Pushing Boundaries: Reflections on Teaching and Learning Contemporary Dance in Amman

Martin, Rosemary

doi:10.1080/15290824.2012.686677

Cited by 16 publications

(4 citation statements)

References 13 publications

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“…My field site is of particular importance, as this exploration of sensual joy through concert dance documents practices carried out by a woman of Arab origins whose culture maintains complex relations with the body and dance (Shay 2008; Martin 2013, 2016; Tatios Yessayan 2015), as well as strict surveillance of women's bodies and sexuality (Masarwah Srour 2017; Medina 2014; Azaiza et al, 2009; Accad 2005). Further, within the wider context of the state of Israel, Arab culture is itself closely monitored and controlled (Hamdan 2007; Jamal 2017), 4 while Palestinian land, demographics, and ethno-national consciousness are strictly surveilled and regulated (Shalhoub-Kevorkian 2017; Rouhana and Sabbagh-Khoury 2017).…”

Section: Methods and Contextmentioning

confidence: 99%

Dancing to Transgress: Palestinian Dancer Sahar Damoni's Politics of Pleasure

Ophir¹

2021

Dance Res. J.

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As a woman Palestinian dancer and choreographer in Israel, Sahar Damoni performs within multiple contexts of cultural, gendered, and political oppression, employing her bodily art to challenge these structures, most poignantly through dances that express and evoke pleasure and sensual joy. Offering a detailed ethnography of three of Damoni's performances within one year in Israel/Palestine, I argue that an examination of her artistry provides unique insight into the intricate workings—and transgressions—of gender, ethnic, and national boundaries through the movement of the body in dance.

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Section: Methods and Contextmentioning

confidence: 99%

Dancing to Transgress: Palestinian Dancer Sahar Damoni's Politics of Pleasure

Ophir¹

2021

Dance Res. J.

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“…From unpacking the narrative above, it could be said that dance education practices that are situated within safe and inclusive spaces, may also allow for gender stereotypes and differences, grounded within very specific cultural, social or religious contexts, to be transcended (see : Martin 2013) and difference to emerge. In the dance workshop the group of young women were encouraged and supported to dance publically with the purpose of creativity, physical expression, and innovation of movement and ideas.…”

Section: An Embodied Statementmentioning

confidence: 99%

Difference in Dancing: Two Dance Educators Reflect on Difference in the Dance Studio

Ssebuuma¹,

Martin

2018

Teaching Artist Journal

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“…In using such activities within my teaching, I like to think that I am a culturally responsive educator, as in I often try to adapt and morph my teaching and the activities within the class to suit the context of where I am in the world and who is in the class with me. I write about this within my research (see for example: Martin, 2013) and work to practice it in my teaching. However, how culturally responsive can one be when they have recently arrived in the location in which they are teaching?…”

Section: Introductionmentioning

confidence: 99%