« Je la regarde et je danse »
Abstract
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.
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