Moving History/Dancing Cultures


Book Description

This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text. Ebook Edition Note: Ebook edition note: Five essays have been redacted, including “The Belly Dance: Ancient Ritual to Cabaret Performance,” by Shawna Helland; “Epitome of Korean Folk Dance”, by Lee Kyong-Hee; “Juba and American Minstrelsy,” by Marian Hannah Winter; “The Natural Body,” by Ann Daly; and “Butoh: ‘Twenty Years Ago We Were Crazy, Dirty, and Mad’,”by Bonnie Sue Stein. Eleven of the 41 illustrations in the book have also been redacted.




Choreographing Difference


Book Description

The choreographies of Bill T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped establish dance as a crucial discourse of the 90s. These dancers, Ann Cooper Albright argues, are asking the audience to see the body as a source of cultural identity — a physical presence that moves with and through its gendered, racial, and social meanings. Through her articulate and nuanced analysis of contemporary choreography, Albright shows how the dancing body shifts conventions of representation and provides a critical example of the dialectical relationship between cultures and the bodies that inhabit them. As a dancer, feminist, and philosopher, Albright turns to the material experience of bodies, not just the body as a figure or metaphor, to understand how cultural representation becomes embedded in the body. In arguing for the intelligence of bodies, Choreographing Difference is itself a testimonial, giving voice to some important political, moral, and artistic questions of our time. Ebook Edition Note: All images have been redacted.




Dancing Cultures


Book Description

Dance is more than an aesthetic of life – dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.




Meaning in Motion


Book Description

On dance and culture




How to Land


Book Description

How to Land: Finding Ground in an Unstable World foregrounds the importance of embodiment as a means of surviving the disorientation of our twenty-first century world. Linking somatics and politics, author Ann Cooper Albright argues that a renewed attention to gravity as both a metaphoric sensibility and a physical experience can help transform moments of personal disorientation into an opportunity to reflect on the important relationship between individual resiliency and communal responsibility. Long one of the nation's preeminent thinkers in dance studies, Albright asks how contemporary bodies are affected by repeated images of falling bodies, bombed-out buildings, and displaced peoples, as well as recurring evocations of global economies and governments in discursive free fall or dissolution. What kind of fear gets lodged in connective tissue when there is an underlying anxiety that certain aspects of our world are in danger of falling apart? To answer this question, she draws on analyses of perception from cognitive studies, tracing the discussions of meaning, body and language through the work of Sara Ahmed, Jean-Luc Nancy, and Shaun Gallagher, among others. In addition, she follows the past decade of debate in contemporary media concerning the implications of the weightless and two-dimensional social media exchanges on structures of attention and learning, as well as their effect on the personal growth and socialization of a generation of young adults. Each chapter interweaves discussions of movement actions with their cultural implications, documenting specific bodily experiences and then tracing their ideological ripples out through the world.




World Dance Cultures


Book Description

From healing, fertility and religious rituals, through theatrical entertainment, to death ceremonies and ancestor worship, World Dance Cultures introduces an extraordinary variety of dance forms practiced around the world. This highly illustrated textbook draws on wide-ranging historical documentation and first-hand accounts, taking in India, Bali, Java, Cambodia, China, Japan, Hawai’i, New Zealand, Papua New Guinea, Africa, Turkey, Spain, Native America, South America, and the Caribbean. Each chapter covers a certain region’s distinctive dances, pinpoints key issues and trends from the form’s development to its modern iteration, and offers a wealth of study features including: Case Studies – zooming in on key details of a dance form’s cultural, historical, and religious contexts ‘Explorations’ – first-hand descriptions of dances, from scholars, anthropologists and practitioners ‘Think About’ – provocations to encourage critical analysis of dance forms and the ways in which they’re understood Discussion Questions – starting points for group work, classroom seminars or individual study Further Study Tips – listing essential books, essays and video material. Offering a comprehensive overview of each dance form covered with over 100 full color photos, World Dance Cultures is an essential introductory resource for students and instructors alike.




Cultural Memory and Popular Dance


Book Description

This book focuses on the myriad ways that people collectively remember or forget shared pasts through popular dance. In dance classes, nightclubs, family celebrations, tourist performances, on television, film, music video and the internet, cultural memories are shared and transformed by dancing bodies adapting yesterday’s steps to today’s concerns. The book gathers emerging and seasoned scholarly voices from a wide range of geographical and disciplinary perspectives to discuss cultural remembering and forgetting in diverse popular dance contexts. The contributors ask: how are Afro-diasporic memories invoked in popular dance classes? How are popular dance genealogies manipulated and reclaimed? What is at stake for the nation in the nationalizing of folk and popular dances? And how does mediated dancing transmit memory as feelings or affects? The book reveals popular dance to be vital to cultural processes of remembering and forgetting, allowing participants to pivot between alternative pasts, presents and futures.




Dance as a Theatre Art


Book Description

A 'living history' of dance through the writings of its greatest innovators.




Dance Circles


Book Description

Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space.




Dancing at the Edge


Book Description

Maureen O'Hara and Graham Leicester explore the competencies - the ways of being, doing, knowing and organising - that can help us navigate in complex and powerful times. They argue that these competencies are innate and within reach of all of us - given the right setting, plenty of practice and some gentle guidance. But they are seldom seen because they are routinely undervalued in today's culture. That must change, the authors insist, and this book is intended to begin that change.The book is based on the authors' extensive research and their practical experience observing the qualities demonstrated by some of today's most successful cultural, political and business leaders. They write of 'persons of tomorrow' that they have witnessed:"e;We find that people who are thriving in the contemporary world, who give us the sense of having it all together and being able to act effectively and with good spirit in challenging circumstances, have some identifiable characteristics in common... They are the people already among us who inhabit the complex and messy problems of the 21st century in a more expansive way than their colleagues. They do not reduce such problems to the scale of the tools available to them, or hide behind those tools when they know they are partial and inadequate. They are less concerned with 'doing the right thing' according to standard procedure than they are with really doing the right thing in the moment, in specific cases, with the individuals involved at the time. In a disciplined yet engaging way they are always pushing boundaries, including their own. They dance at the edge."e;