The dancing mouse;

Mode of access: Internet.

Cleaner fish use tactile dancing behavior as a preconflict management strategy

The most commonly asked question about cooperative interactions is how they are maintained when cheating is theoretically more profitable [1]. In cleaning interactions, where cleaners remove parasites from apparently cooperating clients, the classical question asked is why cleaner fish can clean piscivorous client fish without being eaten, a problem Trivers [2] used to explain reciprocal altruism. Trivers [2] suggested that predators refrain from eating cleaners only when the repeated removal of parasites by a particular cleaner results in a greater benefit than eating the cleaner. Although several theoretical models have examined cheating behavior in clients [3,4], no empirical tests have been done (but see Darcy [5]). It has been observed that cleaners are susceptible to predation [6, 7]. Thus, cleaners should have evolved strategies to avoid conflict or being eaten. In primates, conflicts are often resolved with conflict or preconflict management behavior [8]. Here, I show that cleaner fish tactically stimulate clients while swimming in an oscillating dancing manner (tactile dancing) more when exposed to hungry piscivorous clients than satiated ones, regardless of the client's parasite load. Tactile dancing thus may function as a preconflict management strategy that enables cleaner fish to avoid conflict with potentially dangerous clients.

Moving and dancing towards decolonisation in education: An example from an Indigenous Australian performance classroom

This paper explores the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. The author examines what decolonisation means in this context by describing the ways in which the curriculum, the students and teacher, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like?

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.

Girl dancing in front of distorting mirror

Inscriptions: Verso: [stamped] Credit must be given to Freda Leinwand from Monkmeyer Press Photo Service.