« Je la regarde et je danse »
In this article, I analyse the onstage danced movements of a singer-songwriter who is a non-dancer. The more she moves, the more her fans recognise the reason why they “chose” her, whey she represents them. The asymmetry between the artist’s sculpted and prepared body and the untrained bodies of the...
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| Format: | Article |
| Language: | fra |
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Laboratoire d'Ethnologie et de Sociologie Comparative
2021-07-01
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| Series: | Ateliers d'Anthropologie |
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| Online Access: | https://journals.openedition.org/ateliers/14876 |
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| author | Elena Nesti |
| author_facet | Elena Nesti |
| author_sort | Elena Nesti |
| collection | DOAJ |
| description | In this article, I analyse the onstage danced movements of a singer-songwriter who is a non-dancer. The more she moves, the more her fans recognise the reason why they “chose” her, whey she represents them. The asymmetry between the artist’s sculpted and prepared body and the untrained bodies of the fans is considerable, and they recognise themselves not in the performing body itself, but in its movements. How does her way of moving enable her fans to identify with her? How does her training—which reinforces shared cultural representations surrounding the genre, and models her posture on stage—favour the experiences of kinaesthetic empathy actively sought by fans? We will see how fans draw power from singer’s identity in the media, as well as from her personal identity perceived through her movements. |
| format | Article |
| id | doaj-art-a11aec5238024bc287dba0f22c630675 |
| institution | Kabale University |
| issn | 2117-3869 |
| language | fra |
| publishDate | 2021-07-01 |
| publisher | Laboratoire d'Ethnologie et de Sociologie Comparative |
| record_format | Article |
| series | Ateliers d'Anthropologie |
| spelling | doaj-art-a11aec5238024bc287dba0f22c6306752025-01-30T13:42:42ZfraLaboratoire d'Ethnologie et de Sociologie ComparativeAteliers d'Anthropologie2117-38692021-07-015010.4000/ateliers.14876« Je la regarde et je danse »Elena NestiIn this article, I analyse the onstage danced movements of a singer-songwriter who is a non-dancer. The more she moves, the more her fans recognise the reason why they “chose” her, whey she represents them. The asymmetry between the artist’s sculpted and prepared body and the untrained bodies of the fans is considerable, and they recognise themselves not in the performing body itself, but in its movements. How does her way of moving enable her fans to identify with her? How does her training—which reinforces shared cultural representations surrounding the genre, and models her posture on stage—favour the experiences of kinaesthetic empathy actively sought by fans? We will see how fans draw power from singer’s identity in the media, as well as from her personal identity perceived through her movements.https://journals.openedition.org/ateliers/14876performanceidentityenergyempathyattachmentItaly |
| spellingShingle | Elena Nesti « Je la regarde et je danse » Ateliers d'Anthropologie performance identity energy empathy attachment Italy |
| title | « Je la regarde et je danse » |
| title_full | « Je la regarde et je danse » |
| title_fullStr | « Je la regarde et je danse » |
| title_full_unstemmed | « Je la regarde et je danse » |
| title_short | « Je la regarde et je danse » |
| title_sort | je la regarde et je danse |
| topic | performance identity energy empathy attachment Italy |
| url | https://journals.openedition.org/ateliers/14876 |
| work_keys_str_mv | AT elenanesti jelaregardeetjedanse |