Abstract
In this article, the writer discusses Guy Vanderhaeghe's short story, 'The Dancing Bear' by analyzing selected quotations from the story. The writer also compares Shakespeare's character of King Lear to the main character in 'The Dancing Bear'.

From the Paper
"Guy Vanderhaeghe describes in 'The Dancing Bear' an old man who lay sleeping on the taut red rubber sheet as if he were some specimen mounted and pinned there to dry. With this introduction the theme of the story is established via figurative language which likens the elderly man to some insect that has been captured killed and mounted for display. In this essay a number of quotations from the short story will be analyzed and linked to the central theme of ..."

Tags:The Dancing Bear, Guy Vanderhaeghe, King Lear

Abstract
This paper describes social and literary contexts surrounding Guy Vanderhaeghe's short story "Dancing Bear" in the 'New Oxford Book of Canadian Short Stories". It includes an analysis of old man's haunting dreams about two bears from his childhood. Also, this paper takes a looks at how the Canadian prairies in the twentieth century influence the writer's outlook on the world and on his writing.

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..."

Tags:vanderhaeghe, dancing, bear

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
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 is a research paper that discusses ballet dancers and their unique take on dancing despite the pain. It focuses on both the physiological and psychological aspects. The paper explores the dancer's motivation and rates of injury based on psychological pressures. This paper does not offer recommendations on preventing injury, but highlights the motivation of dancers to continue to work despite the injury and risk of further damage.

From the Paper
"In a five-year study of the Boston Ballet Company 77-94% of the dancers were injured during the dance year (Solomon, Solomon, Micheli and McGray, 164), with rates of injuries for 59-70 dancers at 96-137. Thus, the average in their study was 116.5 injuries for 64.5 dancers; or roughly 1.8 injuries per dancer per year. The Solomon group reports that the financial cost to the Ballet Company averaged over half a million dollars per year; at its highest reported for year two of the study, the cost was $974,087. Professional ballet dancers endure a grueling, painful life of injury, starvation and other health issues, and finally disease in later life; yet still they thrive for their art form. Professional ballet dancers continue to perform despite their injuries; for their art form."

Tags:ballet, psychology, pain

Abstract
This paper explains that in his book, "Dancing to Evolution's Tune," Robert Wright elucidates on the important role of motivation in evolution and how the genes are self-programmed to achieve this. The author points out Wright's concept that our genes have deliberately destined us to dabble in a world of pleasure and pain for evolutionary reasons, all the time keeping us well absorbed in the illusion because they cannot be satisfied. The paper relates that this evolutionary genetic scheme seems to confirm the truth in our spiritual doctrines because all the religions of the world have one thing in common; they all have propounded the futility of chasing after desires and fleeting pleasures.

From the Paper
"Nature has used happiness as a bait to motivate living beings and to propel them into action. Happiness is thus a reward that man receives when he carries on the duties of maintaining his bodily functions- nourishing himself, procreating and extending his heritage. The genes control the neurochemistry behind the feelings of happiness. On cogitation it is revealed that our basic impulses are meant to serve the main purpose of gene proliferation rather than for our psychological well being as it appears at the outset. Over the last decade scientists have found out the significant role of the neurotransmitter dopamine in giving the feeling of happiness and satisfaction."

Tags:motivation, happiness, self-programmed, satisfaction, religion

Abstract
This paper reviews the novel "Blue Winds Dancing" by Tom Whitecloud, about a young Native American man struggling to decide if he belongs in the white world or the Indian one. The paper describes the cultural conflicts the main character encounters when he leaves his reservation to attend university, and the impact of those conflicts on his journey to find his true voice. While about a particular person from a specific tribe, the novel's theme of identity struggle is universal -- a point which earns Whitecloud high praise from the author of this paper.

From the Paper
"There are important conflicts within "Blue Winds Dancing that come about as a consequence of culture. The narrator of the story is struggling to find where he belongs and who he really is, a basic pursuit in any persons life. He also goes in search of wisdom, an inner wisdom that all people must search for in their lives to give it meaning. He journeys from his home in Wisconsin to attend a college that is predominantly attended by white people. We, the readers, travel deeply into the inner mind, thoughts and emotions of this young man's strife."

Tags:American, Native, Indian, reservation, white, people, Wisconsin, identity, crisis