Abstract
This paper explains that exotic dancers can be well-paid working as house dancers and feature dancers, who have an independent name as a starlet and move from town to town, providing "feature appearances". The author points out that male strippers dancing in front of female audiences, have become widespread; male and female strippers perform for gay and lesbian spectators respectively and both sexes perform together in pan-sexual contexts. The paper stresses that exotic dancing training has more to it than learning to dance in a sexy manner; the trainee needs to learn how to go into the greater fathoms within oneself, locate their own hidden beauty and grace and mingle it into a sensual movement.

Table of Contents
What the Career is
What Training is Necessary and how is it Essential to the Field of Dance
The Insights of Persons who have Chosen this as a Career

From the Paper
"Essence, another local dancer who is a graphic designer with Pima, replied that the negative typecast concern her. 'They're simple, they're sluts'. However, things do not unroll in that fashion; simply it is about girls who are at ease with their bodies. According to Essence regarding the striper's current earnings that there is nothing called as average income, you end up either winning or losing. While at school, she would not truly talk about what her performances were until the topic came through, which she states that never happened very frequently. She stated that her advisor had full knowledge regarding it. In the education environment, it crops up as a discussion in some type of women's studies class; these matters do not crop up."

Tags:contact-dancing, aerobatics, tips, hidden-beauty, dancers

Abstract
This article examines the importance of eye contact in communications. The writer discusses how it can help establish contact between a speaker and their audience, whether it be one other person or a roomful of people. The paper looks at how eye contact can be used successfully in business situations, in the classroom, and when giving presentations. The writer also notes that eye contact is the first communication link established between the newborn and other humans.

From the Paper
"This paper looks at the importance of eye contact and examines its role in several different situations and how the technological advances in use today where video conferencing or interactions between man and machine are required also need to take eye contact into consideration in their design. The conclusions drawn in all of these studies show that eye contact is important in making a connection between the speaker and the audience and the more eye contact given the better the response obtained. Making eye contact is ... "

Tags:eye contact, connections, communication

Abstract
This paper introduces, discusses, and analyzes Martin Luther King's famous "I Have a Dream" speech as presented in Mary Louise Pratt's essay "Arts of the Contact Zone." The paper gives a brief description of King's life and the impact his speech had on the civil rights movement. The reviewer defines Pratt's term "autoethnographic text" which was used in the essay to describe the speech. The paper then outlines and analyzes King's speech, using quotations. The paper concludes by stating that King felt black and white Americans had far more commonalities than differences.

From the Paper
"Martin Luther King gave his famous "I Have a Dream" speech at the Lincoln Memorial in Washington D.C. on August 28, 1963, during a massive march calling for black civil rights. King was a Baptist minister who worked tirelessly for civil rights until his assassination in 1968. King's speech helped mobilize the black community to work for civil rights and helped show the white community just what blacks faced in terms of segregation, bigotry, and prejudice. It also is an excellent example of the art of the contact zone - specifically how different groups can view the same experience with very different eyes."

Tags:Martin, Luther, King, Mary, Louise, Pratt, I, Have, a, Dream, Arts, of, the, Contact, Zone

Abstract
This paper examines historically social dancing in the 20th century, also called couple dancing. The paper describes the five different types: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, all of which are presently danced the world over both socially as well as in dance sport competitions.

From the Paper
"Social dancing was derived from the concept of dancing by a couple, usually a man and a lady, in a closed hand. Coming from the eighteenth and early nineteenth century, these dances gained popularity from the standard ballroom dances with diverse rhythms, tempos, and aesthetics. Although all these aspects changed with the change in the social attitudes, the one thing, which remained common through out the history of dancing, is that of the couple dance or the social dances. (Evans 2001)"

Tags:couple, dance, modern, waltz, tango, viennese, slow, foxtrot, quickstep, world, dance, sport, competitions

Abstract
This paper discusses how women in the U.S. and Europe who practice belly dancing but don't fully understand Arab culture may have helped destroy the integrity of the dance. The author also discusses how belly dancing allows the Western dancer to transcend cultural boundaries which is why so many Western tourists are drawn to belly dancing.

From the Paper
"Most of these women were probably not thinking about how this lack of understanding of Arab culture by Western dancers may be helping to destroy the integrity of the dance. In the West, the belly dancer seems to have become the epitome of the "exotic other." Through a lens distorted by ethnocentrism, the dancer's body has become a symbol for conflicting values regarding the body, ethnicity, and sexuality.
"The ideologies that have developed around belly dancing in the Western world, namely, the United States and Europe, can be understood as a single facet within the larger historical context of Orientalism. In an October 2004 lecture, UC Davis Professor Baki Tezcan, notes that the symbolic starting point of Orientalist scholarship began with Napoleon's invasion of Egypt in 1798. More of a crude farce of anthropology than serious scholarship, the "scholars" who studied the area did so in the context of justifying imperialism and exploitation. They used their studies to "prove" that the "East" was vastly different and inferior to the "West." This East-West dichotomy and the power relationship inherent within has became ingrained into the Western consciousness. Even into modern times, few even think to question it. In her article, "Race Sexuality, and Arabs in American Entertainment, 1850-1900," Lori Anne Salem describes the frequency with which "Arab" acts--acrobatics, dancing, and acting--were part of curiosity or "freak" shows in the United States in the mid to late nineteenth century. Performers in such shows usually had "descriptive tags that advertised their oddity and explained why they were interesting," such as "Millie Christie, the two-headed girl" (214). Yet the Arab acts lacked such tags: "Without it, the advertisements imply that the Arabs were freakish by definition--no explanation needed" (215)."

Tags:orientalist, dancers, arab, sexuality, dancers

Abstract
This paper examines how "Dancing Queen" by Abba is a prominent example of the popular music of the 1970s. It also discusses how, as opposed to the scientific view on the popular culture, represented by Theodor Adorno and Barbara Tepa Lupack, that suggests the male domination in leisure culture, the dance pop of that time, in particular, ABBA's music, can be distinguished by its highlighting of gender equality and appreciation of expressive and balanced individuality.

Outline:
Introduction.
Musical Analysis of "Dancing Queen".
Elimination of Androcentrism in the Song.
General Discussion of the Disco/Dance Party Culture.
Conclusion

From the Paper
"The song is composed of three verses and three choruses. The chorus is "You are the dancing queen, young and sweet, only seventeen/ Dancing queen, feel the beat of the tambourine/ You can dance, you can jive, having the time of your life/ See that girl, watch that scene, dig in the dancing queen" (Abba, Dancing Queen, 1975). The chorus melodically differs from the verse, but does not contrast the latter harmonically, as it is perceived as an accelerated and highlighted verse melody. As for the rhythm, the song represents the classical thirty-two bar form, or AABA, in which the A-section is harmonically self-sufficient and cadences on the tonic, whereas the B section is the so-called "middle eight", that seems more harmonically open the previous section but necessarily contains a smooth transitional notes that allow switching to the A-part again. The song writers used regular AABA, which is, however, elaborated by rhyming parts inside the line: queen-seventeen / queen - tambourine/ jive - life / scene - queen. "

Tags:disco, gender

Abstract
In this article, the writer provides a medical epidemiology and overview of contact dermatitis, while focusing on the risks and complications associated with contact dermatitis among workers in the construction industry. The writer pays attention to Irish laws in place meant to protect workers from exposure to irritants that may result in contact or allergic contact dermatitis. The purpose of this investigation is to determine the prevalence of contact dermatitis and looked at what actions may be necessary to mitigate risk or provide additional resources for those most at risk for contagion with this known disease.

Outline:
Introduction
Background to the Problem
Significance of Study
Allergic Contact Dermatitis
Irritant Contact Dermatitis
Critical Evaluation Literature Related to Construction Industry and Dermatitis
Contact Dermatitis, Construction and the Irish
Summary of Literature Review

From the Paper
"As more and more construction workers develop symptoms of allergic contact dermatitis, it is more important than ever that researchers focus on ways and methods they can prevent occupational hazards from reducing one's capacity to work or their quality of life. Among the important facts noted in the literature review is the increasing prevalence of contact dermatitis in Ireland and other areas where legislation has been slow to enforce some health and occupational acts that would protect workers from exposure to chemical irritants. Cited in this literature review are cases suggesting that Irish buildings and drinking water are among the primary causes for allergic or irritant contact dermatitis among workers and civilians alike. This serves to emphasize the need for a complete review of contact dermatitis, including its many forms, and an evaluation of the current legislation in place to assess its relevance and whether legislation needs to be improved to protect workers from developing debilitating forms of this condition."

Tags:allergic, inflammation, itching, skin

Abstract
This paper relates that Vanderhaeghe's own past is clearly an important factor in the themes that he explores as well as in the setting, plot and character elements of his stories. The paper discusses the character of Dieter, from "Dancing Bear", who is an old man that dreams of his younger self and the experiences he had with bears. The paper also shows how the social and literary contexts of the Canadian prairies in the second half of the twentieth century influenced Vanderhaeghe when he wrote "Dancing Bear".

From the Paper
"As someone who has lived in Saskatchewan for most of his life, Guy Vanderhaeghe is very adept at describing characters and scenes that evoke the Canadian prairies in the twentieth century. This knowledge of and pride in his home province is particularly evident in his short story, Dancing Bear. Vanderhaeghe's own past is clearly an important factor in his work, both in relation to the themes that he explores as well as in the setting, plot and character elements of these stories (Parker). Additionally, the social and literary contexts of the Canadian prairies in the second half of the 20th century have affected Dancing Bear specifically, and Vanderhaeghe's work in general."

Tags:Canada, prairies, Dieter, youth, setting, plot, character

Abstract
This paper examines how dance?s relationship to the healing forces in ritual is at the heart of the question of how we understand the healing power of ritual. It analyses the peformative approach, as exemplified in V. Turners work, before going on to consider the in-depth case study of the Khita healing cult among the Yaka. It also argues for a dialectical approach to the roles of poles in dancing.

From the Paper
"In such a social drama, the place of the symbols involved is that of a displacement that works by signifying - there is no emphasis on symbolisation as process. This has implications for how we understand dance. Dance then, can occupy a positional place within this world, but only as a disguised expression of the social. This is also the case with other elements of the senses and the emotions. In the Nkula cult, the rich social drama includes the placing of initiate's belongings and excreta into a calabash with a figure made of a red tree - this figure is made by men. For Turner, this indicates men asserting their domination over reproduction - the importance of the red blood tree us worked out positionally, as metaphor only has meaning in the transference from other domains of cosmology."

Tags:ritual, symbol, khita, yaka

Abstract
This paper examines both what the Sioux cultures were like before European contact as well as what that culture has evolved into. The paper focuses on the music of this people set within a broader artistic and cultural and even political context. The paper is broken down into four chapters: An introduction into the Sioux people, their musical instruments, the songs of the people, and finally a larger cultural context. The final section of this paper examines the Sun Dance and the Ghost Dance as the two most important single types of musical performance.

From the Paper
"Traditional Sioux of the last century - or the centuries before - would have found the entire idea of putting on their best clothes and going to a concert hall to listen - as relatively passive observers - to a musical performance extremely odd. For them, as for other native peoples of the Americas (and arguably other native peoples throughout the world before the onset of industrialization) music was something that was integrated into the fabric of ritual and everyday life."

Tags:native, culture, tradition, politics, colony, dance