Women Dancers Research Articles

The Resistive Gaze in Kuwaiti Screendance: An Analysis of Women’s Zar Dance in Alsamt (1979) and Mohammed Ali Road (2020)

This article examines representations of women performing the zar dance in the Kuwaiti film Alsamt/The Silence (1979) and television show Mohammed Ali Road (2020). A review of scholarship overviews the history of the zar dance in Kuwait and examines representations of women’s dance in Kuwaiti screendance. A comparative analysis of the zar dance scenes in Alsamt and Mohammed Ali Road considers the reasons why the latter exemplar was censored from Kuwaiti television. The analysis draws on Kuwaiti Islamic feminist perspectives to take up a consideration of multiple gazes that frame the cine-choreography of the zar dance and shape representations of women’s dance in Kuwait. Expanding on these theoretical foundations, describe how patriarchal and resistive gazes influence the way the camera shapes representations of women’s dance performances in Kuwaiti film and television.

Picturing the dance: intersections of gender, sexuality, and age in older women queer square dancers

A dearth of research has focused on the diverse experiences of aging sexual minority populations and, in particular, older sexual minority women. Studies that have disaggregated the population of lesbian, gay, bisexual, transgender, questioning, queer, intersex and two-spirit (LGBTQIS+) older adults reveal that due to minority stress and a lifetime of disadvantage. Lesbians experience higher rates of chronic health conditions and mental health problems (including loneliness) than heterosexual women and greater financial inequalities compared to gay men or heterosexual women. Despite this, limited inquiry has explored the everyday lives of older queer women and fewer still draws upon women’s commentary on their own lived experiences or centers older women as authoritative agents and experts on their own lives. In response to this knowledge deficit, this research traverses the aging experiences of female-identified members of a gay square dance (GSD) club in Toronto, Canada. We apply queer theory to explicate the unique ways in which a GSD club queers the aging process for 14 older women dancers. Findings of the inquiry highlight the ways in which these dancers confront and reject heteronormativity, while illuminating pathways to successful aging for older sexual diverse women. The older women dancers in this study perform gender in ways that challenged heteronormativity and gender binaries, enhanced belongingness and acceptance, embodied joy, and fostered wellness. These concepts have been identified as critical factors in successful aging and highlight what queering aging might look like for this resilient population who have overcome a lifetime of disadvantage.

Effect of 12-week rehearsal on cardiorespiratory fitness and body composition in Brazilian samba dancers.

To investigate the effect of 12 weeks of rehearsals on cardiorespiratory parameters and body composition in Brazilian samba dancers belonging to a first-league samba school. Twenty-six women were divided into a Samba Group (n=13) and a Control Group (n=13). Cardiorespiratory parameters (cardiopulmonary exercise test) and body composition (skinfold assessment) were assessed before and after the 12 weeks of rehearsals. The Samba Group rehearsed three times per week for 30-60 minutes, and the Control Group participated in no physical activity. A comparison test was performed within and between groups, with p<0.05 indicating statistical significance. Compared with the Control Group, the Samba Group showed a significant increase in maximal oxygen uptake (19%), oxygen pulse (13%), and lean body mass (3%) and a decrease in body fat percentage (11%) and fat mass (12%). Twelve weeks of samba dance rehearsals improved the cardiorespiratory and body composition parameters in women dancers compared with the Control Group. These findings suggest that dancing samba regularly can increase physical activity levels and positively affect the health parameters of samba dancers.

(Re)presenting The Big Grrrls

ABSTRACT Watch Out For The Big Grrrls, Lizzo’s successful extension into reality television content, showcases the rhetorical power of fat-flaunting. This close textual analysis of the series finds that Lizzo enacts emancipatory rhetoric to impart her method of strategic fat-flaunting to aspiring fat women dancers. Self-love and vulnerability emerge as critical elements required for delivering the hopeful Big Grrrls from the burdens of fat-hate and maintaining Lizzo’s buoyancy above her critics.

"It Can Be Magic:" Creating Age Awareness Through Contemporary Dance.

Professional dancers typically retire before age 40. Although the physical requirements for dance performance are often considered the reason for retirement, there is an increasing number dance researchers who demonstrate that the idealization of youthfulness on the stage is also a result of complex cultural, social, and economic realities and as such, in need of critique. As a group of mature women dancers who continue to perform, we aim to critique the idealization of youthfulness as a form of ageism in professional dance. In this paper, we present findings from our feminist memory-work study in which we critically reflected the rehearsals and performance of a choreography titled “Initiation.” We detail three main themes—”It Will Only Get Worse;” “It Can Be Magic;” “Once a Dancer Always a Dancer”—that emerged from our study. We conclude that we gained critical awareness of the gendered and ageist construction of dance as a performing art. As a result, we now feel empowered to continue our work as mature dance artists.

Body (of) Knowledge: Women, the Body, and Dance in Postwar Japan

AbstractThis study examines the revolution of ideas surrounding the body in 1950s Japan from the perspective of two women dancers, Noh dancer Tsumura Kimiko (1902–74) and butoh dancer Motofuji Akiko (1928–2003). By contrasting one mid-twentieth-century view—that the postwar era offered a chance to “liberate” individual bodies—with the backdrop of continued control over bodies exercised by large institutions, I first show that this perceived rupture was not as stark as it initially appears. Moreover, I show how Tsumura and Motofuji rejected popular ideas about the body's purpose to forge their own. This allowed them to critique and confront the issues that popular views presented, particularly for disabled or gendered bodies. These issues involved increasing urbanization and the treatment of bodies based upon their desirability. This article argues that Tsumura's and Motofuji's conceptions of “body” challenged gender norms and presented new ideas about how to live.

Move Dance Feel - the rehabilitative power of dance for women living with and beyond cancer

Move Dance Feel - the rehabilitative power of dance for women living with and beyond cancer

Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s

The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.

Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain

Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses. Specifically, it focuses on the relationship between Debbie Reynolds, who was a novice dancer when she was cast in the film, and the two other white women dancers who helped shape Reynolds's filmic body: assistant choreographer Carol Haney and dance-in Jeanne Coyne. Combining feminist and critical race perspectives with production studies, film studies, and dance and performance studies, the essay unites often disconnected gendered and racial analyses of the film by emphasizing the gendered forms of labor and the multiracial genealogies through which dance is reproduced. It also shows how the guise of white credibility enabled Reynolds to conceal her intercorporeal and multiracial debts. Finally, the essay argues that the presence of dancers of color in the film, most notably Rita Moreno, haunts the chains of white corporeal debt that bind Reynolds to Haney and Coyne.

Staging Power: Visual Strategies of Kingship in the Windsor Castle ‘Ishqnama Illustrated Manuscript

ABSTRACT The paper examines the Windsor Castle ‘Ishqnama, an autobiographical account of the amorous entanglements by the last king of Awadh, Wajid ‘Ali Shah (r. 1847–56), as one of the strategies for projecting an image of an ideal masculine ruler through the control over the bodies of “his” women—the paris (fairies) in his Parikhana, an establishment of women singers and dancers, many of whom were his mut‘a wives, and the women of his zenana. The ‘Ishqnama revealed the royal harem both visually and textually. The paper contextualises this strategic revealment by a tangential viewing of the harem of the contemporary Persian ruler, Nasir al-Din Shah Qajar, who similarly revealed the women of his harem by photographing them at a critical period when his image as an ideal ruler was being eroded. Discourse surrounding Wajid Ali Shah’s association with the “fairies” was diverse, with reactions ranging from adulatory accounts, to severe criticism. The paper highlights these polemic narratives by the British on the one hand and a Persian traveller, Waqar al-Mulk Tabrizi who visited Lucknow in the 1870s on the other, to examine culturally diverse perceptions about what constituted the “right” exhibition of sexuality by a ruler and how this exhibition underlined his ability to rule.

Theories and Principles of Theology in the Kuruntokai

The Kuruntokai of the ancient Tamil deities worshipped by Murugan, Surthaivam, Korravai, Kollipaavai and others is known from the Kuruntokai. The Velan fanaticism is found in the Sangam literature. This study is conducted in a way that explains the principles of theology found in the Sangam literature. The story of the Velan rampage, the worship of Korravai, the surat worship and the dance of women in the short story has explained this article.

The impact of Marpaniaran ‘traditional dance of women’ of Toba Batak wedding ceremony for women's physical and mental health

ObjectivesThe purpose of this paper is to describe (1) the benefits of marpaniaran ‘traditional dance of women’ for the women's physical and mental health, (2) the meanings and functions of marpaniaran at the Toba Batak traditional wedding ceremony. MethodsThis study observed by using an anthropolinguistic approach with the analytic parameters is interconnection, valuability, and sustainability. The qualitative paradigm with the ethnography model used in this study. ResultsMarpaniaran has good benefits for women's physical and mental health. The movement performed between hands and feet require good physical health because dancing must be done well and long at the wedding ceremony. Feelings of pleasure, gratitude, and welfare of women for what they receive will increase the mental health of women. There are several meanings and functions of marpaniaran, namely as a ritual worship of God and hulahula ‘wive giver’, asking for blessings from God and hulahula, and encouraging the soul of the bride in running household. ConclusionMarpaniaran is required a strong women's physical and mental health very much. The body movements and feelings of welfare of women in marpaniaran make the Toba Batak women physically and mentally healthy and strong.

Female Erotic Men and Male Ascetic Women: Goddess Yellamma and Her Agents / Victims

This article is a study of the cult of the Goddess Yellamma and women/men/eunuchs called devadasis who derive a sense of agency through their worship of the mother Goddess. I have conducted a participant observation of the devadasis in and around Kolhapur; this work is an indepth study of their lives and their struggles. The word devadasi, as defined by the Encarta dictionary means a Hindu temple dancer, a member of a hereditary class of women dancers in a Hindu temple. In Kolhapur today, it is a very well known fact that a majority of these devadasis are Dalit women. Sheer poverty and destitution force them to accept this lifestyle, which inevitably culminates in the oldest profession of the world – prostitution. Society and culture has worked hand in hand to ensure that these devadasis are degraded to a dreaded existence and gradually they succumb to the dictates of religion and patriarchy. Rather for a devadasi, existence as a woman is secondary to her existence as a devadasi. She is first a devadasi, only then is she a woman. This is the manner in which, her denigration is complete. My interviews at Saundatti and Kolhapur (with its temple complexes) have revealed interesting conclusions about the system of dedication. The devadasi system is one that is still persisting, despite all kinds of prohibitions on the practice. It is an evil nexus of priests, administration and the local people. Inspite of all this exploitation in various aspects of their lives, they are not losing hope. Devadasis are agents of the Goddess -this gives them a social prestige. The agency of women in “religious prostitution” can be articulated - the fact that the Goddess to whom they are dedicated blesses them and communicates her wishes through them has endowed them with a huge sense of authority in their everyday lives. Human agency being that inherent capacity in each person to think, make choices and act, within and based on the socio-economic, political and cultural forces around them, in order to improve themselves and their families and communities; the devadasis are showing a great deal of agency in making visible efforts to improve their lives. In Kolhapur today, they are realising that their children shouldn’t be subjected to this degradation anymore and while possible, trying to make choices, acting within and trying to mould the socio-economic, political and cultural forces around them.

Analysis of the internal logic of breaking using temporal and sequential parameters

ABSTRACT Quantifying the effort of a sport confrontation by determining its temporal structure concerns the scientific community. It has not yet been studied in breaking. The objective was to determine the temporal and sequential structure of men and women breakers. All of the men and women dancers participated in Red Bull BC One 2018 and 2019 (32 women and 32 men). Through observational methodology, we analysed all of the battles (n = 60). In order to obtain the results, we utilised different analytical techniques: descriptive, One-Factor ANOVA, independent sample t-test, effect size and T-Patterns analysis. The level of significance established for the study was ρ ≤ 0.05. The results defined a temporal and sequential structure of the battles of the men and women. Using these results, the breaking professionals would be able to develop precise and adequate training for these athletes. We concluded that there are clear differences between the B-Boys’ and B-Girls’ battles. The men have longer battles, and they use explosive and dynamic movement patterns (Power Move) that lead to shorter and more intense rounds. The women have longer rounds, using patterns with artistic and rhythmic movements (Footwork, Top Rock and Freeze) that lead to less intense outputs, but nevertheless, longer.

Gender and dance: Izmir province, Ödemiş District Traditional Women Dances

Gender and dance: Izmir province, Ödemiş District Traditional Women Dances

Nachni: The Saga of Art Unappreciated

The Nachni s of Purulia are a group of women dancers who dance to the characteristic Jhumur of rural Bengal. The dance form of the Nachni is without a doubt part of the cultural heritage of Bengal—and in a broader sense, of India. Yet, a closer look at the community would show up a distinctive lack of acknowledgement about this art form. On the contrary, these women, these dancers are most of the time stigmatized and looked down upon, so much so that these women themselves have come to see their profession as something not to be proud of. This paper proposes to talk of the Nachni s in the Rarh Bengal area—especially, Purulia—to unearth some not-so-pretty causes for the stigma that keeps these artisans of Nachni dance from holding their head high in society.

Evaluation and analysis of emotional intelligence, mood and coping strategies in two Spanish dance companies

ABSTRACT The aim of this study was to differentiate professional dancers from two different Spanish dance companies with regard to the effects of emotional intelligence, mood and coping strategies, by analysing the existing interrelationship between them. The sample was composed of 36 dancers: 16 women and 20 men aged 19 to 40. Twenty of them came from the national company and 16 from a private Spanish dance company. The questionnaires on mood measures Profile Mood State Questionnaire (POMS), Emotional Intelligence Questionnaire in Sport (IED) and coping strategies for stress (ACSI- 28) were applied. The study indicates that some important differences were found between the men and women dancers with regard to goal setting. In the future, analyses will be able to provide a further development in psychological aspects in order to improve training plans and professional strategies in dancing.

Navigating Change: Agency, Identity, and Embodiment in Haredi Women's Dance and Theater

Navigating Change: Agency, Identity, and Embodiment in Haredi Women's Dance and Theater

Osage Women and Empire: Gender and Power by Tai S. Edwards

Reviewed by: Osage Women and Empire: Gender and Power by Tai S. Edwards Jean Dennison Osage Women and Empire: Gender and Power. By Tai S. Edwards. Lawrence: University Press of Kansas, 2018. vii + 199 pp. Illustrations, maps, bibliography, index. $24.95, paper. Tai S. Edwards's Osage Women and Empire is a strong example of reading against the archival grain to challenge common narratives. Her book weaves together core texts in Osage Nation history, including Francis La Flesche, James Dorsey, Willard Rollings, mission registers, expedition reports, and historical journals, to construct a picture of the contributions Osage women made to building and maintaining an empire during the nineteenth century. She argues that Osage women's contributions as creators, that is, through childbirth, farming, and preparing animal hides for clothing, offered them equal status, despite being part of a "warrior" society. She describes this gender complementarity, "where men and women performed typically separate but equally valued tasks" (3), as existing throughout Osage society, including in the "priesthood," as well as spanning hundreds of years and extensive colonial impositions. In addition to her discussions of historical gender roles, Edwards's book also challenges some common stereotypes about Indigenous peoples. Her depiction of an Osage empire as relying on territorial occupation, diplomacy, land cultivation, and trade powerfully challenges [End Page 111] narratives of terra nullius, which continue to prevail in American popular culture and are enshrined in US constitutional law. Furthermore, her discussion of Osages' ability to continuously adapt yet maintain both a core sense of themselves as a people, and a core set of values, is a powerful blow to colonial narratives of erasure and assimilation. While Edwards's book is a compelling read in its narrative cohesion, such a singular account creates an overly simplified narrative of who the Osage were during this period. The work does glean a great deal from the archives, but it relies too much on refuted secondary sources and includes material that needs far more context and analysis. Furthermore, it does not appear to include any oral history with living Osages. Oral histories could have provided Edwards with additional insight not only into a broader set of historical practices and values, but also into contemporary Osage women's dances, which have taken place in the late twentieth and twenty-first centuries. Edwards's book does ultimately contribute to Osage survivance, as she fundamentally demonstrates how colonially imposed "changes did not indicate the elimination of Osage identity or nationhood" (130). Jean Dennison American Indian Studies University of Washington Copyright © 2020 Center for Great Plains Studies, University of Nebraska–Lincoln

Bringing Back Woman Knowledge: The Women's Dance Health Program and Native Midwifery in the Twin Cities

Bringing Back Woman Knowledge: The Women's Dance Health Program and Native Midwifery in the Twin Cities