This article investigates online voting methods affiliated with the South Korean television show Street Man Fighter. By examining the responses of judges, viewers, and participants, I seek to show the influence of competition, globalization, and online distribution on dancing bodies. Although the show’s title emphasizes “street” dance, which is typically associated with unruly and resistive actions, I argue that online viewers’ voting behaviors privilege the disciplined body associated with k’algunmu, which describes synchronized dancing and is associated with K-pop dance. Ultimately, I argue that the global online voting system used by Street Man Fighter reveals the nuanced interplay among k’algunmu, street dance, and neoliberal ideologies. 1

Via Dolorosa is a procession dance created in 1983 by the Israeli choreographer Amir Kolben with Ramla Dance Theater. A reenactment by Galia Lever in 2019 introduced a new dimension by incorporating a diverse group of dancers with varied backgrounds. In the context of the changing Israeli political landscape, where discussions around refugees, borders, and community are often highly charged, the reenactment of Via Dolorosa serves as a powerful tool for interrogating and understanding cultural and political complexities. Lever's reenactment not only challenges established interpretations of the dance but also encourages a more inclusive and nuanced understanding of Israeli identity and history.

In this autoethnographic description of her training and teaching philosophy, Chandra Moss-Thorne offers connections between dance history and pedagogy. Explicitly, the article traces Moss-Thorne's experiences as a ballet student and how her instructors inform her own teaching, thereby offering paths and ideas to teachers and students about how to approach ballet classes in ways that foster intelligence, creativity, and collaboration. Implicitly, this research challenges approaches to dance education that focus on teachers’ priorities without accounting for either their own histories or students’ perspectives and feedback. Moss-Thorne's teaching is distinguished by her awareness, and her acknowledgement of students as human beings with differing needs and expectations.

Using discourse analysis and autoethnographic research, I center twerking as a Black dance and a Black feminist practice. My research challenges omissions in communication studies, which has tended to overlook embodied practices as paths to liberation and contributes to scholarship in dance studies that amplifies the significance of Black women and ratchet feminism. Inquiries propelling this research are: (1) what does it mean for Black women to express physical joy through twerking?; (2) how do women resist politics of respectability and embody worthiness through twerking? By analyzing both the affordances of twerking and the ways the dancing has been dismissed, I reveal interlocking systems of white supremacist and patriarchal exclusions that attempt to destroy Black women’s pleasure and power.