For the Yakut 1 people residing in the region of Sakha (Yakutia), 2 northeastern Siberia, dances have always been a constituent and important part of their tradition and believed to have magical potency. Dances also represented a certain worldview
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Dancing on the Threshold
A Cultural Concept for Conditions of Being Far from Salvation
Gregor Rohmann
“Dancing mania” and “St. Vitus dance” were culturally formed illness concepts that enabled late medieval people in the Rhine area to act out states of liminality. The semiotics of these trace back to ancient Platonic cosmology, which had been transmitted into medieval theology by late antique Neoplatonism. In this article the iteration of these motifs especially through the early and high Middle Ages is scrutinized. When “dancing mania” emerged in the fourteenth century it was thus neither an early case of mass hysteria nor a particular form of religious deviance, as is still assumed frequently.
Embodied Agency
Creating Room for Maneuver through Dance in Palestine
Sara Christophersen
For us … break dancing is, you feel like, you just release something out of you. And you experience for a moment this freedom. This feeling of freedom. Ahh, you feel it, when you dance and when you do a movement that is really very challenging
The Paris Opera Ballet Dancing Offstage
Work, Grace, and Race
Tessa Ashlin Nunn
On Wednesday 4 March 2020, a group of fifteen dancers and I, clad in leotards, leg warmers, and tights, took our places at long wooden barres for what would become our last unmasked, in-person ballet class of the year. Gliding and leaping through
Tax Compliance Dancing
The Importance of Time and Space in Taxing Multinational Corporations
Lotta Björklund Larsen and Benedicte Brøgger
determine tax rates takes considerable time and effort by MNEs, consultants and tax administrations. This mutually dependent administrative work is here referred to as ‘tax compliance dancing’. As the complexities of this ‘dancing’ increased, the response
Skating toward Americanization
The Transformation of Katarina Witt throughout the 1980s
Wesley Lim
together, it was predominantly the social and cultural aspects—through both exposure to other international skaters and music, film, and dance representational modes—that had the most significant influence on Witt's mental and performative transformation
Before and After Ghostcatching
Animation, Primitivism, and the Choreography of Vitality
Heather Warren-Crow
Catching Ghosts Bill T. Jones, writes digital artist Paul Kaiser (2003) , “danced like a man possessed—possessed in turn by eight or nine distinct selves.” Improvising on the unforgiving concrete floor of a motion-capture studio, Jones
The Changing Portrayal of Dancers in Egyptian Films
Three Roles in the Career of Tahia Carioca (1946, 1958 and 1972)
Carolina Bracco
The first news regarding female Egyptian dancers came through European traveller tales. Many artists travelled to Egypt in the nineteenth century and managed to see dancers or searched specifically for them, making these women one of the most
Community and Creativity in the Classroom
An Experiment in the Use of the Guest Interview, Focus Group Interviews and Learning Journals in the Teaching and Learning of the Anthropology of Modern Dance
Jonathan Skinner and Kirk Simpson
This article assesses the experimental teaching and learning of an anthropology module on 'modern dance'. It reviews the teaching and learning of the modern dances (lecture, observation, embodied practice, guest interview), paying attention to the triangulation of investigation methods (learning journal, examination, self-esteem survey, focus group interview). Our findings suggest that—in keeping with contemporary participatory educational approaches—students prefer guest interviews and 'performances of understanding' for teaching and learning, and that focus groups and learning journals were the preferred research methods for illuminating the students' teaching and learning experience.
Between the Lines
Communication with People with Dementia in Creative Movement Sessions
Elisabeth Zeindlinger
This article explores the various ways of communicating with people with dementia during dance sessions and how creative movement can support people to create meaning in the moment. The following did not originate in conventional research but is a reflection on my work as a dancer in healthcare. I took notes about my observations for my own development. After some time I felt the need to dig deeper and search for theories affiliated to my thoughts and find out more about dementia.