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- W1496060863 abstract "This article explores how female dangdut and tarling dangdut performers negotiate ‘nyawer encounters’ through their creative, embodied actions on stage. nyawer involves a direct monetary transaction between a dancing audience member and the performing singer-dancer. Following Hallam and Ingold (2007 Hallam, E. and Ingold, T. 2007. “Introduction”. In Creativity and cultural improvisation, Edited by: Hallam, E. and Ingold, T. 1–24. Oxford: Berg. [Google Scholar]), I understand creativity as a generative process characterised by continuity rather than disjuncture. This form of creativity manifests itself in the improvisations of the performers on stage. I show how female performers have been creatively improvising since the beginning of dangdut as a genre, and discuss, based on two contemporary performers, how improvisations take shape during nyawer encounters. These improvisations stand in a dialectical relation to the intercorporeal relationships between performer and dancing audience member. The performers' lived experiences are subject to this dialectical interrelation and illustrate the multifarious nature of their subjectivities." @default.
- W1496060863 created "2016-06-24" @default.
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- W1496060863 date "2011-11-01" @default.
- W1496060863 modified "2023-10-14" @default.
- W1496060863 title "DANCING BODIES ON STAGE" @default.
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- W1496060863 doi "https://doi.org/10.1080/13639811.2011.614085" @default.
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