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.

Autorentext
Cristina F. Rosa is a native of Brazil who migrated to the US in 1996. She is currently a full-time faculty lecturer in dance at Tufts University. Her research interests include the intersection of embodiment, knowledge production, and processes of identification. She has been published in TDR and e-misférica. She previously taught in the US at Reed College, the University of California, Riverside, the Florida State University, and the California Institute of the Arts. She has also served as a research fellow at Freie Universität Berlin's International Research Center 'Interweaving Performance Cultures' (Germany, 2012-13). She earned her PhD from the University of California, Los Angeles.

Inhalt
Introduction: Choreographing Ideas
PART I: UNDERSTANDING GINGA

1. Decoding Ginga Aesthetic
2. Historicizing Ginga
   PART II: ANALYSING GINGA
3. Understanding the Presence of Ginga in Samba Circles
4. Investigating the Articulation of Ginga in Capoeira Angola
5. What is it about the Baiana?
   PART III: STAGING GINGA
6. Brazilian Bodies and the National in Dance
7. What is it about Grupo Corpo?
   Conclusion: The Pride and Shame of being a Swing Nation