In the case of "Dancer With Necklace" (1910-11), the movement is a kind of strut.
(Dena Abergel and Jenifer Ringer, rare cases of dancers who did, both received bachelor of arts degrees in English).
In the case of the dancers, the specificity of motor movement mattered and the findings suggested that "[h]aving produced an action affected the ways the dancers perceived the action, suggesting that the systems involved in action production subserve action perception" (Goldin-Meadow & Beilock, 2010, p. 666).
But it isn't entirely a case of a dancer returning to the role that made her famous.
But, in the case of burlesque dancer Tempest Storm, it just might apply -- with a notable caveat.
Zajączkowska's four-and-a-half-minute video hones in on the growth of a series of plants that the botanist has cultivated over a period of two years and how their movements relate to those of the human body, in this case, that of dancer Patryk Walczak.
This was not a case of expanding the dancers' range into bravura tricks but of training them to execute every step with the purity, precision and energy that define ballet's academic idiom at its essence.
Everything develops within the crowd, so that at first it seems there is no separation between the art object (in this case a large number of dancers) and the art viewer; the action is in part inspired by the idea of flash mobs.
In "American in Paris," from 1938, Flanner investigates the case of a Brooklyn dancer who was kidnapped and murdered in the City of Light.
Fifty-nine of them chime (or, in the case of a belly dancer's accoutrements, jingle) at the rate of one per minute, from speakers installed in a tunnel over Fourteenth Street.
And in the case of the flamenco dancer Nelida Tirado, the intimacy felt particularly fitting as she traded smiles with the musicians who performed alongside her or suddenly closed her eyes in frowning, ferocious concentration as her feet stamped out rattling, rhythmically complex tattoos of sound.
