"Why Would You Marry a Serrana?" Women's Experiences of Identity-Based Violence in the Intimacy of their Homes in Lima

2007 ◽  
Vol 12 (1) ◽  
pp. 1-24 ◽  
Author(s):  
M. Cristina Alcalde
Keyword(s):  
Women’S Experiences ◽  
Women's Experiences ◽  
Identity Based

Women's Experiences in Educational Leadership

1996 ◽  
Vol 41 (10) ◽  
pp. 1022-1024 ◽  
Author(s):  
Margaret R. Rogers ◽  
Meryl Sirmans
Keyword(s):  
Educational Leadership ◽  
Women’S Experiences ◽  
Women's Experiences

Feminist Exploration of Women's Experiences With Divorce Custody Cases

2007 ◽  
Author(s):  
Julie R. Ancis ◽  
Trish Raque-Bogdan ◽  
Natasha Gardner ◽  
Tameka Jackson
Keyword(s):  
Women’S Experiences ◽  
Women's Experiences

Women’s experiences of supervision and professional development.

2020 ◽  
Vol 30 (1) ◽  
pp. 130-139
Author(s):  
Mary M. Valmas ◽  
Stephany J. Himrich ◽  
Kate M. Finn
Keyword(s):  
Professional Development ◽  
Women’S Experiences ◽  
Women's Experiences

Assessing college women’s experiences of nonconsensual first-time intercourse.

2020 ◽  
Vol 10 (4) ◽  
pp. 432-441
Author(s):  
Tiffany L. Marcantonio ◽  
Malachi Willis ◽  
Kristen N. Jozkowski ◽  
Zoë D. Peterson ◽  
Terry Humphreys
Keyword(s):  
Women’S Experiences ◽  
Women's Experiences ◽  
First Time

Gender, Representation, Experience: The Case of Village Performers in Java

2008 ◽  
Vol 26 (2) ◽  
pp. 140-167 ◽  
Author(s):  
FELICIA HUGHES-FREELAND
Keyword(s):  
Everyday Life ◽  
Gender Representation ◽  
New Order ◽  
Gender Ideologies ◽  
Gender Representations ◽  
Women’S Experiences ◽  
Performance Culture ◽  
Women's Experiences ◽  
Points Of View

This article explores how gender representations are deployed in anthropological analysis with reference to female performers (ledhek) in rural Java during the last decades of Suharto's New Order Indonesia (1966–1998). 1 It shows how the negative ascriptions given to ledheks were consistent with state promulgated gender ideologies in Indonesia, and explores the women's experiences in performances and everyday life. This different standpoint allows us to understand their dancing from the performers’ points of view, rather than from that of official state endorsed ideas of acceptable performance culture.

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