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Titlebook: Brazilian Bodies and Their Choreographies of Identification; Swing Nation Cristina F. Rosa Book 2015 The Editor(s) (if applicable) and The

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發(fā)表于 2025-3-21 18:07:07 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱Brazilian Bodies and Their Choreographies of Identification
期刊簡稱Swing Nation
影響因子2023Cristina F. Rosa
視頻videohttp://file.papertrans.cn/191/190471/190471.mp4
學(xué)科分類New World Choreographies
圖書封面Titlebook: Brazilian Bodies and Their Choreographies of Identification; Swing Nation Cristina F. Rosa Book 2015 The Editor(s) (if applicable) and The
影響因子Brazilian Bodies, and their Choreographies of Identification retraces the presence of a particular way of swaying the body that, in Brazil, is commonly known as ginga . Cristina Rosa its presence across distinct and specific realms: samba-de-roda (samba-in-a-circle) dances, capoeira angola games, and the repertoire of Grupo Corpo.
Pindex Book 2015
The information of publication is updating

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沙發(fā)
發(fā)表于 2025-3-21 23:21:22 | 只看該作者
Nuclear Plant Pressure Transmitters,th-century daily life of that former colony. Containing over 100 images, Rugendas’ ethnography houses the earliest known visual record of a capoeira game in Brazil. Briefly, the lithograph . (1835) depicts a lively gathering of black men and women watching a central wrestling match on the streets of Rio de Janeiro (Figure 4.1).
板凳
發(fā)表于 2025-3-22 03:02:30 | 只看該作者
https://doi.org/10.1007/978-3-540-33704-1ically” sells Afro-Brazilian food on the streets of urban centers. Miranda’s impersonation of this market woman within a modern casino show illustrates, more importantly, the enduring popularity of this character-type within Rio de Janeiro’s entertainment industry. Accompanied by a group of samba musicians, ., Miranda sings:
地板
發(fā)表于 2025-3-22 06:57:05 | 只看該作者
Investigating the Articulation of Ginga in Capoeira Angolath-century daily life of that former colony. Containing over 100 images, Rugendas’ ethnography houses the earliest known visual record of a capoeira game in Brazil. Briefly, the lithograph . (1835) depicts a lively gathering of black men and women watching a central wrestling match on the streets of Rio de Janeiro (Figure 4.1).
5#
發(fā)表于 2025-3-22 12:27:28 | 只看該作者
What is it about the Baiana?ically” sells Afro-Brazilian food on the streets of urban centers. Miranda’s impersonation of this market woman within a modern casino show illustrates, more importantly, the enduring popularity of this character-type within Rio de Janeiro’s entertainment industry. Accompanied by a group of samba musicians, ., Miranda sings:
6#
發(fā)表于 2025-3-22 13:05:30 | 只看該作者
https://doi.org/10.1007/978-3-540-33704-1d on her body, the mulata Globeleza re-emerges to usher Brazilian telespectators into the carnival season. She entices them to watch Globo’s exclusive transmission of Rio’s world-famous samba school parades.
7#
發(fā)表于 2025-3-22 17:02:50 | 只看該作者
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發(fā)表于 2025-3-22 22:10:00 | 只看該作者
9#
發(fā)表于 2025-3-23 05:28:13 | 只看該作者
https://doi.org/10.1057/9781137462275Contemporary dance; international performance; Brazilian dance; body; Brazil; corpus; dance; nation; perform
10#
發(fā)表于 2025-3-23 07:01:05 | 只看該作者
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