Dancing for women:subverting heteronormativity in a lesbian erotic dance space?

This article utilises participant observation, interview and collaborative visual data, collected with women erotic dancers, management and customers, to ascertain how far heteronormativity is subverted in a UK lesbian leisure space, Lippy (the name is a pseudonym), which provides erotic dance for women customers. The potential for a female 'gaze', the 'normativity' of gendered and sexualised bodies, and the notion of a 'women's space' are taken as areas for analysis. Women's engagement with erotic dance is complex, and this article examines the connections between sexual agency and gendered power relations, questioning how far women can exercise autonomous sexual expression in commercial sexual encounters. © The Author(s) 2012.

Performing in a night-time leisure venue: a visual analysis of erotic dance

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.

Modeling and Annotating the Expressive Semantics of Dance Videos

Dance videos are interesting and semantics-intensive. At the same time, they are the complex type of videos compared to all other types such as sports, news and movie videos. In fact, dance video is the one which is less explored by the researchers across the globe. Dance videos exhibit rich semantics such as macro features and micro features and can be classified into several types. Hence, the conceptual modeling of the expressive semantics of the dance videos is very crucial and complex. This paper presents a generic Dance Video Semantics Model (DVSM) in order to represent the semantics of the dance videos at different granularity levels, identified by the components of the accompanying song. This model incorporates both syntactic and semantic features of the videos and introduces a new entity type called, Agent, to specify the micro features of the dance videos. The instantiations of the model are expressed as graphs. The model is implemented as a tool using J2SE and JMF to annotate the macro and micro features of the dance videos. Finally examples and evaluation results are provided to depict the effectiveness of the proposed dance video model.

Innovation in education. Commentary:teaching statistics using dance and movement and a case for neuroscience in mathematics education

Review: A commentary on Teaching statistics using dance and movement by Irving, L.T. (2015). Front. Psychol. 6:50. doi: 10.3389/fpsyg.2015.00050 A case for neuroscience in mathematics education by Susac, A., and Braeutigam, S. (2014). Front. Hum. Neurosci. 8:314. doi: 10.3389/fnhum.2014.00314

Open innovation in the performing arts. Examples from contemporary dance and theatre production

Scholarship on open innovation examines the different shades of opening up the innovation process of firms, where the most important feature is sourcing in knowledge. In this paper I examine the implications of adapting open innovation frames to a field where it was not investigated before: performing arts (contemporary dance and theatre). I draw on case studies and demonstrate that open innovation strategies are viable for artistic production. Independent companies purposefully mining out external knowledge in production, and commercializing on the spillovers of their body of knowledge, put themselves on the shelf of firms adopting and adapting to open innovation.

Nico Assumpção and jazz bass improvisation

The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.

Effects of nutrition education on the nutrition knowledge of future aerobic dance instructors

The effectiveness of nutrition education on the nutrition knowledge of future aerobic instructors was studied. Forty-seven subjects participated in the study. The experimental group (n=31) chose to and paid for a two-hour per week session of structured nutrition education for four weeks, the control group (n=16) did not. A nutrition knowledge test was completed by all subjects before and after the intervention. Results were analyzed for relationships between subject's nutrition knowledge and age, gender, educational background, income, and body mass index. No significant differences were found between the groups. The results showed that prior to any formal nutrition education, fitness instructors in the experimental and control groups had low nutrition knowledge (8.06%±16.4% and 4.38%±4.12%, respectively). Post-intervention nutrition knowledge significantly improved (p

Desejo, estilo de vida e transgressão da identidade em Dancer from the dance de Andrew Holleran e Pela noite de Caio F.

From the research and awareness of literary work, this thesis discusses aspects related to the study of homoeroticism and lifestyles in the works Dancer from the Dance (2001) by Andrew Holleran and Pela noite (2010) by Brazilian author Caio Fernando Abreu. Whereas issues about beauty, desire and lifestyle shape cutouts important to the narrative, I propose a discussion by examining the works that mark from the first moments of sexual release party in New York with the peculiarities of their own styles that characterized the Andrew Holleran characters rostificadas by an ethos that he composed during this time opening for freedom of sexual deviant sexualities. In Pela noite, we reiterate a continuation of opening moment in Brazil for gay characters Caio , assuming the early 1980s for those characters is the first " shadows " of AIDS and knowledge of self , in which his characters living with fear, anonymity and reminiscences of homophobia as a backdrop to the discussions that are triggered off by the author . To compose a theoretical framework to subsidize this work , we selected the works of Michel Foucault (2007 , 2010a , 2010b ) , Eve Kosofsky Sedgwick (2008 ) , Didier Eribon (2008 ) , David Cartier (2004 ) , David Eisenbach (2006 ) and other contributions that were undoubtedly essential to this endeavor

Antecedentes artísticos de la danza "contact improvisation": visiones educativas de los "contacters"

Esta investigación tiene como objeto realizar un estudio de la danza Contact Improvisation (en adelante CI), teniendo en cuenta los antecedentes artísticos; considerar las visiones educativas de los contacters (personas que practican CI); y valorar las posibilidades de la danza CI, considerándola como herramienta útil para la educación. El CI es un envolvente sistema de movimiento iniciado en 1972 por el coreógrafo americano Steve Paxton. Una danza improvisada que se basa en la comunicación entre dos cuerpos que están en contacto y combinan la relación con las leyes físicas que gobiernan el movimiento – gravedad, impulso e inercia. La inquietud de encontrar nuevos caminos que ayuden al desarrollo de una educación más integral partiendo de procesos diferentes a los habituales, es lo que ha motivado este estudio; para ello, se pretende utilizar formas artísticas que aboguen y fomenten la libertad, la sensibilidad y la comunicación de forma creativa. En concreto, buscamos en el CI aspectos que sean favorables para una educación que, a diferencia de la educación reglada, le dé más importancia al desarrollo de la inteligencia emocional...

Betty Ford and Pearl Bailey dance at the "Women of the Year" Awards

General note: Title and date provided by Bettye Lane.

Drummer at NOW conference dance

General note: Title and date provided by Bettye Lane.

Lesbians at dance in the Old GAA Building on Wooster Street

General note: Title and date provided by Bettye Lane.

Lesbians at a dance

General note: Title and date provided by Bettye Lane.

Exhibitionism (disco dance)

General note: Title and date provided by Bettye Lane.