"This Little Wooden World": Choreo-navigating Maritime Dance

2010

Midwest Studies In Philosophy, 2019

TDR, 1997

nation. The initial images that rumba projects and the apparent values that are emphasized throughout the Rhumba event become symbols that inform, educate, and are capable of causing change. The use of rumba to gather and maintain commitment to values is simply part of the thorough thinking and dedication to a more egalitarian society that exists at the core of Cuban ideology (p. 115). Daniel also discusses the correlation between male machismo, the rumba, and the role of women in Cuban society. She notes that what may appear to be a passionate dance between a man and a woman is in reality, based on her analysis, an affirmation of the dominant role of men as protectors of and competitors for females. While she acknowledges that women have achieved some positive gains towards equality in the workplace, she recognizes that they continue to be confronted with pervasive perceptions of male superiority and domination in the private sphere. Daniel cautions the reader to look beyond the obvious, exterior movements and steps of the rumba and consider the dual set of values that is actually symbolized. The rumba not only reflects the nationalistic value of social equality, but it also embodies the continuing practice of male domination in the private lives of Cubans.

2016

International Review of Scottish Studies, 2018

Dance Research , 2018

Book review: Performing Indigenous Culture on Stage and Screen: A Harmony of Frenzy

Borrowers and Lenders: The Journal of Shakespeare and Appropriation

This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large company dances with a sustained verbal discourse about dance. This pairing creates a rich, embodied metaphor that bridges the gap between text and performance and extends to the larger themes of masquerade and mistaken identity that permeate the play. After this brief textual analysis, this essay then looks particularly at the role of dance in Joss Whedon's 2012 film adaptation to argue that Whedon's production makes a curious connection to popular early modern rope dances and acrobatic performances. This production offers a renewed context for the diversity of early modern dance.

Dance Research, 2023

This article returns to issues raised in the pages of this journal regarding dance in the context of UNESCO’s 2003 adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage. Bakka and Karoblis’ article published in 2021 refuted the proposal made by Iacono and Brown in 2016 to replace the Convention’s term ‘Intangible Cultural Heritage’ (ICH) with the concept of ‘living cultural heritage’. However, Bakka and Karoblis’ response was written in the spirit of ‘a discursive unity’ and, sharing in this spirit, I aim to consider both articles with the aim of highlighting how the discourses surrounding safeguarding ICH and those that consider dance as a significant part of culture might inform one another. The discussion is shaped by my experiences working on a project led by Dr. Violet Cuffy, a Creole specialist in the field of tourism, that drew together researchers, policy makers and practitioners to explore approaches to safeguarding Creole Intangible Cultural Heritage. This experience highlighted for me what Bakka and Karoblis emphasise as the importance of UNESCO’s aims to counterbalance cultural and economic inequalities, the impact of which threaten the sustainability of many older traditions, particularly in what they refer to as the ‘global south’. However, my experiences as a dancer and dance teacher, born and educated in the UK, suggest that, even in this economically privileged part of the globe, the cultural significance of dancing is all too often undervalued and dance practices are vulnerable to being irretrievably lost. From this perspective I have long been interested in debates regarding the cultural significance of dance that have relevance to Iacono and Brown’s article.

Nordic Journal of Dance

Hispania, 2014

pdf. 5. In my telephone interview with company director Chang, she said that the original motivation for Yu's piece came from the tales of the "Red Shoes" and "Little Red Riding