Kind Of Dance Research Articles

The Lexicons Used in Palawakya Dance Costumes

Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposive sampling. The instruments used in gaining the data were observation sheet and interview guide. The results of this study showed that there were 17 lexicons found in the dance costumes. The dance costumes were divided into five parts; 1) head costume consists of five lexicons, 2) neck costume consists of one lexicon, 3) body costume consists of eight lexicons, 4) hands, costume consists of one lexicon, 5) leg costume consists of two lexicons. In addition, another result revealed that there were 16 cultural meanings found in the Palawakya dance costumes.
 Keywords : Costume, Cultural Meaning, Ecolinguistics, lexicons, Palawakya

“What does it mean to make a picture of the now?”

“What does it mean to make a picture of the now?”

Danze e danzatrici nella stampa italiana: il caso di «Scena illustrata» (1910)

In December 1910, a special issue of «Scena illustrata» is released in Florence. The booklet, entirely devoted to dance, is characterized by a significant use of iconographic elements, such as engravings referring to the dances of the past, and photographic images, crucial for portraying contemporary trends within the international dance world. More than in the textual element, the interest of this issue lies in the iconographic apparatus: still coexisting with drawings and engravings, pictures take here a peculiar positon, presenting themselves both as portraits of dancers (often full page) and as collages of two pages with captions, a format bound to a great fortune in the Italian press at least until the 1930s. But what does it mean, in 1910, to dedicate such a publication to dance? What kind of dance can we see beyond the magazine’s elegant and refined look? What representation of the female dancer’s body can we identify? To what extent is it exposed, in what attitude is it placed, in what dress? This article answers to these questions by analysing the 1910 special issue of «Scena illustrata»: this publication is considered in the context of the editorial history of the magazine as well as in that of the relation between dance and press in Italy at the turn of the century.

Honey bees show dance pattern to communicate – A review

The honey bee language is considered by many to be one of the most interesting systems for animal communications, used for recruitment to food sources. Honeybee's forager dancers communicate food and other resources to the household by quantity, consistency, direction, and spatial location. The waggle dance was interesting and complex, which bees used for spatial information on desired resources. All honeybee species use the waggle dance to convey their position and distance from food sources and possible new nest sites. The research was carried out on dance communication, earlier ideas, controversies, and solutions gave a broad overview. In this analysis, unique problems are focused on as follows: (a) multiple dance forms. (b) Distance and path calculation (c) How bees do dark hive dance.? Several experiments verified that bees perform various kinds of dance, depending on their particular task. There is, however, still a lack of comprehensive knowledge on other types of dances, which help us solve numerous questions and help us better understand the meaning of the different kinds of dances carried in and outside the hive by honeybees.

자메이카 댄스홀 음악과 춤의 상관성에 관한 체험적 고찰

The purpose of this study is to experiential consideration of the correlation between Jamaica dancehall music and dance. Therefore, in-depth interview methods were used for dancehall dancers who are active in the domestic dancehall field to analyze and consider more specific and diverse hands-on examples to achieve the purpose of this study. First, we looked at the understanding of the music of dancehall dancers. Second, we looked at the characteristics of dance hall music experienced by dancehall dancers. Third, we looked at the correlation between dancehall music and dance experienced by dancehall dancers. As a result The characteristics of the dancehall music showed that it was an essential condition to determine what kind of dance would be performed by the dancer performing the dancehall movement. Dancehall music and dancehall dance have developed through correlation and are inseparable. The proper understanding and implementation of these relationships is a necessary condition for the right succession of Jamaica''s street culture, which is now drawing attention as a new field of art.

무용전공자의 행동활성화 및 억제행동과 심리적 욕구 그리고 과제지속의 관계

Purpose: The purpose of this study is to investigate the relationship maong behavioral activation & inhibition, psychological needs and task persistence in university students majoring in dance.BR Method: The conceptual model of this study assumed that behavioral acvtai tion & inhibition would be mediated by psychological needs and it would, in turn, mediate stak persistence through the class participation. 224 university students majoring in 3 kinds of dances (traditional dance, modern dance, and ballet) participated in the study (Mage=23.02 years, SD=3.08). The participants completed four questionnaires: a demographic questionnaire, behavior activation & inhibition Questionnaire, psychological needs, and task persistence Scale.BR Results: The results of the final model indicated that behavior activation was positively related to psychological needs (.294). psychological needs were significantly related to task persistence (.189). Behavior activation was significantly related to task persistence (.329). Significant indirect effects were observed. The bootstrapping results indicated that the relationship between behavior cativation and task persistence was mediated by psychological needs.BR Conclusion: The findings of this study contribute to the current understadning of the relationship between behavior activation and task persistence and shed light on the important roles of psychological needs.

Esther DischereitSometimes a Single Leaf by Iain Galbraith

appalling injustice occurs when, during the movement of sending “urban youth” to the countryside, a villager attempted to rape a young woman from the city and was sentenced to death immediately, whereas when an urban youth raped a village girl, he could escape without any punishment, except for some “monetary compensation.” Besides, the memoir is also a literary testament to the greatness of humanity. “Goodness was the foundation and the basis of our humanity,” as Yan declares. It depicts the sense of duty of three brothers, who shoulder their responsibilities from the moment they become “fathers.” It displays the sense of dignity, which is “the spirit of life”—Yan was once beaten severely by his father for stealing and telling lies. It describes the bond and warmth of the family: Yan’s elder sister sacrificed her own opportunity so that Yan could enroll in high school. In this sense, the book is a celebration of the power of one family to hold together in spite of harsh circumstances. Even though all three brothers are illiterate , they have deep insight toward life and death, like philosophers. According to Yan, “Human life is that finite distance between you and death, and if you progress at a certain pace, it will take you a considerably longer period of time to reach death,” which is the essence of traditional Chinese wisdom. Perhaps this is the reason why “I had to return again to that land . . . since regardless of where you go, and regardless of how far you travel, your home and your land will always be under your feet,” as Yan declared in his prefatory essay, “The Home from Which I Walked Away.” In times of darkness , Yan can always find the gleaming light of humanity by returning to his roots. Yang Jing Nanjing Normal University Esther Dischereit Sometimes a Single Leaf Trans. Iain Galbraith. Todmorden, United Kingdom. Arc. 2020. 133 pages. BORN IN GERMANY in 1952 to a Jewish mother who had survived the Holocaust in hiding, Esther Dischereit grew up in a haunted society, where the crimes of the recent past were effectively suppressed despite their omnipresent traces. These poems, drawn from published collections spanning the years 1996 to 2007 as well as from more recent work, give voice to disorientation and pain, as well as endurance and resolve, in the unwelcome work of calling history to account, of witnessing to the ghostly “once-weres,” invisible to her contemporaries . A fine preface by the translator Iain Galbraith provides biographical context and introduces rich avenues of interpretation . Galbraith’s translations render very compellingly the sparse lines and subtle rhythms of Dischereit’s free-verse poems. “Time has no meaning / it has material ,” Dischereit writes. Indeed, her poems give the collisions of past and present a striking, material quality, often figured as vestiges and residues, whether splinters (a term Galbraith discusses in his preface), shards, streaks, or dust. Many of her poems distill German Romantic nationalism into a single word or image—the moon, flowers , a lone tree, Beethoven, Snow White, a beer—and place them in fraught narrative sequences or effaced landscapes of horror such as Dachau, Plötzensee, or the Putlitz Bridge. Of particular power are her poems that stage complex human interactions. Sometimes vicious, sometimes loving, these encounters are often conveyed in an imagery of entanglement, where arms and legs are violently encircled and restrained; or the hands and hair—of mother and daughter ?—are braided together. An excursion with a friend or a lover provides the occasion for a mutual weaving together—“I am weaving you in / and he wove me in”—and seems to stand as a rare moment of grace and an integrative ideal within this corpus. The titular poem, “Sometimes a single leaf,” pays tribute to the fleeting, irreproducible flight of a leaf buffeted by the wind, which the poet tries and fails to pursue in a kind of dance. The poem thus lays bare the fragility, ephemerality, and irreplaceability of singular existence. But if reanimation or even reenactment are impossible, the final line, “As I recently told you,” allows for repetition in the telling. That seems the faithful task which Dischereit sets for herself as a...

Zülfü LivaneliSerenade for Nadia by Brendan Freely

appalling injustice occurs when, during the movement of sending “urban youth” to the countryside, a villager attempted to rape a young woman from the city and was sentenced to death immediately, whereas when an urban youth raped a village girl, he could escape without any punishment, except for some “monetary compensation.” Besides, the memoir is also a literary testament to the greatness of humanity. “Goodness was the foundation and the basis of our humanity,” as Yan declares. It depicts the sense of duty of three brothers, who shoulder their responsibilities from the moment they become “fathers.” It displays the sense of dignity, which is “the spirit of life”—Yan was once beaten severely by his father for stealing and telling lies. It describes the bond and warmth of the family: Yan’s elder sister sacrificed her own opportunity so that Yan could enroll in high school. In this sense, the book is a celebration of the power of one family to hold together in spite of harsh circumstances. Even though all three brothers are illiterate , they have deep insight toward life and death, like philosophers. According to Yan, “Human life is that finite distance between you and death, and if you progress at a certain pace, it will take you a considerably longer period of time to reach death,” which is the essence of traditional Chinese wisdom. Perhaps this is the reason why “I had to return again to that land . . . since regardless of where you go, and regardless of how far you travel, your home and your land will always be under your feet,” as Yan declared in his prefatory essay, “The Home from Which I Walked Away.” In times of darkness , Yan can always find the gleaming light of humanity by returning to his roots. Yang Jing Nanjing Normal University Esther Dischereit Sometimes a Single Leaf Trans. Iain Galbraith. Todmorden, United Kingdom. Arc. 2020. 133 pages. BORN IN GERMANY in 1952 to a Jewish mother who had survived the Holocaust in hiding, Esther Dischereit grew up in a haunted society, where the crimes of the recent past were effectively suppressed despite their omnipresent traces. These poems, drawn from published collections spanning the years 1996 to 2007 as well as from more recent work, give voice to disorientation and pain, as well as endurance and resolve, in the unwelcome work of calling history to account, of witnessing to the ghostly “once-weres,” invisible to her contemporaries . A fine preface by the translator Iain Galbraith provides biographical context and introduces rich avenues of interpretation . Galbraith’s translations render very compellingly the sparse lines and subtle rhythms of Dischereit’s free-verse poems. “Time has no meaning / it has material ,” Dischereit writes. Indeed, her poems give the collisions of past and present a striking, material quality, often figured as vestiges and residues, whether splinters (a term Galbraith discusses in his preface), shards, streaks, or dust. Many of her poems distill German Romantic nationalism into a single word or image—the moon, flowers , a lone tree, Beethoven, Snow White, a beer—and place them in fraught narrative sequences or effaced landscapes of horror such as Dachau, Plötzensee, or the Putlitz Bridge. Of particular power are her poems that stage complex human interactions. Sometimes vicious, sometimes loving, these encounters are often conveyed in an imagery of entanglement, where arms and legs are violently encircled and restrained; or the hands and hair—of mother and daughter ?—are braided together. An excursion with a friend or a lover provides the occasion for a mutual weaving together—“I am weaving you in / and he wove me in”—and seems to stand as a rare moment of grace and an integrative ideal within this corpus. The titular poem, “Sometimes a single leaf,” pays tribute to the fleeting, irreproducible flight of a leaf buffeted by the wind, which the poet tries and fails to pursue in a kind of dance. The poem thus lays bare the fragility, ephemerality, and irreplaceability of singular existence. But if reanimation or even reenactment are impossible, the final line, “As I recently told you,” allows for repetition in the telling. That seems the faithful task which Dischereit sets for herself as a...

Animals, veterinarians and the sociology of diagnosis.

While sociologists of medicine have focused their efforts on understanding human health, illness, and medicine, veterinary medical practice has not yet caught their attention in any sustained way. In this critical review article, we use insights from the sociology of diagnosis literature to explore veterinary practice, and aim to demonstrate the importance of animals to sociological understandings of health, illness and disease. As in human medicine, our analysis shows the importance of diagnosis in creating and maintaining the power and authority of the veterinary professional. However, we then explore how diagnosis operates as a kind of dance, where professional authority can be challenged, particularly in light of the complex ethical responsibilities and clinical interactions that result from the triad of professional/owner/animal patient. Finally, we consider diagnosis via the precept of entanglement, and raise the intriguing possibility of interspecies health relations, whereby decision‐making in human health care may be influenced by experiences in animal health care and vice‐versa. In our conclusion, we argue that this analysis provides opportunities to scholars researching diagnosis in human health care, particularly around the impact of commercial drivers; has implications for veterinary and public health practitioners; and should help animate the emerging sociology of veterinary medicine.

Fashion, Dressing, and Identities in Ballroom Subculture

The Ballroom scene is an underground subculture created by African Americans and Latinos and gives emphasize in issues of race, gender, and sexual orientation within the heterogeneous society. The members of this subculture live in an organized social structure based on the acceptance and the celebration of sexual and gender expression. Balls are competitions where transgender people are involved, performing different kinds of dances. Balls provide to the queer community a cozy place to build their sense of self in their hidden world without the limitations imposed by society on gender and sexual expression. Balls are a combination of fashion, competition, and dance. “Voguing” is the characteristic dance of Balls and it is an extremely stylized dance form. Vogue magazine’s model poses to inspire it, and it uses the arms and legs with dramatic, rapid and feminine edgy ways. “Voguing” includes catwalk, dance, spins and other risky styles of movement. The “Voguing” has the major role in Ballrooms that contain fashion catwalk and competitions, where African and Latinos gays and transgender participate in a competition, imitating fashion models in the catwalk with gestures and poses to win an award. The panel of the critics, in a Ball, judges them from the movements of their dance, attitudes, costumes and the ingenuity in all of these areas. Today there are three basic types of Voguing: a) the Old Way, b) The New Way and, c) The Vogue Femme.

РАЗВИТИЕ ПСИХОМОТОРНЫХ СПОСОБНОСТЕЙ У ПОДРОСТКОВ СРЕДСТВАМИ БРЕЙК-ДАНСА

Choreography in sports has long been established as a means of specialized training of athletes, helping to make the composition more vivid, original, expressive, spectacular. The term “choreography” generalizes both the art of dance creation and all kinds of dance and mimic art. Among the many forms of aesthetic education of the younger generation, choreography occupies a special place. Dance classes teach not only to understand and create beauty, they develop creative thinking and imagination, give a harmonious plastic development. At present, with the appearance and development of fitness in our country and abroad, a large number of modern dance trends have emerged that attract teenagers. One of such trends is hip-hop. Hip-hop dancing is a unifying term for several dance styles and directions. Most of the coaches we interviewed note that teenage female gymnasts are not very enthusiastic about classical choreography classes, and this in turn is confirmed by the opinion of the female gymnasts themselves. As well as 90 % of our coaches and choreographers do not deny the fact that the use of dance elements in the style of hip-hop in the choreographic training of young female gymnasts, will significantly increase interest in choreography and expand the volume of their motor skills. Adolescence is usually characterized as a “critical period of childhood”. Adolescents are characterized by increased criticality, and in this regard, there may be a sense of anxiety, increased excitability, reduced self-esteem. It becomes extremely important to stand out from the crowd, to express their individuality and the most common way to do this is in different types of modern dance.

MOVEMENT AND EMBODIMENT IN KLOPSTOCK AND GOETHE

ABSTRACTPoetry is both physical and mobile: it moves us, and moves in us. This essay focuses on the role of the moving body in the work of Klopstock, with a brief excursus into Goethe's poetry. Klopstock conceived of poetry as a kind of dance, and his innovations in prosody consisted of an intensification of the physical dimension of poetry. He consistently challenged the assumption underlying dualistic philosophies: namely, that the physical and the metaphysical, the tangible and the intangible, are ultimately separate. In his work, it is precisely the substance and weight of language which allows poetry to spin into the realms of the spiritual. His theory and practice is, therefore, thoroughly in tune with the premises of the modern notion of embodied cognition.

An Angel in a Tree on Peckham Rye

An Angel in a Tree on Peckham Rye Fred D'Aguiar (bio) Your stepfather says, as he peers at you over his half-rimmed spectacles, whether you are in or out of earshot, eyesight, within reach or beyond him, in hindsight and with foresight, that you have hard ears, your skull is numb, and you don't show respect for anyone or anything, and because of all three wrapped up in your one beany body, that makes you ugly as sin, inside and out, a bad spirit, an assault on his four eyes. Child, get out of my sight. You wear jeans that hug your hips and low-slung trousers, a baseball cap pulled low over your forehead, shirts and boxer-shorts instead of blouses, skirts, thong, or any kind of stringy thing and no make up to break up except the moisturizing cream your mother tells you black skin needs as a feed or it turns white and cracks if left untended in northern grey climes, cream you apply like a nutrient from the top of your head to the tips of your never painted toes after your daily ablutions to remove the city's pollution. Your stepfather parks himself by the front door of his rented first, then purchased later, council house, and waits for you. He questions you with his usual over the rim gaze and barrage about where you think you are heading and when you intend to grace his house with your return. What hour you call this? Such disbelief pickles his tone that you look up at the kitchen clock. You wonder did you fall asleep, the whole house in fact, but only you wake hours later and dress and head for the door without realizing dawn will soon rear its brittle head. Where is your mother at these times? In your head as the one you bring up to counter him, her words against his. Girl you should study your books. Your English teacher says you good at it, your only good subject. You have imagination. Don't throw away your brains. But what does he know? He pours praise on this of all places. He keeps saying good must be here in this town of rundown scorn. If a poet found it here nearly three hundred years ago it has to be so. Some crazy poet's vision. Beauty on these streets? Never. Not here. Devils replaced angels long ago. Where is her mother anyway? At the residential care center in New Cross cleaning up after her clients. In the next room running the hoover to Motown soul. In bed unable to sleep and so very still her head wrapped in a cloth soaked in Linseed oil with one of her atomic headaches that everyone must tiptoe around. Answer me, child. [End Page 27] You answer the frown, grumpy ass, and misery bollocks as you variously call your bullfrog big belly Stonehenge crackpot step-up two-down no-good stepfather behind his back, and way out of earshot. You answer in an even tone deliberately pitted against his bullhorn challenge of you. But tonight or this early morning it is your head that hurts and his voice tramples all over you leaving muddy footprints. Before you can stop your tongue, this instrument you train before a microphone starts to play its own tune, you blurt out that you are not his daughter and it's none of his bomber-cloth business. His eyes widen. His jaw drops. He harrumphs. He jumps up from his chair and his newspaper, with the horseracing times and odds circled for his stop at the betting shop after work, flies from his lap along with his spectacles. And he grabs you. You're in a grapple with him now, a kind of dance, trying to keep your balance, partnered by his unruly bulk. He fights you like you match his 6 feet 2 and two hundred fifty pounds. You spin with him, pushed by him and you both tumble and bump into the stove the fridge the table and scatter chairs. You tip over and he topples with you to the ground. He shouts in your face...

Certain Kinds of Dances Used among Them: An Initial Inquiry into Colonial Spanish Encounters with the Areytos of the Taíno in Puerto Rico

Certain Kinds of Dances Used among Them: An Initial Inquiry into Colonial Spanish Encounters with the Areytos of the Taíno in Puerto Rico

Emma and Julia Love Ballet by Barbara McClintock (review)

Reviewed by: Emma and Julia Love Ballet by Barbara McClintock Deborah Stevenson, Editor McClintock, Barbara Emma and Julia Love Ballet; written and illus. by Barbara McClintock. Scholastic, 2016 [32p] ISBN 978-0-439-89401-2 $16.99 Reviewed from galleys R 4-6 yrs This tandem narrative parallels the day of young Emma, a little dancer who loves her class and hopes to be a ballerina, with that of the older Julia, who has achieved Emma’s dream of dancing professionally with the ballet. They both rise and eat breakfast and head off for class; they both have friends that enjoy other kinds of dance (Emma’s friend yearns to be on Broadway; Julia’s friend dances there). Come evening, Emma excitedly attends the ballet performance in which Julia dances, and a backstage visit bonds the two (“Emma and Julia love ballet”). The parallel is an appealing way to demonstrate the trajectory from young balletomane to actual dancer, and the modest details of grownup life (“Julia takes the bus by herself”) may be just as heady for the audience as Julia’s onstage success. McClintock’s trim line and watercolor illustrations balance tidy touches of detail (Julia’s flowered costume, Emma’s tongue sticking out in concentration as she does her homework) with spacious backgrounds and the fluid poses of the dancers. For Emma and the viewers, the experience of attending the ballet (the great auditorium with huge crystal chandeliers) is even more visually dramatic than dancing in it. There’s diversity in both kid groups and adult groups, with African-American Julia a nod to the author-illustrator’s love of the legendary Judith Jamison. This would be a lively complement to Isadora’s Bea at Ballet or other young dancer tales. [End Page 426] Copyright © 2016 The Board of Trustees of the University of Illinois

Isadora Duncan's Early Career in the United States

Isadora Duncan indicates in The Art of the Dance the importance of her childhood experiences in the establishment of her own new dance style. However, her early dance career, before leaving the United States in 1899, is somewhat mysterious. Therefore, this paper examines what kind of dance she studied in her childhood and the process of how she created her own dance style. It discusses her early performances in the United States, especially in New York, by utilizing the unpublished memoir of her brother, Raymond Duncan, as well as newspapers of the time.

Freshmen! Don't Be Afraid of Hip Hop

Freshmen! Don’t be Afraid of Hip Hop If you want to increase your artistic creativity and stay current in contemporary dance, you’ll want to expand your artistic horizons by Megumi Iwama At UC Irvine, during Week Zero of freshman year, you walk through the Anteater Involvement Fair shoveling your way past what feels like millions of flyers thrown in your face. You look up at the tall stage set up for the occasion, and you see the intimidating, powerhouse hip-hop dancers lined up waiting to perform. You wish you could be as cool and impressive as they are, but you say to yourself, “Nah, I am a concert contemporary dancer and hip-hop isn’t really artistic. I could never pursue that as an artistic career so I’m not gonna try…” Well I am here to tell you that hip-hop and contemporary are not that much different from each other. GASP, yes, I mean to tell you that contemporary dance and hip-hop are very stylistically similar in approach. Definition-wise, according to the National Arts Centre, contemporary “specifically means dance that developed from the roots of modern dance, but that it is no longer aligned with the modernist art movement of the 1930s” (artsalive.ca). On the other side of the spectrum, Christopher Gorney, the author of Hip Hop Dance: Performance, Style, and Competition, says, “hip hop dance is hip which the Merriam Webster Dictionary defines as ‘keenly aware of or interested in the newest developments or styles,’ so in a way it is always changing with time. Because it is hip, there are always new styles developing, but there are four that are generally accepted as the traditional styles of hip hop dance—locking, popping, b- boying/b-girling, and up-rocking” (Gorney). Both definitions state that these two kind of dance are evolving and always focused on developing new and modern ways of movement, so why is there such a disconnect between the hip-hop community and the concert contemporary dance community? Perhaps it has to do with concert dancers believing that hip-hop is inferior in artistic value. Contemporary stems from modern dance, which evolved from ballet, which was initially only performed for royalty and higher class audiences; whereas hip-hop grew from the streets, expressing frustrations of the African American community facing poverty and injustice. Dennis Dang, a fourth year bio major at UCI is involved in Common Ground, one of the most advanced competitive hip-hop teams on campus. Although he is not a dance major, he recently participated in two pieces in the undergraduate dance concert, Physical Graffiti, and was fully a part of the creative and rehearsal process. Since he can now compare, I asked him whether he believed hip hop has its own artistic elements and why. His first reaction was, “Of course! Hip hop is VERY artistic.” He further explained that, “Hip hop at its core is art because it combines intention with form. People use dance, especially hip hop, as a form of expression, and even so much as a survival tool in some communities.” So, yes, although Common Ground is a competitive dance team and art is something that goes beyond technique and winning, hip hop teams can also be artistic. The teams, Dang explains, “don’t really care about winning really—the competitions are just a stage space that allows the hip-hop community to come together and share their different ways of expression, movement, and stories, and the winning placements just come with.” He elaborates, saying, “We see more ‘technical’ movements integrated into hip hop sets now, and I want to say hip hop today is only different from contemporary and other similar styles in its spatial and temporal

Iniciación a la danza como agente educativo de la expresión corporal en la educación física actual. Aspectos metodológicos (Initation to dance as an educational agent of body expression in the current physical education. Methodological aspects)

La danza como manifestación rítmico-expresiva presenta amplias posibilidades para la formación del alumnado desde un punto de vista integrador (plano físico, intelectual y emocional). Sin embargo, la utilización de este contenido en el contexto de la educación física actual sigue siendo escaso y puntual. El desconocimiento de las aportaciones de la danza al desarrollo integral de la persona, la consideración eminentemente femenina de esta actividad y/o la falta de formación del profesorado, son algunas de las razones que podrían justificar el desaprovechamiento de la danza como agente educativo de la expresión corporal. Con respecto a la falta de formación del profesorado, este trabajo tiene el propósito de responder a una serie de interrogantes relacionados con el cómo enseñar danzas: ¿qué métodos pedagógicos son los más adecuados? ¿cualquier tipo de danza es idónea para trabajar en el aula? ¿cómo utilizar correctamente los elementos básicos del ritmo en las diferentes propuestas danzadas?.Palabra clave: Educación Física. Expresión Corporal. Danza.Abstract: Dance as a rhythmic-expressive content presents ample opportunities for the training of students from an inclusive point of view (level of physical, intellectual and emotional). However, the use of this content or treatment in the context of physical education is limited or ad hoc. The ignorance of the contributions of dance to develop the whole person, considering this activity mainly women and/or lack of teacher training are some of the reasons that might justify the waste of dance as an educational agent of body expression. With regard to the lack of teacher training, the work presented below is intended to answer a series of questions related to how to teach dance: what methodology is appropriate?, any kind of dance is suitable to work in the classroom?, how to properly use the basic elements of rhythm in the proposals danced?.Key words: Physical Education. Body Expression. Dance.

What Makes a Baby by C. Silverberg

Silverberg, Cory. What Makes a Baby. Illus. Fiona Smyth. New York: Seven Stories Press, 2012. PrintIn What Makes a Baby, sex educator and author Cory Silverberg tells the story that makes most adults squirm: the story about human reproduction, gestation, and birth. However, this isn’t your typical mythical tale of a growing “flower” or a story about the nuclear family with “mommy and daddy.” Instead, we have some of the real players: egg and sperm cells, uteruses, and human beings.These real baby-making players are playfully illustrated by Fiona Smyth, a Montreal born artist and graphic novelist. In typical Smyth style, What Makes a Baby’s pages are bright and colourful, featuring a lot of purple, hot pink, and blue. Human beings are also full of colour (pink, orange, green, yellow and purple), and in most of the story they are depicted gender neutral –like smiley, vaguely human creatures. This aligns with the book’s premise to be “a book for every kind of family,” as it admirably avoids the temptation to link baby making with traditional notions of femininity and masculinity; the colourful depictions also keep this reproductive story lively and somewhat whimsical.Silverberg’s story further follows a simple, straightforward narrative. He states that some bodies have eggs, some bodies have sperm, and some bodies do not; that some babies are born with the help of midwives and some with doctors; that some babies come out of a vagina and some babies come out by the belly button. The description of eggs and sperm is particularly nuanced, explaining that each cell is made up of stories from the body out of which it came; these “stories” are then shared to become something new. These descriptions promote the book’s mission to represent all kinds of families and people, but they also turn a complicated story into an intelligible one for a young child.However, What Makes a Baby has some pitfalls. Firstly, there is no mention of sexual intercourse. The egg and sperm “swirl together in a special kind of dance,” but there is no other discussion of that first step in how babies are made—the part that is typically the most awkward to explain. Further, the abstract representation of people might be confusing for children, especially as people are drawn differently in the latter half of the book, allowing for a less concrete understanding of what really makes a baby.Thus, this story makes some great strides towards more inclusive and honest discussions of baby-making, but it doesn’t supply the whole picture. This book is ideal for a preschool or elementary school library and would work in concert with other stories on reproduction.Recommended: 3 out of 4 starsReviewer: Jessica ThorlaksonJessica Thorlakson is a Public Services Librarian at the University of Alberta’s H. T. Coutts Education and Physical Education Library. She has a background in English Literature and enjoys little more than reading a good book and drinking some tea.

The Fiery Trial: Abraham Lincoln and American Slavery (review)

Reviewed by: The Fiery Trial: Abraham Lincoln and American Slavery Catherine Clinton The Fiery Trial: Abraham Lincoln and American Slavery. By Eric Foner. (New York: W. W. Norton, 2010. Pp. 448. Cloth $29.95.) Certainly with the gusher of new scholarly literature that appeared in the wake of Abraham Lincoln's 2009 bicentennial year, it is hard to imagine welcoming yet another study of our sixteenth president. However, Eric Foner has managed to defy the odds. His new study of Lincoln and slavery is essential reading for anyone interested in Civil War history. This work is neither a full biography of Lincoln nor mere intellectual archeology. Rather, The Fiery Trial is a brilliant extended brief, a judicious summation of the case for taking seriously superlatives showered upon Lincoln over the years. (Only in Lincoln studies can a 336-page book, with over 50 pages of notes, be labeled a "brief.") Foner's elegant analysis frames Lincoln within the context of the past half-century of scholarly revisionism. It also is my opinion that The Fiery Trial represents Foner's magnum opus. His many outstanding historical contributions (including Free Soil, Free Labor, Free Men, and Reconstruction: America's Unfinished Revolution) are not merely prelude, but they laid the foundation for this tour de force analysis of Lincoln's role in slavery's end and emancipation's beginnings. Foner has a well-established reputation as an intellectual who speaks to the future through his energetic engagement with the past. His new study of Lincoln will reverberate beyond the moat to which too many academics confine themselves—as he pushes beyond the castle walls, to reveal a perspective on the past that captures contemporary imaginations. [End Page 71] Lincoln studies is an imperial enterprise, where people like to proclaim themselves sovereign and quibble over minutiae. Foner's approach rises above the fray. He dispassionately outlines the remarkable challenges Lincoln confronted: how to transform a divided people into a nation fulfilling the promise of its revolutionary origins. The quality of Foner's research is reflected not just in his footnotes, which are awe inspiring, don't get me wrong. But more impressive, Fiery Trial dances along the castle wall—as if balletically swashbuckling up the parapets, taking readers to dizzying heights. Foner's dexterity and authority is clearly visible to those within as well as those outside the legendary fortress supplied and defended by the Lincoln industrial complex. Admittedly, this volume can be intense for those unfamiliar with nineteenth-century political thought. Yet heavy lifting pays off as Lincoln's motives and intent during the war years provide powerful insight into unfolding events—as if we are seeing the war through Lincoln's eyes in "real time," a provocative perspective. Foner's decades of deep and wide reading in African American history enrich his work immeasurably—as he brings to life many regularly marginalized. The Fiery Trial's inclusion in the gallery of images of a photograph of William Johnson's grave—the young black man who accompanied the Lincolns to Washington from Springfield—typifies Foner's achievement in this regard. He suggests the word "Citizen" carved on the tombstone in 1864 was both a rebuke and a signal from Lincoln. Foner critiques as he interprets: "Lincoln and other Republicans' account of the attitudes of the revolutionary generation toward slavery was highly selective" (71). We learn how the push and pull of abolitionism affected party politics and sectional divides in antebellum America. Particularly within his fourth chapter ("'A House Divided': Slavery and Race in the Late 1850s") Foner's skilful blend of sources, ideas, and arguments offers a vivid appreciation of America's zigzag toward secession and war. Foner warns us that "race is our obsession, not Lincoln's" (120). He engages again, in a kind of dance, balancing on the knife-edge to show a twenty-first-century reader the complexities of race during the nineteenth century. He places Lincoln's dilemmas within the context of his own times, not ours. Foner concedes that many conundrums may never be fully understood. I particularly appreciated his inclusion of Lincoln's marginalia from 1858: "Negro equality! Fudge!" without comment (122). More comment on Lincoln's...