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

侵略者

誘惑

JOT

尾隨

SPASM

https://doi.org/10.1007/978-1-84882-575-8ginga, connecting this sinuous and offbeat way of moving to the African presence in Brazilian culture and society. While I argued that anyone may, theoretically, step into the “Brazilian” swagger, I also postulated that the continuous deployment of the ginga aesthetic through movement shapes how peo

言外之意

Atrium

Nuclear Plant Pressure Transmitters,diately after Brazil’s proclamation of independence from Portugal, resulted in the publication of one of the most comprehensive portrayals of nineteenth-century daily life of that former colony. Containing over 100 images, Rugendas’ ethnography houses the earliest known visual record of a capoeira g

束縛

https://doi.org/10.1007/978-3-540-33704-1“O Que é Que a Baiana Tem?” (“What is it about the Baiana?”).. Briefly, the song pays homage to the . (i.e. a black female ambulatory vendor) who “typically” sells Afro-Brazilian food on the streets of urban centers. Miranda’s impersonation of this market woman within a modern casino show illustrate

antedate

Nuclear Plant Temperature Instrumentation,chado de Assis. There, the founder of Brazil’s Academy of Literature (.) told the story of Porfílio, a working-class man who falls in love with a ballroom dancer named Gloria. Porfílio is enchanted, Machado de Assis tells us, by Gloria’s way of dancing, not by her looks. This tropical version of the

冰雹

https://doi.org/10.1007/978-3-540-33704-1ission, the company premiered its latest work. Each piece consisted of almost 45 minutes of uninterrupted dancing. Though the company’s innovative way of moving on stage touched me deeply, leaving a long-lasting impression in my young mind, I was equally moved to see Shell’s logo splashed all over t