Dancing Couple from Tibet

GUNBO Gyelcthan and Kalsang Tsomo am renowned Tibetan dancers from the China Central Nationality Singing and Dancing Troupe. Their home is filled with traditional Tibetan art; especially noticeable is the large blue tapestry on the wall depicting the Tibetan opera, The Hunter and the Deer, in which a hunter who has already strung his bow with an arrow is persuaded by a Raiba artist to let the deer go. The tapestry was woven based on a sketch drawn up by Gunbo and Kalsang. For them. the wise and     

Dancing to the Tune of World Culture

WHEN the evening lights up with colorful lights, the crescendos of music signal that the carnival parade at Shenzhen's World Plaza is about to start. About ten cars with exotic decorations stream out into the Plaza, a prelude to every evening's spectacular show of international flavors. The royal cavalry, the military band, the all-nation flag team, the masquerade team, the Spanish dance of Don Quixote, the stilt-walkers, the clowns...they are all walking in-between the colorful cars that dazzle the audience. The art troupe active at the Plaza, known as the Five Continents Art Troupe, is composed of performers from all over the world, including 50     

Dancing with discrimination: managing stigma and identity

Fans are a group that are stigmatized and discredited, at least to some degree, by their “deviant” and common form of symbolic consumption. At stake in the process of stigmatization is the very identity of the individual fan, and their symbolic and emotional well‐being. This paper reports on an empirical study of one particular group of fans—Star Trek fans (or “Trekkies”)—and explores the complex identity issues articulated by them as they “manage” their problematic public identity. Drawing upon interviews conducted with 18 Trekkies, the article describes how this stigmatic identity is organized within a disciplinary matrix that operates at a micro level through two key processes: humour and self‐surveillance. In particular, we highlight their struggle with the dilemmas of exposing their private “fandom” in a public context, and the highly ambivalent manner in which they seek to escape stigmatization.     

Cop Rock: Protest,Identity, and Dancing Riot Police in Jordan

Social movement scholars have long studied actors' mobilization into and continued involvement in social movement organizations. A more recent trend in social movement literature concerns cultural activism that takes place primarily outside of social movement organizations. Here I use the vegan movement to explore modes of participation in such diffuse cultural movements. As with many cultural movements, there are more practicing vegans than there are members of vegan movement organizations. Using data from ethnographic interviews with vegans, this article focuses on vegans who are unaffiliated with a vegan movement organization. The sample contains two distinctive groups of vegans – those in the punk subculture and those who were not – and investigates how they defined and practiced veganism differently. Taking a relational approach to the data, I analyze the social networks of these punk and non-punk vegans. Focusing on discourse, support, and network embeddedness, I argue that maintaining participation in the vegan movement depends more upon having supportive social networks than having willpower, motivation, or a collective vegan identity. This study demonstrates how culture and social networks function to provide support for cultural movement participation.     

Dancing in the Dark: Ticketmaster's response to its Bruce Springsteen ticket crisis

Ticketmaster was presented with a crisis on February 2, 2009, when some fans trying to purchase tickets online to Bruce Springsteen concerts were redirected to Ticketmaster-owned secondary ticket distribution website, TicketsNow, and erroneously purchased tickets at a higher price than the original ticket price. The purpose of this research-in-brief is to compare Ticketmaster's response to the theories of crisis management presented in the public relations literature.     

Doing Gender Well and Differently in Dirty Work: The Case of Exotic Dancing

This article explores how a group of exotic dancers do gender and manage the stigma associated with their work and identities. We draw upon stigma management strategies from the dirty work literature and illuminate the doing of gender in these strategies. We also contribute to the debate that gender can be done well and differently through simultaneous, multiple enactments of femininity and masculinity. We consider the experiences of 21 exotic dancers working in a chain of UK exotic dancing clubs and conclude that in order to be good at their job, exotic dancers are expected to do gender well, that is, perform exaggerated expressions of femininity. However, we also theorize that for some dirty workers, specifically exotic dancers as sex workers, doing gender well will not be enough to reposition bad girls (bad, dirty work) into good girls (good, clean work). Finally, we propose that doing gender well will have different consequences in different types of work, thereby extending our findings to other dirty work occupations and organizations in general.     

Dueling,Dancing, or Dominating? Journalists and Their Sources

The study of journalism has long included a close examination of who gets to be a news source. With their privileging of the objectivity paradigm and distrust of direct reportorial experience, journalists turn to outside sources to provide evidence for their accounts. But this is not a mere exchange of information; patterns of news sourcing confer authority and legitimacy on certain sources or groups while ignoring others. Over time, sourcing routines reinforce notions of who possesses social power. This essay reviews conceptualizations of how journalist–source dynamics result in the production of certain representations of the way things are. Three perspectives receive attention: viewing the journalist–source relationship as symbiotic and mutually beneficial, as dominated by sources who set the cultural definition of events and problems, and as marked by incessant competition over news access and the ability to shape news frames. While the work on news sources has been extremely productive in conceptualizing the relationship between definitional power and journalism, the shifting media environment requires renewed attention to the relationship between journalists and their sources.     

Dancing Ourselves to Death: The Subject of Emma Goldman's Nietzschean Anarchism

Abstract

This article draws together two lively and provocative radical theorists, Emma Goldman and Friedrich Nietzsche, and suggests that a reading at their intersections can inspire political thought, action, and resistance in particular ways. The argument is framed through and productive of a particular archetype which emerges from a reading of these thinkers, that of The Dancer. Both Goldman and Nietzsche have been noted for their affect-laden reflections on dance, as an image of the subject which evades capture within the frameworks of discipline, morality, and ressentiment and which instead commits to a ceaseless and creative insurrection of- and- against the self. Here, I argue that through this image of The Dancer we can conceptualise a form of critical or anarchic subjectivity which can provocatively interpret and inspire radical political action. In the article I look at some of the ways in which dance has formed an important component of radical politics. However I also argue that dance as understood in the terms established through Goldman and Nietzsche moves beyond corporeal performance, indicating a more general ethos of the subject, one of perpetual movement, creativity, and auto-insurrection. I also reflect on the difficulties involved in the idea of ‘self-creation’; as we can see from the more problematic dimensions of Goldman's thought, creation is an ethically and ontologically ambiguous concept which, when affirmed too easily, can serve to mask the subtleties by which relations of domination persist. With this in mind, the article goes on to discuss what it might mean to ‘dance to death’, to negotiate the burden of transvaluation, limitless responsibility, and perpetual struggle which these two thinkers evoke, in the service of a creative and limitless radical political praxis.     

Evaluating Dancing With Parkinson's: Reflections from the perspective of a community organization

In 2015, Dancing With Parkinson's (DWP), a Toronto-based community organization, participated in the Ontario Brain Institute's (OBI) newly launched Evaluation Support Program. This paper reflects on that experience. In particular, we identify the key lessons derived from the OBI initiative, discuss how these lessons have informed DWP practice going forward, and highlight what we consider to be the most valuable aspects of the Evaluation Support Program. While we now recognize the need to establish an evaluation culture within DWP, we find that there are significant challenges associated with both building and sustaining evaluation capacity in the context of a small community-based organization. Whereas DWP has built considerable strengths in terms of informal evaluation capacity, on its own, such capacity is insufficient to, for example, demonstrate DWP's impact to outside audiences or successfully scale up the program.     

广场舞的演变历史与城市大众文化属性分析

作为一种大规模的集体性舞蹈,广场舞成为越来越多中老年人喜好的娱乐健身方式.广场舞和以往的集体性舞蹈是否存在某种联系?与中国集体文化存在何种关联?本文通过对中国集体性舞蹈的历史性分析,探析集体性舞蹈在中国社会结构中的重要功能和价值.早期的集体舞从作为神圣的宗教祭祀转向世俗化的宫廷文化,成为人类交流思想和表达情感的工具.改革开放后,迪斯科的传入使人们的个性化表达需求逐渐苏醒,近十来年出现的广场舞作为一种新兴的大众文化,既是人们独立自主性的表达,又体现为一种新的集体主义文化.城市广场舞和集体性舞蹈带着文化的印记以及新时代的特色,记录着城市大众文化的演变.     

Dancing by the Juniper: Notes from the performative space of the Brokpa's cultural enactment

This article explores the modes of form-construction in the performative sphere of the Brokpa's cultural enactment. Anthropocenic anxieties are embedded in the territoriality of this Himalayan community's folk art-form and the terrain constitutes a stage to host it. The participatory framework of their songs and dances reveals the social roles that shape the positionalities of the audience and the performer, signaling a free-flowing movement between these locations in the performative field. The Brokpa dancer's identity, carved out as a racialized attraction for the tourism market, also undergoes differentiation within the community itself based on class, gender, age, and other socio-economic indices. Yet the ultimate signifier of a performing Brokpa subject is authenticated through social differences heightened by modernity, while constantly resisting the exoticized portrayals of the community. What emerges in the end is a problematization of the line between the folk and contemporary, local and global, and traditional and modern art-forms.     

Dancing and swinging of who,when and why? Deciphering two murky lines of Buryat shamanic poetry

ABSTRACT

Buryat shamanic poetry is a difficult genre to understand and to translate. Its lyrics can be challenging to understand even for native speakers, for it is believed that shamans’ spirits speak and prefer to be spoken to in a language characterized by riddles and roundabout phrases. Attendees of shamanic rituals barely understand this highly elevated language. Therefore, an assistant, i.e. a person familiar with the spirits’ language acts as an interpreter during the ritual. No wonder that when Buryat shamanic poetry is translated to another language for scholarly purposes, the result contains a considerable amount of guesswork, and lines that do not seem to fit well in the entire corpus. In the present paper based on the explanations given by a shaman’s assistant, I am going to shed more light on two lines that frequently recur in shamanic incantations and are crucial to our understanding of Buryat shamanic practice.     

Dancing Across Borders: ‘Exotic Dancers,’ Trafficking,and Canadian Immigration Policy

This article analyzes a Canadian immigration program that authorizes issuance of temporary work visas to ‘exotic dancers.’ In response to public criticism that the government was thereby implicated in the transnational trafficking of women into sexual exploitation, Citizenship and Immigration Canada retained the visa program de jure but eliminated it de facto. Using a legal and discursive analysis that focuses on the production of female labor migrants variously as workers, as criminals and as bearers of human rights, the article argues that the incoherence of Canadian policy can only be rendered intelligible when refracted through these different lenses. The article concludes by considering policy options available to the state in addressing the issue.     

Women in Politics in Norway

This paper attempts to explain how and why women in Norway have achieved unusually high political representation. The study, based on forty-three personal interviews with female politicians and persons familiar with Norwegian political culture, found that certain favorable social and political preconditions existed in Norway that encouraged women's entry into politics. However, it was the strong and effectively organized women's movement which was responsible for the significant increase of women in politics. A number of environmental opportunities and threats facilitated the formation of a successful coalition between establishment and new feminist factions of the women's movement. This coalition then used effective strategies to get more women into politics.