Suchergebnisse

Chapter 1 Introducing the ethnography: working and researching in a {u2018}deviant{u2019} occupation -- chapter 2 Lap-dancing and the night-time economy -- chapter 3 Rules, contracts and players -- chapter 4 Introducing Starlets {u2013} a lap-dancing club setting -- part Karen{u2019}s story {u2013} Part 1: starting out -- chapter 5 Becoming a dancer -- part Karen{u2019}s story {u2013} Part 2: working at Starlets -- chapter 6 Learning to lap-dance: an apprenticeship -- chapter 7 Experiencing lap-dancing -- chapter 8 Being established -- part Karen{u2019}s story {u2013} Part 3: leaving Starlets -- chapter 9 Leaving Starlets -- chapter 10 Lap-dancing: complex and contradictory.

From his sexual awakening in postwar England to life in the sixties and beyond, Derek Jarman tells his life story with the in-your-face immediacy that became his trademark style in both his films and writing. Accompanied by nearly one hundred photographs of Jarman, his friends, lovers, and inspirations, the candid accounts in Dancing Ledge provide intimate and incredibly vivid glimpses into this iconoclastic filmmaker's life and times

AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women's homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic "traditional" Arab culture. In this sense, the article recovers women's nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women's queerness that have been overlooked.

An examination of the significance of dance performances in the demonstrations of the Puerto Rican summer of 2019, this essay argues that these performances belong to a history of irreverent, extravagant mourning gestures that periodically irrupt in Puerto Rican culture as decolonial practices by dislocating the socially prescribed binding between performance and affect. Using the theories of Saidiya Hartman, José Esteban Muñoz, and Juana María Rodríguez, and connecting to the work of Rocío Zambrana on strategies that address the island's colonial legacy, the essay explores the mournfully irreverent dance performances of the Afro-Boricua bomba dancer Clara Isabel Díaz, the patería combativa (combative queer voguing) of Aldrin Manuel Cañals, and the reggaetón perreo of queer feminist activists Perra Mística and Kaya Té as gestures of loss and mourning that both demand redress and enact what Puerto Rican artists, activists, and critics have begun to call "decolonial joy."

The European 'dancing manias' represent the first recorded episodes of 'epidemic hysteria'. These behaviours are typified within the psychiatric literature as spontaneous, stress-induced outbursts of psychological disturbance that primarily affected females. This depiction is typically founded on secondary sources or the selective use of period quotations by medical historians George Rosen and Henry Sigerist. However, based on a series of translations of medieval European chronicles describing these events, typically firsthand, it is evident that contemporary depictions of 'dancing manias' have been misrepresented by these misogynist scholars. Contrary to popular psychiatric portrayals, females were not overrepresented among participants, episodes were not spontaneous but highly structured, and involved unfamiliar religious sects engaging in strange or unfamiliar customs that were redefined as a behavioural abnormality.