{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22599" href="https://www.academia.edu/Documents/in/Classical_Reception_Studies">Classical Reception Studies</a>, <script data-card-contents-for-ri="22599" type="text/json">{"id":22599,"name":"Classical Reception Studies","url":"https://www.academia.edu/Documents/in/Classical_Reception_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="92190" href="https://www.academia.edu/Documents/in/Ancient_Greek_Tragedy_and_its_Reception">Ancient Greek Tragedy and its Reception</a><script data-card-contents-for-ri="92190" type="text/json">{"id":92190,"name":"Ancient Greek Tragedy and its Reception","url":"https://www.academia.edu/Documents/in/Ancient_Greek_Tragedy_and_its_Reception?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42084579]'), work: {"id":42084579,"title":"Serpent Heart: Animality, Jealousy, and Transgression in Martha Graham's Medea","created_at":"2020-02-27T03:51:46.082-08:00","url":"https://www.academia.edu/42084579/Serpent_Heart_Animality_Jealousy_and_Transgression_in_Martha_Grahams_Medea?f_ri=1556","dom_id":"work_42084579","summary":"This paper explores Martha Graham’s Cave of the Heart and Graham's approach to the Medea myth. It focuses especially on Graham’s decisions to situate Medea in a gynocentric world, not to include the children, and to make Medea’s sexual jealousy the central theme. I examine the similarities and differences between Martha Graham’s approach and that of Euripides and show that the two works have a different focus but bring about a similar effect: they both show Medea triumphant at the end, a woman who asserts her power by taking on both subhuman and superhuman features. The similarity of the endings serves in turn to underline basic differences in the two artists’ interests and approaches to the myth: Euripides focuses on the characters’ intellect and mental experience and questions sexual jealousy as being trivial and insignificant, while Martha Graham examines emotion through complex and unfamiliar movements of the body, showcases the overwhelming power of jealousy, and celebrates its intensity and importance.","downloadable_attachments":[{"id":78112354,"asset_id":42084579,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49536488,"first_name":"Nina","last_name":"Papathanasopoulou","domain_name":"cyathens","page_name":"NinaPapathanasopoulou","display_name":"Nina Papathanasopoulou","profile_url":"https://cyathens.academia.edu/NinaPapathanasopoulou?f_ri=1556","photo":"https://0.academia-photos.com/49536488/40524044/127587462/s65_nina.papathanasopoulou.jpg"}],"research_interests":[{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":22599,"name":"Classical Reception Studies","url":"https://www.academia.edu/Documents/in/Classical_Reception_Studies?f_ri=1556","nofollow":false},{"id":92190,"name":"Ancient Greek Tragedy and its Reception","url":"https://www.academia.edu/Documents/in/Ancient_Greek_Tragedy_and_its_Reception?f_ri=1556","nofollow":false},{"id":140623,"name":"Ancient Greek Tragedy on Modern Stage","url":"https://www.academia.edu/Documents/in/Ancient_Greek_Tragedy_on_Modern_Stage?f_ri=1556"},{"id":228052,"name":"Martha Graham","url":"https://www.academia.edu/Documents/in/Martha_Graham?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1427923" data-work_id="1427923" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1427923/Music_dance_and_the_total_art_work_choreomusicology_in_theory_and_practice">Music, dance and the total art work: choreomusicology in theory and practice</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Euro-American performance arts are exceptional among the world’s cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1427923" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Euro-American performance arts are exceptional among the world’s cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While some artists were keen to develop their particular medium to its fullest potential, others were keen to group expressive mediums together into new wholes. These explorations were accompanied by a rapid but uneven expansion in audio, visual and audio-visual technology. As artistic practices evolved and technology developed, a range of possibilities were explored and the discipline of choreomusicology finally emerged. Choreomusicology is the study of the relationship between sound and movement within any performance genre. As a pedagogical tool, this article discusses key developments in the history of choreomusical theory and practice with a sympathetic selection of material using the words of artists and theoreticians. The evolving relationship between music and dance in any performance tradition is a socially situated process shaped by a range of historically constituted practices. The current discussion situates the artistic legacy inherited by contemporary Euro-American artists within a historical and cultural context.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1427923" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8f3df3736666536dd4d342dff8f158ed" rel="nofollow" data-download="{"attachment_id":47256626,"asset_id":1427923,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47256626/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="249320" href="https://mq.academia.edu/PaulMason">Paul Mason</a><script data-card-contents-for-user="249320" type="text/json">{"id":249320,"first_name":"Paul","last_name":"Mason","domain_name":"mq","page_name":"PaulMason","display_name":"Paul Mason","profile_url":"https://mq.academia.edu/PaulMason?f_ri=1556","photo":"https://0.academia-photos.com/249320/53731/30036580/s65_paul.mason.jpg"}</script></span></span></li><li class="js-paper-rank-work_1427923 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1427923"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1427923, container: ".js-paper-rank-work_1427923", }); 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In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While some artists were keen to develop their particular medium to its fullest potential, others were keen to group expressive mediums together into new wholes. These explorations were accompanied by a rapid but uneven expansion in audio, visual and audio-visual technology. As artistic practices evolved and technology developed, a range of possibilities were explored and the discipline of choreomusicology finally emerged. Choreomusicology is the study of the relationship between sound and movement within any performance genre. As a pedagogical tool, this article discusses key developments in the history of choreomusical theory and practice with a sympathetic selection of material using the words of artists and theoreticians. The evolving relationship between music and dance in any performance tradition is a socially situated process shaped by a range of historically constituted practices. The current discussion situates the artistic legacy inherited by contemporary Euro-American artists within a historical and cultural context.","downloadable_attachments":[{"id":47256626,"asset_id":1427923,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":249320,"first_name":"Paul","last_name":"Mason","domain_name":"mq","page_name":"PaulMason","display_name":"Paul Mason","profile_url":"https://mq.academia.edu/PaulMason?f_ri=1556","photo":"https://0.academia-photos.com/249320/53731/30036580/s65_paul.mason.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1556","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":1596,"name":"Creative processes in contemporary dance","url":"https://www.academia.edu/Documents/in/Creative_processes_in_contemporary_dance?f_ri=1556","nofollow":false},{"id":4096,"name":"Dance Anthropology","url":"https://www.academia.edu/Documents/in/Dance_Anthropology?f_ri=1556"},{"id":4260,"name":"Anthropology Of Dance","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Dance?f_ri=1556"},{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography?f_ri=1556"},{"id":16234,"name":"Dance History","url":"https://www.academia.edu/Documents/in/Dance_History?f_ri=1556"},{"id":41184,"name":"Choreomusicology","url":"https://www.academia.edu/Documents/in/Choreomusicology?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28649189" data-work_id="28649189" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28649189/Position_de_th%C3%A8se_Les_Deux_Corps_de_la_danse_L_imaginaire_de_la_danse_th%C3%A9%C3%A2trale_dans_la_litt%C3%A9rature_et_l_iconographie_europ%C3%A9ennes_1830_1870_">Position de thèse - Les Deux Corps de la danse – L’imaginaire de la danse théâtrale dans la littérature et l’iconographie européennes (1830-1870)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28649189" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7b6c96592fb86ebb778674c9f836c21d" 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$(".js-view-count-work_28649189").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28649189").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28649189"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="660" href="https://www.academia.edu/Documents/in/French_Literature">French Literature</a>, <script data-card-contents-for-ri="660" type="text/json">{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a><script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new 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class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">review of reconstruction, the original "Les Millions d'Arlequin"</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8783869" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fffbb6055132ce35b00b6fe99ef1007e" rel="nofollow" data-download="{"attachment_id":35134632,"asset_id":8783869,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12462547/%D7%9C%D7%90_%D7%A2%D7%A6%D7%95%D7%A8_%D7%9E%D7%97%D7%95%D7%9C_%D7%A9%D7%99%D7%97%D7%94_%D7%91%D7%99%D7%9F_%D7%92%D7%93%D7%99_%D7%93%D7%92%D7%95%D7%9F_%D7%95%D7%A2%D7%93%D7%95_%D7%A4%D7%93%D7%A8_%D7%9E%D7%97%D7%95%D7%9C_%D7%A2%D7%9B%D7%A9%D7%99%D7%95_%D7%93%D7%A6%D7%9E%D7%91%D7%A8_2014_">לא/עצור מחול": שיחה בין גדי דגון ועדו פדר, מחול עכשיו, דצמבר 2014"</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12462547" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11719800/Disabled_Theater">Disabled Theater</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Jérôme Bel’s Disabled Theater, a dance piece featuring eleven actors with cognitive disabilities from Zurich's Theater HORA, has polarized audiences worldwide. Some have celebrated the performance as an outstanding exploration of presence... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11719800" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Jérôme Bel’s Disabled Theater, a dance piece featuring eleven actors with cognitive disabilities from Zurich's Theater HORA, has polarized audiences worldwide. Some have celebrated the performance as an outstanding exploration of presence and representation; others have criticized it as a contemporary freak show. This impassioned reception provokes important questions about the role of people with cognitive disabilities within theater and dance—and within society writ large. Using Disabled Theater as the basis for a broad, interdisciplinary discussion of performance and disability, this volume explores the intersections of politics and aesthetics, inclusion and exclusion, and identity and empowerment. Can the stage serve as a place of emancipation for people with disabilities? To what extent are performers with disabilities able to challenge and subvert the rules of society? What would a performance look like without an ideology of ability?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11719800" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="165f6077a97e0b168ed660ef941654cd" rel="nofollow" data-download="{"attachment_id":37156880,"asset_id":11719800,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37156880/download_file?st=MTczMjc4NjUzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4575200" href="https://uni-mainz.academia.edu/BenjaminWihstutz">Benjamin Wihstutz</a><script data-card-contents-for-user="4575200" type="text/json">{"id":4575200,"first_name":"Benjamin","last_name":"Wihstutz","domain_name":"uni-mainz","page_name":"BenjaminWihstutz","display_name":"Benjamin Wihstutz","profile_url":"https://uni-mainz.academia.edu/BenjaminWihstutz?f_ri=1556","photo":"https://0.academia-photos.com/4575200/1901830/11551085/s65_benjamin.wihstutz.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-11719800">+1</span><div class="hidden js-additional-users-11719800"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://udk-berlin.academia.edu/SandraUmathum">Sandra Umathum</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-11719800'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-11719800').html(); 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class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Édition établie, présentée et annotée par Bruno Ligore, préface de Flavia Pappacena, avec un essai d'Audrey Gay-Mazuel, conservatrice du patrimoine au musée des Arts décoratifs de Paris</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33720525" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d3cf1639227e1a80cef3f280ff6ef555" rel="nofollow" data-download="{"attachment_id":53716766,"asset_id":33720525,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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Expanding Notions - Dance, Practice, Research, Method; 12th International NOFOD Conference, Reykjavík 28th - 31st May 2015</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11910792" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e4994691fff197baf3c21874867816b6" rel="nofollow" data-download="{"attachment_id":37593147,"asset_id":11910792,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37593147/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3775691" href="https://ku-dk.academia.edu/CamilleButtingsrud">Camille Buttingsrud</a><script data-card-contents-for-user="3775691" type="text/json">{"id":3775691,"first_name":"Camille","last_name":"Buttingsrud","domain_name":"ku-dk","page_name":"CamilleButtingsrud","display_name":"Camille Buttingsrud","profile_url":"https://ku-dk.academia.edu/CamilleButtingsrud?f_ri=1556","photo":"https://0.academia-photos.com/3775691/1367625/28277788/s65_camille.buttingsrud.jpg"}</script></span></span></li><li class="js-paper-rank-work_11910792 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11910792"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11910792, container: ".js-paper-rank-work_11910792", }); 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Expanding Notions - Dance, Practice, Research, Method; 12th International NOFOD Conference, Reykjavík 28th - 31st May 2015","created_at":"2015-04-12T10:36:54.508-07:00","url":"https://www.academia.edu/11910792/A_Phenomenological_Appreciation_of_Dancers_Embodied_Self_consciousness_Expanding_Notions_Dance_Practice_Research_Method_12th_International_NOFOD_Conference_Reykjav%C3%ADk_28th_31st_May_2015?f_ri=1556","dom_id":"work_11910792","summary":null,"downloadable_attachments":[{"id":37593147,"asset_id":11910792,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3775691,"first_name":"Camille","last_name":"Buttingsrud","domain_name":"ku-dk","page_name":"CamilleButtingsrud","display_name":"Camille Buttingsrud","profile_url":"https://ku-dk.academia.edu/CamilleButtingsrud?f_ri=1556","photo":"https://0.academia-photos.com/3775691/1367625/28277788/s65_camille.buttingsrud.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":3136,"name":"Qualitative methodology","url":"https://www.academia.edu/Documents/in/Qualitative_methodology?f_ri=1556","nofollow":false},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=1556","nofollow":false},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=1556","nofollow":false},{"id":8779,"name":"Self Consciousness","url":"https://www.academia.edu/Documents/in/Self_Consciousness?f_ri=1556"},{"id":14617,"name":"Phenomenology of the body","url":"https://www.academia.edu/Documents/in/Phenomenology_of_the_body?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11991760" data-work_id="11991760" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11991760/Robby_Herbst_on_City_Choreographer_Lawrence_Halprin_in_Urban_Renewal_America"> Robby Herbst on City Choreographer : Lawrence Halprin in Urban Renewal America </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of Alison Bick Hirsch's City Choreographer: Lawrence Halprin In Urban Renewal America (University of Minnesota Press, 2014). <br /> <br />Printed in the Los Angeles Review of Books</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11991760" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ad9aa115643cfaedc3b02a1a4b341ea5" rel="nofollow" data-download="{"attachment_id":37336337,"asset_id":11991760,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37336337/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4945177" href="https://independent.academia.edu/RobbyHerbst">Robby Herbst</a><script data-card-contents-for-user="4945177" type="text/json">{"id":4945177,"first_name":"Robby","last_name":"Herbst","domain_name":"independent","page_name":"RobbyHerbst","display_name":"Robby Herbst","profile_url":"https://independent.academia.edu/RobbyHerbst?f_ri=1556","photo":"https://0.academia-photos.com/4945177/2137248/2509040/s65_robby.herbst.jpg"}</script></span></span></li><li class="js-paper-rank-work_11991760 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11991760"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11991760, container: ".js-paper-rank-work_11991760", }); 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En particular, explora los saberes desarrollados con respecto a la representación de pasiones y el gesto... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15823850" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">RESUMEN: El siguiente trabajo estudia los fundamentos de la técnica de danza característica del ballet-pantomima del siglo XVIII. En particular, explora los saberes desarrollados con respecto a la representación de pasiones y el gesto expresivo. Nuestra hipótesis propone la existencia de una correlación entre la reglamenta- ción de la práctica teatral de la danza, en el siglo XVII, durante el reinado de Luis XIV y los discursos sobre el cuerpo-danza que han acompañado el apogeo del proyecto del ballet-pantomima entre 1760 y 1776. De este modo, demostraremos que el pasaje del ballet barroco al ballet pantomima representa un avance en la codificación del cuerpo, así como un desarrollo del marco estético que contiene la expresión teatral del bailarín.<br />ABSTRACT: The following paper examines the fundamentals of pantomime- ballet dance technique, which was characteristic of the eighteenth century. In par- ticular, it explores the knowledge developed with regard to the representation of passions and the expressive gesture. Our hypothesis proposes the existence of a correlation between the regulation of the theatrical practice of dance in the sevente- enth century, during the reign of Louis XIV, and the discourses on the dancing-body that accompanied the zenith of the pantomime-ballet project between 1760 and 1776. In this way, we show that the passage from baroque ballet to pantomime- ballet represents a breakthrough in body encoding as well as a development of the aesthetic framework containing dancer theatrical expression.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15823850" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="30cbcb98612f835da0f5686e2ab0ef64" rel="nofollow" data-download="{"attachment_id":38804097,"asset_id":15823850,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38804097/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31569813" href="https://conicet.academia.edu/JuanIgnacioVallejos">Juan Ignacio Vallejos</a><script data-card-contents-for-user="31569813" type="text/json">{"id":31569813,"first_name":"Juan Ignacio","last_name":"Vallejos","domain_name":"conicet","page_name":"JuanIgnacioVallejos","display_name":"Juan Ignacio Vallejos","profile_url":"https://conicet.academia.edu/JuanIgnacioVallejos?f_ri=1556","photo":"https://0.academia-photos.com/31569813/14202843/98585350/s65_juan_ignacio.vallejos.jpeg"}</script></span></span></li><li class="js-paper-rank-work_15823850 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15823850"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15823850, container: ".js-paper-rank-work_15823850", }); 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En particular, explora los saberes desarrollados con respecto a la representación de pasiones y el gesto expresivo. Nuestra hipótesis propone la existencia de una correlación entre la reglamenta- ción de la práctica teatral de la danza, en el siglo XVII, durante el reinado de Luis XIV y los discursos sobre el cuerpo-danza que han acompañado el apogeo del proyecto del ballet-pantomima entre 1760 y 1776. De este modo, demostraremos que el pasaje del ballet barroco al ballet pantomima representa un avance en la codificación del cuerpo, así como un desarrollo del marco estético que contiene la expresión teatral del bailarín.\nABSTRACT: The following paper examines the fundamentals of pantomime- ballet dance technique, which was characteristic of the eighteenth century. In par- ticular, it explores the knowledge developed with regard to the representation of passions and the expressive gesture. Our hypothesis proposes the existence of a correlation between the regulation of the theatrical practice of dance in the sevente- enth century, during the reign of Louis XIV, and the discourses on the dancing-body that accompanied the zenith of the pantomime-ballet project between 1760 and 1776. In this way, we show that the passage from baroque ballet to pantomime- ballet represents a breakthrough in body encoding as well as a development of the aesthetic framework containing dancer theatrical expression.","downloadable_attachments":[{"id":38804097,"asset_id":15823850,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31569813,"first_name":"Juan Ignacio","last_name":"Vallejos","domain_name":"conicet","page_name":"JuanIgnacioVallejos","display_name":"Juan Ignacio Vallejos","profile_url":"https://conicet.academia.edu/JuanIgnacioVallejos?f_ri=1556","photo":"https://0.academia-photos.com/31569813/14202843/98585350/s65_juan_ignacio.vallejos.jpeg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":1727,"name":"Early Modern History","url":"https://www.academia.edu/Documents/in/Early_Modern_History?f_ri=1556","nofollow":false},{"id":16234,"name":"Dance History","url":"https://www.academia.edu/Documents/in/Dance_History?f_ri=1556","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1944335" data-work_id="1944335" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1944335/Indian_popular_culture_and_its_others_Bollywood_dance_and_anti_nautch_in_twenty_first_century_global_India">Indian popular culture and its "others": Bollywood dance and anti-nautch in twenty first century global India</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Towards the end of the first decade of the new millennium ‘Bollywood’ can be seen as having gained unprecedented cultural legitimacy in India and worldwide. This is even apparent on the level of official representations of India, with... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1944335" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Towards the end of the first decade of the new millennium ‘Bollywood’ can be seen as having gained unprecedented cultural legitimacy in India and worldwide. This is even apparent on the level of official representations of India, with stars dancing to film songs at the closing ceremony of the 2006 Commonwealth Games in Australia. With the new extension of legitimate culture beyond the boundaries of classical or folk into the realm of the popular, there is a sense that the culture of ‘the people’, ‘the masses’, is embraced, validated, approved. However, that 75,000 ‘bar girls’ who danced to Bollywood numbers in beer bars in Mumbai were made redundant in August 2005 following a virulent moral campaign indicates that areas of Bollywood culture exist that are by no means legitimised. Beginning with an examination of the Bollywood dance craze that has become one of the trendiest parts of globalised India and then moving onto ‘other’ arenas of Bollywood dance starting with the bar girls, this chapter seeks to problematise the question of ‘the people’ in Indian popular culture through an examination of hierarchies and processes of inclusion and exclusion at work within the popular sphere.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1944335" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7c503feedb6465ef38b8e0fea1cdea6d" rel="nofollow" data-download="{"attachment_id":30733642,"asset_id":1944335,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30733642/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1798580" href="https://ucla.academia.edu/AnnaMorcom">Anna Morcom</a><script data-card-contents-for-user="1798580" type="text/json">{"id":1798580,"first_name":"Anna","last_name":"Morcom","domain_name":"ucla","page_name":"AnnaMorcom","display_name":"Anna Morcom","profile_url":"https://ucla.academia.edu/AnnaMorcom?f_ri=1556","photo":"https://0.academia-photos.com/1798580/614930/763513/s65_anna.morcom.jpg"}</script></span></span></li><li class="js-paper-rank-work_1944335 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1944335"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1944335, container: ".js-paper-rank-work_1944335", }); });</script></li><li class="js-percentile-work_1944335 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1944335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_1944335"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_1944335 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="1944335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1944335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1944335]").text(description); $(".js-view-count-work_1944335").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1944335").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1944335"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="977" href="https://www.academia.edu/Documents/in/Development_Studies">Development Studies</a><script data-card-contents-for-ri="977" type="text/json">{"id":977,"name":"Development Studies","url":"https://www.academia.edu/Documents/in/Development_Studies?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1944335]'), work: {"id":1944335,"title":"Indian popular culture and its \"others\": Bollywood dance and anti-nautch in twenty first century global India","created_at":"2012-09-17T17:26:52.259-07:00","url":"https://www.academia.edu/1944335/Indian_popular_culture_and_its_others_Bollywood_dance_and_anti_nautch_in_twenty_first_century_global_India?f_ri=1556","dom_id":"work_1944335","summary":"Towards the end of the first decade of the new millennium ‘Bollywood’ can be seen as having gained unprecedented cultural legitimacy in India and worldwide. This is even apparent on the level of official representations of India, with stars dancing to film songs at the closing ceremony of the 2006 Commonwealth Games in Australia. With the new extension of legitimate culture beyond the boundaries of classical or folk into the realm of the popular, there is a sense that the culture of ‘the people’, ‘the masses’, is embraced, validated, approved. However, that 75,000 ‘bar girls’ who danced to Bollywood numbers in beer bars in Mumbai were made redundant in August 2005 following a virulent moral campaign indicates that areas of Bollywood culture exist that are by no means legitimised. Beginning with an examination of the Bollywood dance craze that has become one of the trendiest parts of globalised India and then moving onto ‘other’ arenas of Bollywood dance starting with the bar girls, this chapter seeks to problematise the question of ‘the people’ in Indian popular culture through an examination of hierarchies and processes of inclusion and exclusion at work within the popular sphere.","downloadable_attachments":[{"id":30733642,"asset_id":1944335,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1798580,"first_name":"Anna","last_name":"Morcom","domain_name":"ucla","page_name":"AnnaMorcom","display_name":"Anna Morcom","profile_url":"https://ucla.academia.edu/AnnaMorcom?f_ri=1556","photo":"https://0.academia-photos.com/1798580/614930/763513/s65_anna.morcom.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=1556","nofollow":false},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=1556","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556","nofollow":false},{"id":977,"name":"Development Studies","url":"https://www.academia.edu/Documents/in/Development_Studies?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556"},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=1556"},{"id":2466,"name":"Indian Music","url":"https://www.academia.edu/Documents/in/Indian_Music?f_ri=1556"},{"id":3558,"name":"South Asian Studies","url":"https://www.academia.edu/Documents/in/South_Asian_Studies?f_ri=1556"},{"id":13430,"name":"Social Exclusion","url":"https://www.academia.edu/Documents/in/Social_Exclusion?f_ri=1556"},{"id":15011,"name":"Sex Work","url":"https://www.academia.edu/Documents/in/Sex_Work?f_ri=1556"},{"id":24920,"name":"Prostitution \u0026 Trafficking","url":"https://www.academia.edu/Documents/in/Prostitution_and_Trafficking?f_ri=1556"},{"id":43838,"name":"India","url":"https://www.academia.edu/Documents/in/India?f_ri=1556"},{"id":170908,"name":"Indian Cinema, Bollywood, Film Studies, South Asia, Media","url":"https://www.academia.edu/Documents/in/Indian_Cinema_Bollywood_Film_Studies_South_Asia_Media?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34550125" data-work_id="34550125" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34550125/Handbook_of_Arts_Based_Research">Handbook of Arts-Based Research</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34550125" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34550125" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2c7fe3e51f7e88f93830beece463ad81" rel="nofollow" data-download="{"attachment_id":54415002,"asset_id":34550125,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54415002/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8279108" href="https://independent.academia.edu/PatriciaLeavy">Patricia Leavy</a><script data-card-contents-for-user="8279108" type="text/json">{"id":8279108,"first_name":"Patricia","last_name":"Leavy","domain_name":"independent","page_name":"PatriciaLeavy","display_name":"Patricia Leavy","profile_url":"https://independent.academia.edu/PatriciaLeavy?f_ri=1556","photo":"https://0.academia-photos.com/8279108/5815122/37032207/s65_patricia.leavy.jpg"}</script></span></span></li><li class="js-paper-rank-work_34550125 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34550125"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34550125, container: ".js-paper-rank-work_34550125", }); });</script></li><li class="js-percentile-work_34550125 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34550125; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_34550125"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_34550125 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="34550125"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34550125; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34550125]").text(description); $(".js-view-count-work_34550125").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34550125").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34550125"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">46</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3" href="https://www.academia.edu/Documents/in/Fiction_Writing">Fiction Writing</a>, <script data-card-contents-for-ri="3" type="text/json">{"id":3,"name":"Fiction Writing","url":"https://www.academia.edu/Documents/in/Fiction_Writing?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="203" href="https://www.academia.edu/Documents/in/Public_Sociology">Public Sociology</a>, <script data-card-contents-for-ri="203" type="text/json">{"id":203,"name":"Public Sociology","url":"https://www.academia.edu/Documents/in/Public_Sociology?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="220" href="https://www.academia.edu/Documents/in/Visual_Sociology">Visual Sociology</a><script data-card-contents-for-ri="220" type="text/json">{"id":220,"name":"Visual Sociology","url":"https://www.academia.edu/Documents/in/Visual_Sociology?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34550125]'), work: {"id":34550125,"title":"Handbook of Arts-Based Research","created_at":"2017-09-12T08:38:22.818-07:00","url":"https://www.academia.edu/34550125/Handbook_of_Arts_Based_Research?f_ri=1556","dom_id":"work_34550125","summary":"Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.","downloadable_attachments":[{"id":54415002,"asset_id":34550125,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8279108,"first_name":"Patricia","last_name":"Leavy","domain_name":"independent","page_name":"PatriciaLeavy","display_name":"Patricia Leavy","profile_url":"https://independent.academia.edu/PatriciaLeavy?f_ri=1556","photo":"https://0.academia-photos.com/8279108/5815122/37032207/s65_patricia.leavy.jpg"}],"research_interests":[{"id":3,"name":"Fiction Writing","url":"https://www.academia.edu/Documents/in/Fiction_Writing?f_ri=1556","nofollow":false},{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1556","nofollow":false},{"id":203,"name":"Public Sociology","url":"https://www.academia.edu/Documents/in/Public_Sociology?f_ri=1556","nofollow":false},{"id":220,"name":"Visual Sociology","url":"https://www.academia.edu/Documents/in/Visual_Sociology?f_ri=1556","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1556"},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=1556"},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=1556"},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=1556"},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556"},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=1556"},{"id":1230,"name":"Social Research Methods and 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href="https://www.academia.edu/1160483/Architecture_dance_choreographing_and_inhabiting_spaces_with_Anna_and_Lawrence_Halprin">Architecture/dance: choreographing and inhabiting spaces with Anna and Lawrence Halprin</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1160483" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2029fb4cd94aada6700dbfb0f139f8bf" rel="nofollow" data-download="{"attachment_id":30859008,"asset_id":1160483,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11801372/Partener_Contempor%C3%A1neo_acerca_de_la_necesidad_de_otros_para_construir">Partener Contemporáneo: acerca de la necesidad de otros para construir </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Artículo sobre la técnica "Partener contemporáneo" de Juan Onofri y Agnese Vanaga.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11801372" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li 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href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1596" href="https://www.academia.edu/Documents/in/Creative_processes_in_contemporary_dance">Creative processes in contemporary dance</a>, <script data-card-contents-for-ri="1596" type="text/json">{"id":1596,"name":"Creative processes in contemporary dance","url":"https://www.academia.edu/Documents/in/Creative_processes_in_contemporary_dance?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16234" href="https://www.academia.edu/Documents/in/Dance_History">Dance History</a><script data-card-contents-for-ri="16234" type="text/json">{"id":16234,"name":"Dance 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work_9211906" data-work_id="9211906" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9211906/Kumpulan_Khotbah_untuk_Pendidikan_Jemaat_Many_Preaching_for_education_of_Churcher_">Kumpulan Khotbah untuk Pendidikan Jemaat (Many Preaching for education of Churcher)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Kumpulan khotbah untuk pendidikan Agama Kristen untuk jemaat bertujuan untuk menumbuhkan iman kepada Kristus, formasi rohani dan keintiman dengan Tuhan Yesus</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9211906" data-share-source="work_strip" 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u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">" Bharatanatyam " is the most revered classical dance forms of India. It is one of the most studied, respected, depicted, researched, performed and practiced Art today. It has reached it " s peak form, with great masters, performers and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36826944" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">" Bharatanatyam " is the most revered classical dance forms of India. It is one of the most studied, respected, depicted, researched, performed and practiced Art today. It has reached it " s peak form, with great masters, performers and researchers leaving no stone unturned in taking it further.Bharatanatyam fell into Oblivion during the British Raj, just like other ancient Indian techniques like the Yoga, the Ayurveda, Sanskrit, the Gurukul education and much more. Most of the evils of the Hindu way of life were glorified excessively, like the Sati system, the devadasi system, the caste system, the cultures and traditions, Untouchability, the native couture etc. Yoga was considered evil too. Bharatanatyam was misunderstood as Nautch, performed by the degraded class. Most of them who educated in English, and read English literature, were ashamed of their own religious existence. They wanted to get rid off anything that could bring dis-repute, including Bharatanatyam, which they believed was Sadir, a dance of the devadasis. The Anti-Nautch movement started in the late 19 th century swept the Southern part of India for about 40 years, and it is believed that dance went into Hibernation, and was revived in the year 1932 and later by the efforts from famous revivalists of the likes of E Krishna Iyer, Rukmini Devi Arundale, V Raghavan and more. We carry this belief till today. But, a careful study into the times of the famous gurus of Bharatanatyam that existed during the late 19 th century till Independence brings to light a different perspective of Bharatanatyam that shows not only bare survival, but also significant growth in the way Bharatanatyam was taught and practiced in those times.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36826944" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8f81627fa392be498d69fa094199038d" rel="nofollow" data-download="{"attachment_id":56778795,"asset_id":36826944,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56778795/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2523080" href="https://independent.academia.edu/IOSRJournalsOrg">IOSR Journals publish within 3 days</a><script data-card-contents-for-user="2523080" type="text/json">{"id":2523080,"first_name":"IOSR Journals","last_name":"publish within 3 days","domain_name":"independent","page_name":"IOSRJournalsOrg","display_name":"IOSR Journals publish within 3 days","profile_url":"https://independent.academia.edu/IOSRJournalsOrg?f_ri=1556","photo":"https://0.academia-photos.com/2523080/786357/33690490/s65_top_journal.best_impact_factor.jpg"}</script></span></span></li><li class="js-paper-rank-work_36826944 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36826944"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36826944, container: ".js-paper-rank-work_36826944", }); 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It is one of the most studied, respected, depicted, researched, performed and practiced Art today. It has reached it \" s peak form, with great masters, performers and researchers leaving no stone unturned in taking it further.Bharatanatyam fell into Oblivion during the British Raj, just like other ancient Indian techniques like the Yoga, the Ayurveda, Sanskrit, the Gurukul education and much more. Most of the evils of the Hindu way of life were glorified excessively, like the Sati system, the devadasi system, the caste system, the cultures and traditions, Untouchability, the native couture etc. Yoga was considered evil too. Bharatanatyam was misunderstood as Nautch, performed by the degraded class. Most of them who educated in English, and read English literature, were ashamed of their own religious existence. They wanted to get rid off anything that could bring dis-repute, including Bharatanatyam, which they believed was Sadir, a dance of the devadasis. The Anti-Nautch movement started in the late 19 th century swept the Southern part of India for about 40 years, and it is believed that dance went into Hibernation, and was revived in the year 1932 and later by the efforts from famous revivalists of the likes of E Krishna Iyer, Rukmini Devi Arundale, V Raghavan and more. We carry this belief till today. But, a careful study into the times of the famous gurus of Bharatanatyam that existed during the late 19 th century till Independence brings to light a different perspective of Bharatanatyam that shows not only bare survival, but also significant growth in the way Bharatanatyam was taught and practiced in those times.","downloadable_attachments":[{"id":56778795,"asset_id":36826944,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2523080,"first_name":"IOSR Journals","last_name":"publish within 3 days","domain_name":"independent","page_name":"IOSRJournalsOrg","display_name":"IOSR Journals publish within 3 days","profile_url":"https://independent.academia.edu/IOSRJournalsOrg?f_ri=1556","photo":"https://0.academia-photos.com/2523080/786357/33690490/s65_top_journal.best_impact_factor.jpg"}],"research_interests":[{"id":114,"name":"Hinduism","url":"https://www.academia.edu/Documents/in/Hinduism?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance 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Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="29167" href="https://www.academia.edu/Documents/in/Dance">Dance</a><script data-card-contents-for-ri="29167" type="text/json">{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14518319]'), work: {"id":14518319,"title":"Terpsichore in sneakers, post-modern 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4585120" data-work_id="4585120" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4585120/ReConstructing_and_RePresenting_Dance_Exploring_the_Dance_Archaeology_Conjunction">ReConstructing and RePresenting Dance: Exploring the Dance/Archaeology Conjunction</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Stanford website 'humanitieslab' is out of order but copies can be retrieved using the Wayback Machine internet archive at this url <a href="http://web.archive.org/web/20151002235517/http://humanitieslab.stanford.edu:80/117/Home" rel="nofollow">http://web.archive.org/web/20151002235517/http://humanitieslab.stanford.edu:80/117/Home</a> I have also... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4585120" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Stanford website 'humanitieslab' is out of order but copies can be retrieved using the Wayback Machine internet archive at this url <a href="http://web.archive.org/web/20151002235517/http://humanitieslab.stanford.edu:80/117/Home" rel="nofollow">http://web.archive.org/web/20151002235517/http://humanitieslab.stanford.edu:80/117/Home</a><br />I have also uploaded a .pdf of the book which can be viewed with your browser to  navigate the links. <br />This was never meant to be a print book, I chose to publish it as an online resource because of the videos and links. However, it can be rather difficult when websites are closed down, so I am glad there is a .pdf record of it<br />(added 29/05/2017)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4585120" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cac9263e06e239c2cbc4baeaa3999074" rel="nofollow" data-download="{"attachment_id":53316924,"asset_id":4585120,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53316924/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1281758" href="https://independentresearcher.academia.edu/AlessandraLopezyRoyo">Alessandra B . 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Lopez y Royo","profile_url":"https://independentresearcher.academia.edu/AlessandraLopezyRoyo?f_ri=1556","photo":"https://0.academia-photos.com/1281758/2353290/18913812/s65_alessandra.lopez_y_royo.jpg"}</script></span></span></li><li class="js-paper-rank-work_4585120 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4585120"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4585120, container: ".js-paper-rank-work_4585120", }); });</script></li><li class="js-percentile-work_4585120 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4585120; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4585120"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4585120 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4585120"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4585120; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4585120]").text(description); $(".js-view-count-work_4585120").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4585120").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4585120"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="380" href="https://www.academia.edu/Documents/in/Asian_Studies">Asian Studies</a>, <script data-card-contents-for-ri="380" type="text/json">{"id":380,"name":"Asian Studies","url":"https://www.academia.edu/Documents/in/Asian_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="392" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a><script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4585120]'), work: {"id":4585120,"title":"ReConstructing and RePresenting Dance: Exploring the Dance/Archaeology Conjunction","created_at":"2013-09-25T09:57:15.703-07:00","url":"https://www.academia.edu/4585120/ReConstructing_and_RePresenting_Dance_Exploring_the_Dance_Archaeology_Conjunction?f_ri=1556","dom_id":"work_4585120","summary":"The Stanford website 'humanitieslab' is out of order but copies can be retrieved using the Wayback Machine internet archive at this url http://web.archive.org/web/20151002235517/http://humanitieslab.stanford.edu:80/117/Home\nI have also uploaded a .pdf of the book which can be viewed with your browser to navigate the links. \nThis was never meant to be a print book, I chose to publish it as an online resource because of the videos and links. However, it can be rather difficult when websites are closed down, so I am glad there is a .pdf record of it\n(added 29/05/2017)","downloadable_attachments":[{"id":53316924,"asset_id":4585120,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1281758,"first_name":"Alessandra","last_name":"Lopez y Royo","domain_name":"independentresearcher","page_name":"AlessandraLopezyRoyo","display_name":"Alessandra B . Lopez y Royo","profile_url":"https://independentresearcher.academia.edu/AlessandraLopezyRoyo?f_ri=1556","photo":"https://0.academia-photos.com/1281758/2353290/18913812/s65_alessandra.lopez_y_royo.jpg"}],"research_interests":[{"id":380,"name":"Asian Studies","url":"https://www.academia.edu/Documents/in/Asian_Studies?f_ri=1556","nofollow":false},{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10977463 coauthored" data-work_id="10977463" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10977463/I_balli_russi_nel_cinema_muto_italiano">I “balli russi” nel cinema muto italiano</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Essay, in the film journal “Immagine – Note di Storia del Cinema” n. 9, 2014 (La danza nel cinema muto / Dance in Silent Cinema), ed. Elisa Uffreduzzi e Cristina Jandelli. ©2014 by Associazione Italiana per le Ricerche di Storia del... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10977463" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Essay, in the film journal “Immagine – Note di Storia del Cinema” n. 9, 2014 (La danza nel cinema muto / Dance in Silent Cinema), ed. Elisa Uffreduzzi e Cristina Jandelli. ©2014 by Associazione Italiana per le Ricerche di Storia del Cinema – Rome. Bologna: Paolo Emilio Persiani editore, 2014, 45-78.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10977463" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5d5f4a553665ca943d5904326b14a39d" rel="nofollow" data-download="{"attachment_id":38880580,"asset_id":10977463,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38880580/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26585358" href="https://ulb.academia.edu/ElisaUffreduzzi">Elisa Uffreduzzi</a><script data-card-contents-for-user="26585358" type="text/json">{"id":26585358,"first_name":"Elisa","last_name":"Uffreduzzi","domain_name":"ulb","page_name":"ElisaUffreduzzi","display_name":"Elisa Uffreduzzi","profile_url":"https://ulb.academia.edu/ElisaUffreduzzi?f_ri=1556","photo":"https://0.academia-photos.com/26585358/7398369/17170344/s65_elisa.uffreduzzi.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-10977463">+1</span><div class="hidden js-additional-users-10977463"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/PersianiEditore">Persiani Editore</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-10977463'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-10977463').html(); 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","downloadable_attachments":[{"id":38880580,"asset_id":10977463,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26585358,"first_name":"Elisa","last_name":"Uffreduzzi","domain_name":"ulb","page_name":"ElisaUffreduzzi","display_name":"Elisa Uffreduzzi","profile_url":"https://ulb.academia.edu/ElisaUffreduzzi?f_ri=1556","photo":"https://0.academia-photos.com/26585358/7398369/17170344/s65_elisa.uffreduzzi.jpg"},{"id":32458536,"first_name":"Persiani","last_name":"Editore","domain_name":"independent","page_name":"PersianiEditore","display_name":"Persiani Editore","profile_url":"https://independent.academia.edu/PersianiEditore?f_ri=1556","photo":"https://0.academia-photos.com/32458536/9711734/85754816/s65_persiani.editore.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":53321,"name":"Silent Cinema","url":"https://www.academia.edu/Documents/in/Silent_Cinema?f_ri=1556","nofollow":false},{"id":166314,"name":"DANCE FILM","url":"https://www.academia.edu/Documents/in/DANCE_FILM?f_ri=1556","nofollow":false},{"id":842987,"name":"Film and Dance","url":"https://www.academia.edu/Documents/in/Film_and_Dance?f_ri=1556","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8564709 coauthored" data-work_id="8564709" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8564709/La_danza_nel_cinema_muto">La danza nel cinema muto</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dance, special spectacle of movement, in the early cinema denotes artistic affinity with film, attractions-hungry. To show their seductive, kinetic and aesthetic potential, the cinema since its origins has attract dance as other types of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8564709" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dance, special spectacle of movement, in the early cinema denotes artistic affinity with film, attractions-hungry. To show their seductive, kinetic and aesthetic potential, the cinema since its origins has attract dance as other types of performing arts. It was the same period which modernism was establishing itself in the international context.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8564709" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0c3b0001e58eafd7a64a556eac04aee4" rel="nofollow" data-download="{"attachment_id":34936694,"asset_id":8564709,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34936694/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10925942" href="https://unifi.academia.edu/CristinaJandelli">Cristina Jandelli</a><script data-card-contents-for-user="10925942" type="text/json">{"id":10925942,"first_name":"Cristina","last_name":"Jandelli","domain_name":"unifi","page_name":"CristinaJandelli","display_name":"Cristina Jandelli","profile_url":"https://unifi.academia.edu/CristinaJandelli?f_ri=1556","photo":"https://0.academia-photos.com/10925942/3288725/34710867/s65_cristina.jandelli.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-8564709">+1</span><div class="hidden js-additional-users-8564709"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/PersianiEditore">Persiani Editore</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-8564709'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-8564709').html(); 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type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a><script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13278705]'), work: {"id":13278705,"title":"Creative Arts K-6 Units of 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31864699/I_CONGRESSO_INTERNACIONAL_LUS%C3%93FONO_TODAS_AS_ARTES_TODOS_OS_NOMES_Livro_de_Atas">I CONGRESSO INTERNACIONAL LUSÓFONO TODAS AS ARTES | TODOS OS NOMES Livro de Atas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31864699" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada e afirmada. Concentrando o debate na relação entre as artes e as sociedades plurais, por um lado, e sobre o lugar e o estatuto atribuído à arte pela nova retórica da agenda criativa e da economia criativa, por outro lado, o Congresso almejou debater criticamente o papel das artes como um pilar do desenvolvimento cultural, sócio-ecológico e socioeconómico, da coesão social e da cidadania ativa, bem como sobre os processos de construção de identidades. Assim, a abordagem incidirá sobre as diversas maneiras através das quais as artes são entrelaçadas com os processos de construção de identidade, a nível individual e coletivo, e sobre o reenquadramento material e simbólico das diferenças sociais, económicas e culturais nas sociedades contemporâneas. Um dos principais objetivos deste Congresso Internacional foi o de promover a colaboração e intercâmbio académico entre os estudiosos das artes, para apoiar a apresentação de novos projetos de pesquisa e oferecer inspiração para o desenvolvimento da sociologia, das ciências sociais e dos estudos culturais de matriz lusófona sobre as artes – e a este nível não poderia ter sido mais positivo, pois representou uma odisseia de oportunidades neste âmbito.<br />A sociologia das artes e da cultura tem conhecido grandes avanços em três domínios. O primeiro é a análise da estruturação dos campos culturais-artísticos; a identificação dos princípios do seu funcionamento autónomo e das relações que mantêm com os restantes campos sociais; e a explicação das formas assumidas pelas diferentes disciplinas, práticas e obras artísticas à luz da estrutura dos campos culturais respetivos (Dabul, 2014, 2016a, 2016b). O segundo domínio é a análise da relação social face à cultura, mostrando como ela varia de acordo, por um lado, com a legitimidade dos bens culturais e, por outro lado, com a condição dos atores sociais (Villas-Bôas, 2011, 2016a, 2016b). O terceiro domínio é a análise das políticas culturais. Mas o progresso nestes domínios contrasta com uma dificuldade recorrente em tratar sociologicamente os conteúdos culturais, artísticos e criativos. E essa dificuldade resulta de uma menor disponibilidade para encará-los plenamente como obras: textos, composições musicais, representações, graffitis, pichações, canções, filmes, esculturas, edifícios, performances, instalações, etc., que têm expressão e reconhecimento artístico nos contextos sociais e institucionais onde adquirem relevância, seja do ponto de vista da criação, seja do ponto de vista da consagração crítica ou patrimonial, seja do ponto de vista da receção. É como se a relação entre a prática e a obra artística, de um lado, e o conjunto das práticas e estruturas sociais, do outro, só pudesse investigar-se sociologicamente pela caraterização dos respetivos públicos, ou dos respetivos autores, instituições e mercados; e, fora disso, ficassem as práticas e obras artísticas reduzidas à condição de efeito (direto ou indireto e, neste caso, através de mediações mais ou menos complexas) das práticas e estruturas sociais (Bueno, 2010 e 2015). Ora, a capacidade de análise sociológica e o seu diálogo com outras abordagens interessadas em tornar inteligível a criação artística ficam muito penalizados com esta redução da obra de cultura à condição de efeito (Rodrigues, 2011; Rodrigues & Oliveira, 2016).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31864699" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="03752b9652109bd5e95d770ebc14e15b" rel="nofollow" data-download="{"attachment_id":52153901,"asset_id":31864699,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52153901/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="768455" href="https://up-pt.academia.edu/MariadeGuerra">Paula Guerra</a><script data-card-contents-for-user="768455" type="text/json">{"id":768455,"first_name":"Paula","last_name":"Guerra","domain_name":"up-pt","page_name":"MariadeGuerra","display_name":"Paula Guerra","profile_url":"https://up-pt.academia.edu/MariadeGuerra?f_ri=1556","photo":"https://0.academia-photos.com/768455/260290/307545/s65_maria.de_guerra.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-31864699">+1</span><div class="hidden js-additional-users-31864699"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uff.academia.edu/L%C3%ADgiaDabul">Lígia Dabul</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-31864699'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-31864699').html(); 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20005332/An_Attempt_to_to_Compare_N%C4%81%E1%B9%ADya%C5%9B%C4%81stra_and_Abhinayadarpana_A_Lexical_Analysis_on_the_Rasas_and_the_Sth%C4%81yibh%C4%81vas_N%C4%81%E1%B9%ADya%C5%9B%C4%81stra_ch_VI_VII_and_a_Detailed_Comparison_of_the_Head_the_Eyes_and_the_Neck_Movements_N%C4%81%E1%B9%ADya%C5%9B%C4%81stra_ch_VIII_Through_the_Abhinayas">An Attempt to to Compare Nāṭyaśāstra and Abhinayadarpana: A Lexical Analysis on the Rasas and the Sthāyibhāvas (Nāṭyaśāstra ch. VI-‐VII) and a Detailed Comparison of the Head, the Eyes and the Neck Movements (Nāṭyaśāstra ch. VIII) Through the Abhinayas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper have been examined the two fundamental texts of the Hindū dance-theatre tradition, the Nāṭyaśāstra and the Abhinayadarpaṇa, in order to compare them and to investigate first the lexical use of rasas and of sthāyibhāvas, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20005332" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper have been examined the two fundamental texts of the Hindū dance-theatre tradition, the Nāṭyaśāstra and  the Abhinayadarpaṇa, in order to compare them and to investigate first the lexical use of rasas and of sthāyibhāvas, and then the elements about the abhinayas for the head, for the glances and for the neck. After a detailed survey of the parts about rasas, sthāyibhāvas and abhinayas for head, eyes and neck it was possible to observe that the relationship is not as linear as it has been traditionally passed on. Analyzing the collected data it emerges indeed a complex relationship based on a continuous and dynamic crossfire, as well as a  lot of autonomous elements that reflect cultural traditions with clear nuances of autonomy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20005332" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="05f74ecd08e3945fc5e465007ec33de2" rel="nofollow" data-download="{"attachment_id":40952998,"asset_id":20005332,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40952998/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1090219" href="https://unibo.academia.edu/MatteoCasari">Matteo Casari</a><script data-card-contents-for-user="1090219" type="text/json">{"id":1090219,"first_name":"Matteo","last_name":"Casari","domain_name":"unibo","page_name":"MatteoCasari","display_name":"Matteo Casari","profile_url":"https://unibo.academia.edu/MatteoCasari?f_ri=1556","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-20005332">+2</span><div class="hidden js-additional-users-20005332"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/PietroChierichetti">Pietro Chierichetti</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/GiovanniAzzaroni">Giovanni Azzaroni</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-20005332'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-20005332').html(); 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After a detailed survey of the parts about rasas, sthāyibhāvas and abhinayas for head, eyes and neck it was possible to observe that the relationship is not as linear as it has been traditionally passed on. 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Balkans und des Nahen Ostens werden auch heute noch zu Hochzeiten und Dorffesten getanzt, doch ihre Wurzeln gehen auf die uralte Kultur des Neolithikums zurück. Damals wie heute ist eine ihrer... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45091518" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Die traditionellen Frauentänze des Balkans und des Nahen Ostens werden auch heute noch zu Hochzeiten und Dorffesten getanzt, doch ihre Wurzeln gehen auf die uralte Kultur des Neolithikums zurück. Damals wie heute ist eine ihrer wertvollsten Gaben, dass sie die Werte der Gemeinschaft lehren, halten und stärken.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45091518" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ec337677832cfbe6b8859f77dafcd002" rel="nofollow" data-download="{"attachment_id":65652995,"asset_id":45091518,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65652995/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38130873" href="https://uniog.academia.edu/LauraShannon">Laura Shannon</a><script data-card-contents-for-user="38130873" type="text/json">{"id":38130873,"first_name":"Laura","last_name":"Shannon","domain_name":"uniog","page_name":"LauraShannon","display_name":"Laura Shannon","profile_url":"https://uniog.academia.edu/LauraShannon?f_ri=1556","photo":"https://gravatar.com/avatar/e16ca87a3224f7c2b382e6e076966166?s=65"}</script></span></span></li><li class="js-paper-rank-work_45091518 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45091518"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45091518, container: ".js-paper-rank-work_45091518", }); 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class="clearfix u-pv7x u-mb0x js-work-card work_72472608 coauthored" data-work_id="72472608" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/72472608/Books_at_Berklee_Medici_TV_and_Dance_Online_discussed_with_Linda_Monich">Books@Berklee: Medici TV & Dance Online discussed with Linda Monich</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">October 27, 2021 Librarian Judith Pinnolis conducts a Books@Berklee discussion of two library resources for dance students, "Medici TV" and "Dance Online", with Linda Monich, Associate Professor of Dance at the Boston Conservatory at... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_72472608" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">October 27, 2021 <br />Librarian Judith Pinnolis conducts a Books@Berklee discussion of two library resources for dance students, "Medici TV" and "Dance Online", with Linda Monich, Associate Professor of Dance at the Boston Conservatory at Berklee</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/72472608" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="123498" href="https://berklee.academia.edu/JudithPinnolis">Judith S Pinnolis</a><script data-card-contents-for-user="123498" type="text/json">{"id":123498,"first_name":"Judith","last_name":"Pinnolis","domain_name":"berklee","page_name":"JudithPinnolis","display_name":"Judith S Pinnolis","profile_url":"https://berklee.academia.edu/JudithPinnolis?f_ri=1556","photo":"https://0.academia-photos.com/123498/355025/28972028/s65_judith.pinnolis.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-72472608">+1</span><div class="hidden js-additional-users-72472608"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://bostonconservatory.academia.edu/LindaMonich">Linda Monich</a></span></div></div></span><script>(function(){ var 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/64565264/The_Popularization_of_Belly_Dance_in_Toronto_Canada_1950_1990_Hybridization_and_Uneven_Exchange">The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange Anne Vermeyden Advisors: University of Guelph, 2016 Dr. Femi Kolapo and Dr. Renée Worringer Belly dance was first performed publicly in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_64565264" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange Anne Vermeyden Advisors: University of Guelph, 2016 Dr. Femi Kolapo and Dr. Renée Worringer Belly dance was first performed publicly in Toronto during the late nineteenth century. While immigrants to Canada from the Middle East faced discrimination, white audiences could not get enough of stereotypical portrayals of danse du ventre. Hollywood further popularized the Orientalist image of the belly dancer, and beginning in the 1950s, star Middle Eastern dancers like Samia Gamal and Nejla Ateş were making appearances on Toronto stages. By the 1960s, American, Middle Eastern, and Canadian dancers were performing belly dance in Toronto’s hotel nightclubs and restaurants. During belly dance’s peak popularity in the 1970s and 1980s, multiple venues were running two belly dance shows a night, six days a week, and belly dance classes were so popular they were often waitlisted. Why and how did ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/64565264" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="639e82b65093b9ac5e0a23fe69d05003" rel="nofollow" data-download="{"attachment_id":76543460,"asset_id":64565264,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76543460/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50981488" href="https://independent.academia.edu/AnneVermeyden">Anne Vermeyden</a><script data-card-contents-for-user="50981488" type="text/json">{"id":50981488,"first_name":"Anne","last_name":"Vermeyden","domain_name":"independent","page_name":"AnneVermeyden","display_name":"Anne Vermeyden","profile_url":"https://independent.academia.edu/AnneVermeyden?f_ri=1556","photo":"https://0.academia-photos.com/50981488/13502411/14689071/s65_anne.vermeyden.jpg"}</script></span></span></li><li class="js-paper-rank-work_64565264 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="64565264"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 64565264, container: ".js-paper-rank-work_64565264", }); 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Notions of time are embedded in almost every aspect of performer... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52973764" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the ‘right’ time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance. <a href="https://www.routledge.com/Time-and-Performer-Training/Evans-Thomaidis-Worth/p/book/9780815396284" rel="nofollow">https://www.routledge.com/Time-and-Performer-Training/Evans-Thomaidis-Worth/p/book/9780815396284</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52973764" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="48741301" href="https://independent.academia.edu/LibbyWorth">Libby Worth</a><script data-card-contents-for-user="48741301" type="text/json">{"id":48741301,"first_name":"Libby","last_name":"Worth","domain_name":"independent","page_name":"LibbyWorth","display_name":"Libby Worth","profile_url":"https://independent.academia.edu/LibbyWorth?f_ri=1556","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_52973764 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52973764"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52973764, container: ".js-paper-rank-work_52973764", }); 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$(".js-view-count[data-work-id=52973764]").text(description); $(".js-view-count-work_52973764").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52973764").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="52973764"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="947" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a><script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52973764]'), work: {"id":52973764,"title":"Time and Performer Training","created_at":"2021-09-20T04:03:09.498-07:00","url":"https://www.academia.edu/52973764/Time_and_Performer_Training?f_ri=1556","dom_id":"work_52973764","summary":"Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the ‘right’ time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance. https://www.routledge.com/Time-and-Performer-Training/Evans-Thomaidis-Worth/p/book/9780815396284","downloadable_attachments":[],"ordered_authors":[{"id":48741301,"first_name":"Libby","last_name":"Worth","domain_name":"independent","page_name":"LibbyWorth","display_name":"Libby Worth","profile_url":"https://independent.academia.edu/LibbyWorth?f_ri=1556","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=1556","nofollow":false},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1556","nofollow":false},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=1556"},{"id":7759,"name":"Time Studies","url":"https://www.academia.edu/Documents/in/Time_Studies?f_ri=1556"},{"id":25452,"name":"Intercultural Theatre","url":"https://www.academia.edu/Documents/in/Intercultural_Theatre?f_ri=1556"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=1556"},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556"},{"id":29546,"name":"Jacques Lecoq","url":"https://www.academia.edu/Documents/in/Jacques_Lecoq?f_ri=1556"},{"id":32663,"name":"Temporality (Time Studies)","url":"https://www.academia.edu/Documents/in/Temporality_Time_Studies_?f_ri=1556"},{"id":47795,"name":"Carnatic Music","url":"https://www.academia.edu/Documents/in/Carnatic_Music?f_ri=1556"},{"id":54495,"name":"Voice","url":"https://www.academia.edu/Documents/in/Voice?f_ri=1556"},{"id":82943,"name":"Singing","url":"https://www.academia.edu/Documents/in/Singing?f_ri=1556"},{"id":203981,"name":"Performer Training","url":"https://www.academia.edu/Documents/in/Performer_Training?f_ri=1556"},{"id":216528,"name":"Pansori","url":"https://www.academia.edu/Documents/in/Pansori?f_ri=1556"},{"id":484420,"name":"Anne Bogart","url":"https://www.academia.edu/Documents/in/Anne_Bogart?f_ri=1556"},{"id":984824,"name":"Jacques Lecoq Training","url":"https://www.academia.edu/Documents/in/Jacques_Lecoq_Training?f_ri=1556"},{"id":1752570,"name":"Voice Training","url":"https://www.academia.edu/Documents/in/Voice_Training?f_ri=1556"},{"id":2806958,"name":"speech training","url":"https://www.academia.edu/Documents/in/speech_training?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20440440" data-work_id="20440440" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20440440/An_Empirical_Investigation_of_Dance_Addiction">An Empirical Investigation of Dance Addiction</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Although recreational dancing is associated with increased physical and psychological well-being, little is known about the harmful effects of excessive dancing. The aim of the present study was to explore the psychopathological factors... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20440440" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Although recreational dancing is associated with increased physical and psychological<br />well-being, little is known about the harmful effects of excessive dancing. The aim of the<br />present study was to explore the psychopathological factors associated with dance addiction.<br />The sample comprised 447 salsa and ballroom dancers (68% female, mean age: 32.8<br />years) who danced recreationally at least once a week. The Exercise Addiction Inventory<br />(Terry, Szabo, & Griffiths, 2004) was adapted for dance (Dance Addiction Inventory, DAI).<br />Motivation, general mental health (BSI-GSI, and Mental Health Continuum), borderline personality<br />disorder, eating disorder symptoms, and dance motives were also assessed. Five<br />latent classes were explored based on addiction symptoms with 11% of participants belonging<br />to the most problematic class. DAI was positively associated with psychiatric distress,<br />borderline personality and eating disorder symptoms. Hierarchical linear regression model<br />indicated that Intensity (ß=0.22), borderline (ß=0.08), eating disorder (ß=0.11) symptoms,<br />as well as Escapism (ß=0.47) and Mood Enhancement (ß=0.15) (as motivational factors) together<br />explained 42% of DAI scores. Dance addiction as assessed with the Dance Addiction<br />Inventory is associated with indicators of mild psychopathology and therefore warrants<br />further research.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20440440" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3e319f441bb502bc8b2d6152ec104d10" rel="nofollow" data-download="{"attachment_id":41373563,"asset_id":20440440,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41373563/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="41854122" href="https://hu-berlin.academia.edu/Anik%C3%B3Mar%C3%A1z">Anikó Maráz</a><script data-card-contents-for-user="41854122" type="text/json">{"id":41854122,"first_name":"Anikó","last_name":"Maráz","domain_name":"hu-berlin","page_name":"AnikóMaráz","display_name":"Anikó Maráz","profile_url":"https://hu-berlin.academia.edu/Anik%C3%B3Mar%C3%A1z?f_ri=1556","photo":"https://0.academia-photos.com/41854122/11322660/35343741/s65_anik_.mar_z.jpg"}</script></span></span></li><li class="js-paper-rank-work_20440440 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20440440"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20440440, container: ".js-paper-rank-work_20440440", }); 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$(".js-view-count[data-work-id=20440440]").text(description); $(".js-view-count-work_20440440").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20440440").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20440440"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4260" href="https://www.academia.edu/Documents/in/Anthropology_Of_Dance">Anthropology Of Dance</a>, <script data-card-contents-for-ri="4260" type="text/json">{"id":4260,"name":"Anthropology Of Dance","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Dance?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="29167" href="https://www.academia.edu/Documents/in/Dance">Dance</a>, <script data-card-contents-for-ri="29167" type="text/json">{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42287" href="https://www.academia.edu/Documents/in/Escapism">Escapism</a><script data-card-contents-for-ri="42287" type="text/json">{"id":42287,"name":"Escapism","url":"https://www.academia.edu/Documents/in/Escapism?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20440440]'), work: {"id":20440440,"title":"An Empirical Investigation of Dance Addiction","created_at":"2016-01-21T10:03:21.450-08:00","url":"https://www.academia.edu/20440440/An_Empirical_Investigation_of_Dance_Addiction?f_ri=1556","dom_id":"work_20440440","summary":"Although recreational dancing is associated with increased physical and psychological\nwell-being, little is known about the harmful effects of excessive dancing. The aim of the\npresent study was to explore the psychopathological factors associated with dance addiction.\nThe sample comprised 447 salsa and ballroom dancers (68% female, mean age: 32.8\nyears) who danced recreationally at least once a week. The Exercise Addiction Inventory\n(Terry, Szabo, \u0026 Griffiths, 2004) was adapted for dance (Dance Addiction Inventory, DAI).\nMotivation, general mental health (BSI-GSI, and Mental Health Continuum), borderline personality\ndisorder, eating disorder symptoms, and dance motives were also assessed. Five\nlatent classes were explored based on addiction symptoms with 11% of participants belonging\nto the most problematic class. DAI was positively associated with psychiatric distress,\nborderline personality and eating disorder symptoms. Hierarchical linear regression model\nindicated that Intensity (ß=0.22), borderline (ß=0.08), eating disorder (ß=0.11) symptoms,\nas well as Escapism (ß=0.47) and Mood Enhancement (ß=0.15) (as motivational factors) together\nexplained 42% of DAI scores. Dance addiction as assessed with the Dance Addiction\nInventory is associated with indicators of mild psychopathology and therefore warrants\nfurther research.","downloadable_attachments":[{"id":41373563,"asset_id":20440440,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":41854122,"first_name":"Anikó","last_name":"Maráz","domain_name":"hu-berlin","page_name":"AnikóMaráz","display_name":"Anikó Maráz","profile_url":"https://hu-berlin.academia.edu/Anik%C3%B3Mar%C3%A1z?f_ri=1556","photo":"https://0.academia-photos.com/41854122/11322660/35343741/s65_anik_.mar_z.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":4260,"name":"Anthropology Of Dance","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Dance?f_ri=1556","nofollow":false},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556","nofollow":false},{"id":42287,"name":"Escapism","url":"https://www.academia.edu/Documents/in/Escapism?f_ri=1556","nofollow":false},{"id":90300,"name":"Dance Research","url":"https://www.academia.edu/Documents/in/Dance_Research?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19685098" data-work_id="19685098" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19685098/Daris_Gabriella_Author_Rebel_Bodies_Exhibition_Extends_at_Quebec_Museum_of_Civilization">Daris, Gabriella (Author), “Rebel Bodies” Exhibition Extends at Quebec Museum of Civilization</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19685098" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="48879223a658f6db8bae4749b8583781" rel="nofollow" data-download="{"attachment_id":40782358,"asset_id":19685098,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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type="text/json">{"id":446685,"name":"Tanztheater","url":"https://www.academia.edu/Documents/in/Tanztheater?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14979788]'), work: {"id":14979788,"title":"A visual genealogy of german modern dance","created_at":"2015-08-17T04:49:30.269-07:00","url":"https://www.academia.edu/14979788/A_visual_genealogy_of_german_modern_dance?f_ri=1556","dom_id":"work_14979788","summary":"Tableau retraçant la généalogie de la danse moderne allemande, des précurseurs aux chorégraphes contemporains.\n\nA visual genealogy of german modern dance history from the beginners to the contemporary 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href="https://www.academia.edu/36766386/A_Trojan_Horse_Me_against_the_dance_2015_">A Trojan Horse? Me against the dance (2015)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36766386" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9a351f7d0dd7c56a29e449a9e9394b4a" rel="nofollow" data-download="{"attachment_id":56713546,"asset_id":36766386,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56713546/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="221697" href="https://fontyshogeschoolvoordekunsten.academia.edu/FalkH%C3%BCbner">Falk Hübner</a><script data-card-contents-for-user="221697" type="text/json">{"id":221697,"first_name":"Falk","last_name":"Hübner","domain_name":"fontyshogeschoolvoordekunsten","page_name":"FalkHübner","display_name":"Falk Hübner","profile_url":"https://fontyshogeschoolvoordekunsten.academia.edu/FalkH%C3%BCbner?f_ri=1556","photo":"https://0.academia-photos.com/221697/2644254/3076017/s65_falk.h_bner.jpg"}</script></span></span></li><li class="js-paper-rank-work_36766386 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36766386"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36766386, container: ".js-paper-rank-work_36766386", }); 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Me against the dance (2015)","created_at":"2018-06-02T14:51:03.667-07:00","url":"https://www.academia.edu/36766386/A_Trojan_Horse_Me_against_the_dance_2015_?f_ri=1556","dom_id":"work_36766386","summary":null,"downloadable_attachments":[{"id":56713546,"asset_id":36766386,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":221697,"first_name":"Falk","last_name":"Hübner","domain_name":"fontyshogeschoolvoordekunsten","page_name":"FalkHübner","display_name":"Falk Hübner","profile_url":"https://fontyshogeschoolvoordekunsten.academia.edu/FalkH%C3%BCbner?f_ri=1556","photo":"https://0.academia-photos.com/221697/2644254/3076017/s65_falk.h_bner.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1556","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1556","nofollow":false},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1556"},{"id":2582,"name":"Interdisciplinarity","url":"https://www.academia.edu/Documents/in/Interdisciplinarity?f_ri=1556"},{"id":4052,"name":"Arts Education","url":"https://www.academia.edu/Documents/in/Arts_Education?f_ri=1556"},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=1556"},{"id":828496,"name":"Urban Dance","url":"https://www.academia.edu/Documents/in/Urban_Dance?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73276931" data-work_id="73276931" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73276931/Choreography_as_Concept_Dancing_as_Material">Choreography as Concept, Dancing as Material</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article approaches the conceptual-material bind in artistic process through the early work of Meg Stuart. It has been well-documented that the conceptual work in the recent dance avant-garde turns anew to the materiality of the form... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73276931" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article approaches the conceptual-material bind in artistic process through the early work of Meg Stuart. It has been well-documented that the conceptual work in the recent dance avant-garde turns anew to the materiality of the form as a means to unhinge what we think we know about dance and choreography (Lepecki 2004, Cvejić 2015). 'Choreography as Concept, Dancing as Material' takes a new approach, considering the historical context including the mid-century emergence of conceptual art in artists' writing and practice, and Stuart as a pioneer of the most recent activity in this aesthetic lineage (Flynt 1963, Laermans and Stuart 2001). As a term, 'conceptual' dance is as contentious as 'contemporary' dance. While the term 'conceptual' emerged in visual art, according to Peter Osborne, "as both a critical-curatorial category and a form of practical artistic self-understanding," it has never been taken up so broadly or confidently in dance studies, dance as creative practice, or programming (Osborne 2002, p.18). Debates around the conceptual as it relates to dance, and the associated art historical and trans-disciplinary binary that sets concepts against materials, throws light on a much broader field of experimental practices. This article unpacks what conceptual meant when it emerged from the intermedial historical period in art between the early 1960s and early 1970s, how it has been used in relation to recent experimental dance, and the usefulness of these discourses in understanding current choreographic practices that interface with the visual arts, turning to Stuart's contribution to This Is the Show and the Show Is Many Things / Extra Muros (1994).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73276931" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16893269" href="https://unsw.academia.edu/ErinBrannigan">Erin Brannigan</a><script data-card-contents-for-user="16893269" type="text/json">{"id":16893269,"first_name":"Erin","last_name":"Brannigan","domain_name":"unsw","page_name":"ErinBrannigan","display_name":"Erin Brannigan","profile_url":"https://unsw.academia.edu/ErinBrannigan?f_ri=1556","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_73276931 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73276931"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73276931, container: ".js-paper-rank-work_73276931", }); 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$(".js-view-count[data-work-id=73276931]").text(description); $(".js-view-count-work_73276931").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73276931").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73276931"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1556" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5676" href="https://www.academia.edu/Documents/in/Choreography">Choreography</a>, <script data-card-contents-for-ri="5676" type="text/json">{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography?f_ri=1556","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20178" href="https://www.academia.edu/Documents/in/Conceptual_Art">Conceptual Art</a><script data-card-contents-for-ri="20178" type="text/json">{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=1556","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73276931]'), work: {"id":73276931,"title":"Choreography as Concept, Dancing as Material","created_at":"2022-03-07T16:29:07.374-08:00","url":"https://www.academia.edu/73276931/Choreography_as_Concept_Dancing_as_Material?f_ri=1556","dom_id":"work_73276931","summary":"This article approaches the conceptual-material bind in artistic process through the early work of Meg Stuart. It has been well-documented that the conceptual work in the recent dance avant-garde turns anew to the materiality of the form as a means to unhinge what we think we know about dance and choreography (Lepecki 2004, Cvejić 2015). 'Choreography as Concept, Dancing as Material' takes a new approach, considering the historical context including the mid-century emergence of conceptual art in artists' writing and practice, and Stuart as a pioneer of the most recent activity in this aesthetic lineage (Flynt 1963, Laermans and Stuart 2001). As a term, 'conceptual' dance is as contentious as 'contemporary' dance. While the term 'conceptual' emerged in visual art, according to Peter Osborne, \"as both a critical-curatorial category and a form of practical artistic self-understanding,\" it has never been taken up so broadly or confidently in dance studies, dance as creative practice, or programming (Osborne 2002, p.18). Debates around the conceptual as it relates to dance, and the associated art historical and trans-disciplinary binary that sets concepts against materials, throws light on a much broader field of experimental practices. This article unpacks what conceptual meant when it emerged from the intermedial historical period in art between the early 1960s and early 1970s, how it has been used in relation to recent experimental dance, and the usefulness of these discourses in understanding current choreographic practices that interface with the visual arts, turning to Stuart's contribution to This Is the Show and the Show Is Many Things / Extra Muros (1994).","downloadable_attachments":[],"ordered_authors":[{"id":16893269,"first_name":"Erin","last_name":"Brannigan","domain_name":"unsw","page_name":"ErinBrannigan","display_name":"Erin Brannigan","profile_url":"https://unsw.academia.edu/ErinBrannigan?f_ri=1556","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography?f_ri=1556","nofollow":false},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=1556","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71098788" data-work_id="71098788" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71098788/Experimental_Dance_Films_and_the_Mis_Use_of_Urban_Space">Experimental Dance Films and the (Mis)Use of Urban Space</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the past 20 years, due to the increasing availability and affordability of cameras, a plethora of experimental dance films have been shot on location in cities. On the one hand, the recurrent use of cityscapes demonstrates an eagerness... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71098788" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the past 20 years, due to the increasing availability and affordability of cameras, a plethora of experimental dance films have been shot on location in cities. On the one hand, the recurrent use of cityscapes demonstrates an eagerness to catch movement in public space and to highlight the social choreography of everyday life. Dance becomes about finding pedestrian movement and gestures, in regular clothes, on sidewalks, benches, plazas and parking lots — a tradition that harks back to the 1960s New York art world. Crowds begin to move a la Busby Berkeley and somehow traffic flows to the beat. On the other hand, choreographers are pushing the dancers&#39; endurance by designing athletic movements, treating the city not as a backdrop but as an obstacle course. As they defy gravity by leaping from rooftops, jumping over walls and climbing lampposts — such as in Parkour — these hyper-active bodies are conditioned to experience urban space on a different level.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71098788" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="967145c45b59553015fa268b20ad7afe" rel="nofollow" data-download="{"attachment_id":80593750,"asset_id":71098788,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80593750/download_file?st=MTczMjc4NjUzNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2450630" href="https://nyu.academia.edu/SylvieVitaglione">Sylvie Vitaglione</a><script data-card-contents-for-user="2450630" type="text/json">{"id":2450630,"first_name":"Sylvie","last_name":"Vitaglione","domain_name":"nyu","page_name":"SylvieVitaglione","display_name":"Sylvie Vitaglione","profile_url":"https://nyu.academia.edu/SylvieVitaglione?f_ri=1556","photo":"https://0.academia-photos.com/2450630/766797/17667351/s65_sylvie.vitaglione.png"}</script></span></span></li><li class="js-paper-rank-work_71098788 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71098788"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71098788, container: ".js-paper-rank-work_71098788", }); 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On the one hand, the recurrent use of cityscapes demonstrates an eagerness to catch movement in public space and to highlight the social choreography of everyday life. Dance becomes about finding pedestrian movement and gestures, in regular clothes, on sidewalks, benches, plazas and parking lots — a tradition that harks back to the 1960s New York art world. Crowds begin to move a la Busby Berkeley and somehow traffic flows to the beat. On the other hand, choreographers are pushing the dancers\u0026#39; endurance by designing athletic movements, treating the city not as a backdrop but as an obstacle course. As they defy gravity by leaping from rooftops, jumping over walls and climbing lampposts — such as in Parkour — these hyper-active bodies are conditioned to experience urban space on a different level.","downloadable_attachments":[{"id":80593750,"asset_id":71098788,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2450630,"first_name":"Sylvie","last_name":"Vitaglione","domain_name":"nyu","page_name":"SylvieVitaglione","display_name":"Sylvie Vitaglione","profile_url":"https://nyu.academia.edu/SylvieVitaglione?f_ri=1556","photo":"https://0.academia-photos.com/2450630/766797/17667351/s65_sylvie.vitaglione.png"}],"research_interests":[{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=1556","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=1556","nofollow":false},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=1556","nofollow":false},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=1556","nofollow":false},{"id":77546,"name":"Screendance","url":"https://www.academia.edu/Documents/in/Screendance?f_ri=1556"},{"id":143818,"name":"Site Specificity","url":"https://www.academia.edu/Documents/in/Site_Specificity?f_ri=1556"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5815695" data-work_id="5815695" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5815695/Salt_Water_Feet_the_flow_of_dance_in_Oceania">Salt Water Feet: the flow of dance in Oceania</a></div></div><div class="u-pb4x u-mt3x"></div><ul 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