Gili Hammer
I am a senior lecturer in the Department of Sociology and Anthropology and the Program in Cultural Studies at the Hebrew University of Jerusalem (PhD, 2014). In my doctoral research, I focused on gender performance among blind women, and on the cultural construction of blindness and sight in the Israeli public sphere. Between 2014 and 2019, I studied the field of Disability Culture in Israel and the US, conducting an ethnography with integrated dance companies bringing together dancers with and without disabilities. My current project examines the sensory practices and cross-sensory translation techniques of deaf, blind, and deaf-blind performers in integrated theater. My fields of research include disability studies, anthropology of the senses, gender studies, research of visual culture, and performance studies.
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practice. Engagement in these activities develops participants’ awareness of and appreciation for kinaesthetic complexities and diverse embodiments, promoting an understanding of bodily difference
as contributing to, rather than detracting from, the realm of physical arts and society as a whole. Based on fieldwork conducted in Israel and the United States with integrated dance projects bringing
together people with and without disabilities, this article offers an ethnographic analysis that continues the anthropological endeavour of revealing the ways kinaesthetic knowledge (awareness and
knowledge of the movement and spatial orientation of one’s body) is fostered. Introducing disability into movement theory, I offer an understanding of movement/stasis as a spectrum of ways of moving,
looking at what happens when individuals who are different from one another engage in shared, critical reflection upon their movement practices.
Chapters in Collections
*Review: Loseke, Donileen R. 2017. Disability and Qualitative Inquiry: Methods for Rethinking an Ableist World. Contemporary Sociology: A Journal of Reviews 46 (1):
http://journals.sagepub.com/doi/full/10.1177/0094306116681813e
practice. Engagement in these activities develops participants’ awareness of and appreciation for kinaesthetic complexities and diverse embodiments, promoting an understanding of bodily difference
as contributing to, rather than detracting from, the realm of physical arts and society as a whole. Based on fieldwork conducted in Israel and the United States with integrated dance projects bringing
together people with and without disabilities, this article offers an ethnographic analysis that continues the anthropological endeavour of revealing the ways kinaesthetic knowledge (awareness and
knowledge of the movement and spatial orientation of one’s body) is fostered. Introducing disability into movement theory, I offer an understanding of movement/stasis as a spectrum of ways of moving,
looking at what happens when individuals who are different from one another engage in shared, critical reflection upon their movement practices.
*Review: Loseke, Donileen R. 2017. Disability and Qualitative Inquiry: Methods for Rethinking an Ableist World. Contemporary Sociology: A Journal of Reviews 46 (1):
http://journals.sagepub.com/doi/full/10.1177/0094306116681813e
https://www.facebook.com/Huji.Alumni/videos/1023404321202367
The activities I discuss here require participants with and without disabilities having a shared understanding and implementation of concepts such as rhythm, partnering, and pacing, which, in this context, are taught, learned and expressed through multiple modes. These encounters challenge the taken-for-grantedness of the ways in which one performs with his/her body, creating performances that provoke a critical understanding of what a body can do and what disability is. The research reveals the ways integrated dance delivers complicated messages about disability, embodiment, and dance, and its unique capacity to embrace and include cultural binaries and differences within the same social and physical encounter. In other words, integrated dance education is a context that enhances disability experience, and can be considered as an inclusive educational practice. This enhancement is expressed by 1. Practices of study and exploration 2. A development of participants’ kinaesthetic awareness, and 3. A change in perspectives regarding the meaning of disability.
We speak with Dr Gili Hammer of Hebrew U about blind women’s participation in visual culture and their performance of blindness and gender expectations. This is the July 4, 2020 episode:
https://www.stitcher.com/podcast/amiaudio/the-pulse-on-amiaudio/e/74547007
https://tlv1.fm/the-tel-aviv-review/2020/06/29/it-is-a-sighted-mans-world/
יו"ר: ד"ר גילי המר, המחלקה לסוציולוגיה ואנתרופולוגיה, האוניברסיטה העברית
שתי פנים לנראות: על הסתר וגילוי פנים בוידיאו ישראלי / נילי ברויאר וסלבה גרינברג
לרקוד את השינוי: עבודתה הפוליטית של תמר בורר / ד"ר אילנה סובל
כשגוף זר פולש לבמה: שפה חדשה של מוגבלות בתיאטרון ובמופע בישראל / נירה מוזר
https://www.facebook.com/IsrAnthro/posts/1386895324772374/