Choreographies of Gender

Foster, Susan Leigh

doi:10.1086/495316

Cited by 181 publications

(49 citation statements)

References 29 publications

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“…Those standards are relevant for the practice of CI since physical trust, for example, can be undermined by the internalized association of female gender and physical passivity. Further, such standards are often codified in dance traditions that outline norms of partnering in which women are displayed and physically lifted by their male counterparts (Foster 1998). Consequently, a woman new to CI may not believe that she has the physical ability to support the weight of a partner and she may, because of an internalized association of the feminine with passivity, believe that it is inappropriate for women to actively partner another.…”

Section: Would Like To Consider Another Improvisation Technique Thamentioning

confidence: 99%

Dance, Philosophy, and Somaesthetics

Mullis

2016

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Section: Would Like To Consider Another Improvisation Technique Thamentioning

confidence: 99%

Dance, Philosophy, and Somaesthetics

Mullis

2016

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“…Just as with sexuality, gender is not biologically fixed but it can be understood as a culturally determined category. Building from this central idea and the work of Foster (1998), McClary (1991) and de Lauretis (1987, I turn my focus to the way music, dance and video screens can operate as technologies of the body in relation to changing notions of masculinity and cultural homophobia.…”

Section: Technologies Of the Dancing Bodymentioning

confidence: 99%

Clubbing Masculinities: Gender Shifts in Gay Men's Dance Floor Choreographies

Peterson

2011

Journal of Homosexuality

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This article adopts an interdisciplinary approach to understand the intersections of gender, sexuality, and dance. It examines the expressions of sexuality among gay males through culturally popular forms of club dancing. Drawing on political and musical history, I outline an account of how gay men's gendered choreographies changed throughout the seventies, eighties and nineties. Through a notion of 'technologies of the body' I situate these developments in relation to cultural levels of homophobia, exploring how masculine expressions are entangled with and regulated by musical structures. My driving hypothesis is that as perceptions of cultural homophobia decrease, popular choreographies of gay men's dance have become more feminine in expression. Exploring this idea in the context of the first decade of the new millennium, I present a case study of TigerHeat, one of the largest weekly gay dance club events in the United States.

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“…It allows us to highlight the performative, relational and collective aspects -as well as the mutual attunement, clashes and resonances involving people and their bodies, the artefacts and their technical infrastructures, and the particularities of the urban environment. In addition, the notion of choreography indicates the existence of a score, a script, a prescriptive and normative set that is learnt, sustained, challenged and modified in the ordinary enactments of the practices (Foster, 1998).…”

Section: Introduction: Mobile Listening As a Form Of Portable Urbanismmentioning

confidence: 99%

Disruptive ambient music: Mobile phone music listening as portable urbanism

Lasén

2017

European Journal of Cultural Studies

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This article explores the use of mobile phones as portable remediated sound devices for mobile listening -from boom boxes to personal stereos and mp3 players. This mode of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial controversies in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people's presenceproducing forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible and audible.

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Choreographies of Gender

Cited by 181 publications

References 29 publications

Dance, Philosophy, and Somaesthetics

Dance, Philosophy, and Somaesthetics

Clubbing Masculinities: Gender Shifts in Gay Men's Dance Floor Choreographies

Disruptive ambient music: Mobile phone music listening as portable urbanism

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