The Legacy of the Mountain Witch: Yasuko Yokoshi's shuffleyamamba

2020 ◽  
Vol 64 (4) ◽  
pp. 165-172
Author(s):  
Rebecca Copeland
Keyword(s):  
Contemporary Dance ◽  
Female Performance

The contemporary dance production shuffleyamamba by Japan-based dancer, choreographer, and filmmaker Yasuko Yokoshi takes inspiration from the medieval noh play Yamamba (Mountain Crone). Drawing from the female-centered focus of the play and the complexity of the yamamba image, Yokoshi, in collaboration with American sound artist Gelsey Bell, weaves together a multifaceted work that celebrates the enduring legacies of dance and female performance.

Intersections

2020 ◽  
Vol 22 ◽  
Author(s):  
Chadwick Auriol Gaspard
Keyword(s):  
Hip Hop ◽  
Contemporary Dance ◽  
Skill Sets ◽  
Cultural Phenomenon ◽  
Dance Company ◽  
Short Time ◽  
Artistic Director ◽  
New System

Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuously shifting, and different skill sets, as well as ideologies, have been valued at different times and places. This exploration will challenge the mainstream ideals of what is currently considered “technique” and “foundation”

Dibdin and Jane Austen

2018 ◽  
Author(s):  
Nicola Pritchard-Pink
Keyword(s):  
Subject Matter ◽  
Jane Austen ◽  
Musical Performance ◽  
Musical Education ◽  
Young Girls ◽  
Female Performance ◽  
The World ◽  
Music Collection ◽  
Conduct Book

Jane Austen was one of Dibdin’s greatest admirers and his songs feature prominently in her music collection. Yet the Dibdin songs she owned, with their bawdy comedy, political and social satire, and martial, masculine themes, were far removed from the musical diet prescribed for young ladies of Austen’s rank by conduct writers. Indeed, they were quite different from those advocated by Dibdin himself in his tract on the musical education of young girls, the Musical Mentor (1808), which suggested songs on ‘Constancy’, ‘A Portrait of Innocence’, or ‘Vanity Reproved’ as more suitable subject matter. By highlighting the contrasts between contemporary expectations of female performance and the contents of Austen’s collection, this interlude presents domestic musical performance less as an instrument of control and more as a means by which women could express themselves and participate in the world beyond the bounds of home, family, and conduct-book femininity.

Equal Performance, Different Grade: Women’s Performance in Discussion Perceived Worse Than Men’s

2021 ◽  
pp. 014616722199221
Author(s):  
Angela R. Dorrough ◽  
Monika Leszczyńska ◽  
Sandra Werner ◽  
Lovis Schaeffer ◽  
Anna-Sophie Galley ◽  
...  
Keyword(s):  
Group Discussion ◽  
Selection Procedure ◽  
Similar Degree ◽  
Female Group ◽  
Group Discussions ◽  
Work Related ◽  
Female Performance ◽  
Group Members ◽  
Hidden Profile ◽  
Perceived Helpfulness

We investigate how men and women are evaluated in group discussions. In five studies ( N = 761) using a variant of a Hidden Profile Task, we find that, when experimentally and/or statistically controlling for actual gender differences in behavior, the female performance in a group discussion is devalued in comparison to male performance. This was observed for fellow group members (Study 1) and outside observers (Studies 2–5), in both primarily student (Studies 1, 4, and 5) and mixed samples (Studies 2 and 3), for different measures of performance (perceived helpfulness of the contribution, for work-related competence), across different discussion formats (preformulated chat messages, open chat), and when controlling for the number of female group members (Study 5). In contrast to our hypothesis, we did not find a moderating effect of selection procedure in that women were devalued to a similar degree in both situations with a women’s quota and without.

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