dance

How you gonna do it if you really don’t want to dance, by standing on the wall?

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Loie Fuller (1862-1928) conquered Paris on her opening night at the Folies-Bergère on November 5, 1892. Manipulating with bamboo sticks an immense skirt made of over a hundred yards of translucent, iridescent silk, the dancer evoked organic forms –butterflies, flowers, and flames–in perpetual metamorphosis through a play of colored lights. Loie Fuller’s innovative lighting effects, some of which she patented, transformed her dances into enthralling syntheses of movement, color, and music, in which the dancer herself all but vanished. […]

Immensely popular, she had her own theater at the 1900 Exposition Universelle in Paris, promoted other women dancers including Isadora Duncan, directed experimental movies, and stopped performing only in 1925.

{ The Metropolitan Museum of Art | Continue reading }

Quando l’amore è sensualità

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Young, sexually mature humans Homo sapiens sapiens of both sexes commonly congregate into particular but arbitrary physical locations and dance. These may be areas of traditional use, such as nightclubs, discotheques or dance-halls or areas that are temporarily commissioned for the same purpose such as at house parties or rock festivals etc.

This type of behaviour is seen in a variety of animals although there are no apparent attempts to monopolize particular areas within these locations as is often seen in species that lek.

The present studies were conducted in order to investigate this phenomenon in a commercial nightclub environment. Data revealed that more than 80% of people entering the nightclub did so without a partner and so were potentially sexually available. There was also an approx. 50% increase in the number of couples leaving the nightclub as compared to those entering it seen on each occasion this was measured, indicating that these congregations are for sexual purposes.

Within the nightclub itself more than 80% of bouts of mixed sex dancing were initiated by a male approaching a female, demonstrating that males are stimulated to approach females rather than vice versa. In consequence, females are placed in competition with each other to attract these approaches.

Various female display tactics were measured and these showed that whilst only 20% of females wore tight fitting clothing that revealed more than 40% of their flesh/50% of their breast area and danced in a sexually suggestive manner, these attracted close to half (49%) of all male approaches seen. These data reveal the effectiveness of clothing and dance displays in attracting male attention and strongly indicate that nightclubs are human display grounds, organised around females competing for the attention of males. Females with the most successful displays gain the advantage of being able to choose from amongst a range of males showing interest in them.

{ Institute of Psychological Sciences | PDF }

photo { Camilla Åkrans }

‘By letting it go it all gets done.’ —Lao Tze

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Male movements serve as courtship signals in many animal species, and may honestly reflect the genotypic and/or phenotypic quality of the individual. Attractive human dance moves, particularly those of males, have been reported to show associations with measures of physical strength, prenatal androgenization and symmetry. […]

By using cutting-edge motion-capture technology, we have been able to precisely break down and analyse specific motion patterns in male dancing that seem to influence women’s perceptions of dance quality. We find that the variability and amplitude of movements in the central body regions (head, neck and trunk) and speed of the right knee movements are especially important in signalling dance quality.

{ Biology Letters | PDF }

This is especially true when considering the typical situation in a nightclub

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Research has shown that a number of factors, including body symmetry, perceived strength, vigour, skilfulness, and agility of movements, as well as increased variability and amplitude of the neck and trunk, can affect the attractiveness of dance moves. Perceived femininity/masculinity of body movement likely also plays a role.

Here, we compare comprehensive ratings of both male and female dancers’ opposite- sex attractiveness, including ratings of femininity/masculinity, with computationally-extracted movement features. Sixty-two heterosexual adult participants watched 48 short audio-visual point-light animations of eight male and eight female adults dancing individually to Techno, Pop, and Latin music. Participants rated perceived Femininity/Masculinity (as appropriate), Sensuality, Sexiness, Mood, and Interestingness of each dancer. Seven kinematic and kinetic features – Downforce, Hip wiggle, Shoulder vs. hip angle, Hip-knee phase, Shoulder-hip ratio, Hip-body ratio, and Body symmetry – were computationally extract- ed from the stimuli.

A series of correlations revealed that, for men watching women, Hip-knee phase angle was positively related to Interestingness and Mood, and that Hip-body ratio was positively related to Sensuality. For women watching men, Downforce was positively related to Sensuality. Our results highlight some interesting similarities and differences between male and female perceptions of attractiveness of opposite sex dancers.

{ University of Jyväskylä | PDF }

images { 1. Nathaniel Welch | 2 }

Detroit legendary demon lopatara, staring you right back through your eyes in the mirror

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Nick Neave and colleagues at Northumbria University used motion-capture technology to record the movements of 19 men dancing to a basic drum beat. Each dancer was then mapped onto a computer-generated avatar, and 37 heterosexual women were asked to rate the avatars on their dancing prowess.

By correlating the women’s ratings with the avatars’ movements, the scientists were able to come up with a recipe for successful boogieing. The three factors that most contributed to high dance scores were ‘neck internal/external rotation variability’ (head shaking), ‘trunk adduction/abduction variability’ (sideways bending) and ‘right knee internal/external rotation speed’ (twisting speed).

These movements, claims the study, may provide signals of a man’s suitability as a sexual partner by indicating his physical strength, health or genetic quality.

{ the.soft.anonymous | Continue reading }

bonus:

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You can’t touch me, but I can touch you

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Is Pole Dancing Art? Court Rules No.

Nite Moves, a Latham, New York-based adult dancing club that features pole- and couch-dancing, had been seeking to argue that erotic dances counted as “dramatic or musical arts performances,” thereby qualifying for a tax exemption. A Tribunal had rejected that claim.

This means that Nite Moves must pay up on a $125,000 tax bill dating back to 2005 — though the club is appealing the ruling. (…)

To distinguish erotic dancing from, say, ballet, the court finds that real art requires you to go to school. In other words, stripping — or at least, the stripping that goes down at Nite Moves — doesn’t count as art because anyone can do it.

{ Art Info | Continue reading }

photo { Shomei Tomatsu }

‘You see things; and you say, Why? But I dream things that never were; and I say, Why not?’ –G. B. Shaw

‘Man now expresses himself through song and dance as the member of a higher community; he has unlearned how to walk and speak.’ –Nietzsche


The way you dance can reveal information about your personality, scientists have found.

Using personality tests, the researchers assessed volunteeers into one of five “types”. They then observed how each members of each group danced to different kinds of music. They found that:

* Extroverts moved their bodies around most on the dance floor, often with energetic and exaggerated movements of their head and arms.

* Neurotic individuals danced with sharp, jerky movements of their hands and feet – a style that might be recognised by clubbers and wedding guests as the “shuffle”.

* Agreeable personalities tended to have smoother dancing styles, making use of the dance floor by moving side to side while swinging their hands.

* Open-minded people tended to make rhythmic up-and-down movements, and did not move around as much as most of the others.

* People who were conscientious or dutiful moved around the dance floor a lot, and also moved their hands over larger distances than other dancers.

{ Telegraph | Continue reading }

‘No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell.’ –Antonin Artaud

Just look through it. There can be no two opinions on the matter.

{ Ty Segall, So Alone, 2008 | Thanks Douglas }