Titlebook: Dance, Gender and Culture; Helen Thomas (Lecturer in Sociology) Book 1993 Palgrave Macmillan, a division of Macmillan Publishers Limited 1

孵化

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書目名稱Dance, Gender and Culture網(wǎng)絡(luò)公開度




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Melatonin

Ballet, Gender and Cultural Poweral and cultural structures through which they learn about ballet, thus perpetuating and sometimes altering it. These structures are both institutional (ballet classes, dance schools, companies, performances, film presentations, producing organisations and government agencies) and ideological (belief

orthodox

‘I seem to find the happiness I seek’ Heterosexuality and Dance in the Musicalhinks he’s married, or he’s promised never to marry. Whatever the reason something keeps them apart, except that when they start to dance … Well, what? It’s heaven, they’re in heaven, but just what is it that makes it so, what notion of happiness is embodied in their dancing?

peak-flow

An-Other Voice: Young Women Dancing and Talkingecond section explores some aspects of the relation between dance and gender which emerged from a nine months’ study of a local community dance project in London which holds open dance classes and maintains a dance group. This research involved sitting-in on classes, filming and interviewing members

Radiation

Gender Interchangeability among the Tiwior men respectively, but as forces, archetypal principles existing in both women and men (cf. for example Jung’s (1953) discussion of the . and . or Rudolf Steiner’s (1959) discussion of cosmic evolution and of the place and role of human beings), there does not seem to exist a sphere in practical l

jungle

jungle

Classical Indian Dance and Women’s Statusly persistent male dominance in dance production.. In India a key understanding of the reality of women’s subordinate status comes from the traditional and mythical portrayals of women (Ghadially, 1988), some of which are restated in dance..

Transfusion

Dance, Feminism, and the Critique of the Visualions are easily overlooked: the early moderns, almost all of whom began their choreographic careers by creating solos for themselves, were using their . unballetic bodies rather than someone else’s body as the raw material of their art. It is significant that — at least in conversation — we continue

consent

‘You put your left foot in, then you shake it all about …’at dance has finally come under scrutiny. Considering that dance is a field about and of the body (which in turn has become one of the targeted areas of feminist debate) what does come as a surprise is that this did not happen earlier. For many critics the reason lies in the apparent predominance of

Cognizance