'Dancing at the English Opera':'Marie Salle's letter to the Duchess of Richmond

A letter from dancer Marie Salle to her patroness dated 1731 reveals her ambitions to dance at the English opera.

“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Bodies that Move You: the Rhetorical Force of the Dancing Body

Thesis (Ph.D.)--University of Washington, 2014

Dancing politics : connecting women's experiences of rave in Toronto to ageism and patriarchy

Based on a critical analysis of recent Canadian and British media, academic, and political representations of rave, in conjunction with the author's and ten female interviewees' past experiences as active rave participants, the purpose of this thesis is to show the ways that rave can be understood as political. Drawing on a post-structural understanding of politics, which understands macro social issues and micro personal experiences as intimately linked and inseparable, this thesis fills a gap in the existing rave literature by explicitly drawing out (a) the ways that active rave participation is entangled in dominant understandings of age and gender-appropriate activities, and (b) the implications that these entanglements have on the ways that some women experience and construct their past active rave participation. Specifically, the author examines the ways that age and gender intersect and inform the discourses on which research participants drew to describe and rationalize their experiences of becoming, being, and ceasing to be active rave participants in Toronto, Ontario, Canada. At the same time that the majority of research participants' introductions to rave followed heterosexualized and heternormative patterns, they also constructed active rave participation as a way to challenge popular representations of rave as an inappropriate activity, especially for young women. When rationalizing the cessation of their active rave participation, however, these women reproduced depictions of rave participation as a transitory and juvenile phase where older women are particularly misplaced. The various ways that these women simultaneously challenged, experienced, and facilitated dominant ageist and patriarchal discourses about who does and does belong in rave are interpreted as evidence that micro rave experiences cannot be divorced from macro discriminatory discourses, and that "the personal is political."

Singing Nature, Dancing Buddha: Zen, Language, and the Groundlessness of Silence

This thesis presents Zen experience as aesthetic in nature. This is done through an analysis of language, a central concern for Zen Buddhism. The thesis develops two modes of language at work in Zen: representational and indexical. What these modes of language entail, the kind of relations that are developed through their use, are explored with recourse to a variety of Zen platforms: poetry, the koan, zazen, music, and suizen. In doing so, a primacy of listening is found in Zen - a listening without a listener. Given this primacy of listening, silence comes to the forefront of the investigation. An analysis of John Cage's 4'33" provides this thesis with justification of the groundlessness of silence, and the groundlessness of subjectivity. Listening allows for the abyssal subject to emerges, which in tum allows for reality to present itself outside of the constitutive function of language.

Dancing double binds : feminine virtue and women’s work in Kinshasa

Les femmes de Kinshasa, en République Démocratique du Congo, ont toujours été actives dans le commerce local. L’élévation de leur niveau d’études, ainsi que des circonstances économiques difficiles nécessitant deux salaires par famille, les poussent aujourd’hui vers de nouveaux métiers. Alors qu’elles deviennent plus visibles dans les sphères politiques et économiques, elles sont sujettes à de nouvelles formes de méfiance et d’accusation morale. C'est dans ce contexte que les notions de féminité et de vertu féminine sont définies aujourd'hui. Lorsque les femmes congolaises émigraient vers la ville de Léopoldville à l’ère coloniale, elles étaient confrontées à de nouvelles attentes sociales. Il était attendu qu’elles se « modernisent » et se « civilisent » tout en gardant leur rôle « traditionnel » au foyer et auprès de leur famille. Je voudrais démontrer que ce paradoxe continue d’influencer les représentations de la vertu féminine à Kinshasa aujourd'hui, notamment en établissant une distinction entre la femme « vertueuse » et « non vertueuse ». Cette thèse explore les façons dont les femmes participent et négocient leur nouveau statut et rôle à la lumière de ce paradoxe. Plutôt que de réifier la dichotomie locale entre la femme « vertueuse » et « non vertueuse », j’explore les causes sous-jacentes et les résultats inattendus de ces catégorisations. Je porte une réflexion sur la vertu féminine comme étant construite et influencée par ce qu'on pourrait nommer le « triple patriarcat » alimenté par des valeurs « traditionnelles », par des initiatives coloniales et postcoloniales menées par l'état, ainsi que par des discours pentecôtistes. J’examine d’autre part comment ces facteurs ont engendré une double contrainte, un dilemme en la forme d’injonctions contradictoires, encourageant les femmes à jouer simultanément des rôles opposés, et à devoir soigneusement gérer leur image en public. Je montre enfin que cette double posture des femmes alimente la méfiance entre les deux sexes, impactant sur la perception des femmes au travail et dans la société de manière générale, de même que les projections qu’en fait la culture populaire. Car c'est une des professions les plus visibles pour les femmes de Kinshasa, le rôle de danseuse de concert est très utile pour illuminer les défis auxquels ces femmes sont confrontées. Cette thèse fournit donc un portrait ethnographique des danseuses, et se penche sur leur statut d’objets publics de désir afin de révéler la façon dont leur visibilité met en évidence les conceptions locales de la liberté, du pouvoir et de la féminité.

Dancing.

Forma parte de una serie que se centra en las inteligencias múltiples. Explica qué es el baile, qué es un paso de baile, qué es el ballet y cómo se siente cuando se danza. Muestra cómo llevar a cabo bailes folklóricos de diferentes países. Incluye glosario.

Dancing in translation: Irina Brook’s mise en scène of 'Danser à Lughnasa', Jean-Marie Besset’s translation of Brian Friel’s 'Dancing at Lughnasa'

This essay contributes to debates about theatre and cross-cultural encounter through an analysis of Irina Brook’s 1999 Swiss / French co-production of Irish playwright Brian Friel’s Dancing at Lughnasa, in a French translation by Jean-Marie Besset. While the translation and Brook’s mise en scène clearly identified the source text and culture as Irish, they avoided cultural stereotypes, and rendered the play accessible to francophone audiences without entirely assimilating it to a specific Swiss or French cultural context. Drawing on discourses of theatre translation, and concepts of cosmopolitanism and conviviality, the essay focuses on the potential of such textual and theatrical translation to acknowledge specific cultural traces but also to estrange the familiar perceptions and boundaries of both the source and target cultures, offering modes of interconnection across diverse cultural affiliations.

Dancing, skating and sex: action and text in the digital age

This paper explores the relationship between discourse and action in practices involved in making and consuming texts. Texts are produced through the process of ‘entextualization’ in which strips of action and discourse are extracted from their original contexts and recontextualized into other situations. Different technologies for turning actions into texts affect the kinds of social actions and social identities that are made possible both at moments of entextualization and at future moments of recontextualization. In particular, I focus on how digital technologies affect the practices and participation structures around entextualization. Digital photography and video have had a profound effect on social practices and relationships around the making of texts. Specifically, they have made processes of entextualization more immediate, more contingent and more communal. Implications of these features of digital text making are discussed in light of previous work on literacy and orality.