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In this pivotal book, the captivating and kinetic images of noted photographer Eric Waters are paired with a collection of insightful essays by preeminent authors and cultural leaders to offer the first complete look at the Social, Aid and Pleasure Club (SAPC) parade culture in New Or-leans. Ranging from ideological approaches to the contributions of musicians, development of specific rituals by various clubs, and parade accessories such as elaborately decorated fans and sashes, Freedom's Dance provides an unparalleled photographic and textual overview of the SAPC Second Line, tracking its origins in African traditions and subsequent development in black New Orleans culture. Karen Celestan's vibrant narrative is supplemented with interviews of longtime culture-bearers such as Oliver ""Squirk"" Hunter, Lois Andrews (mother of Troy ""Trombone Shorty"" Andrews and James Andrews), Fred Johnson, Gregory Davis, and Lionel Batiste, while interdisciplinary essays by leading scholars detail the rituals, historic perspective, and purpose of the Second Line. Freedom's Dance defines this unique pub-lic-private phenomenon and captures every aspect of the Second Line, from SAPC members' rollicking introductions at their annual parade to a funeral procession on its way to the crypt. Visually dazzling and critically important, Freedom's Dance serves as both a celebration and a deep exploration of this understudied but immediately recognizable aspect of the African American tradition in the Big Easy.
A perfect introduction to the world of Scottish dance written by the Royal Scottish Country Dance Society, including a short history of Scottish dancing. The book takes you through simple ceilidh moves to more complex formations and set dances, illustrated through diagrams and photos. Popular traditional dances are featured, such as 'Dashing White Sergeant', 'Eightsome Reel', 'Strip the Willow' and 'Cumberland Reel'. This comprehensive collection also contains several lesser known dances such as 'Flowers of Edinburgh', 'Jenny Dang the Weaver' and 'La Russe'. From reels to watlzes and medleys to quadrilles this little book is a celebration of Scottish traditional folk dance at its best.
A complete introduction to traditional Japanese dance, this text will delight readers with its lively descriptions and beautiful illustrations. This book discusses Kabuki dance, modern dance movements based on Kabuki dance and the influence of Western dance.
This book explores the origins of this folk song and dance from the Panjab in South Asia and its development into part of modern British culture in the hybrid soundscape of British Bhangra and beyond. This book originated in academic research and the Heritage-lottery funded Bhangra Renaissance project. Through ethnographic research, oral history interviews, performances, photography, story-telling and community activity it celebrates the past contribution of all those involved in Bhangra. This ground-breaking work provides an in-depth history of the spiritualism of performance and song, and an overview of the artists involved in influencing its development, as well as contemporaries leading the way of Bhangras renaissance amongst the South Asian diaspora in the UK and around the world.
Dance marathons were a phenomenally popular fad during the manic 1920s and depressive 1930s. What began as a craze soon developed into a money-making business which lasted 30 years. Some 20,000 contestants and show personnel participated in these events; audiences, the majority women, totalled in the millions. "A Poor Man's Nightclub," dance marathons were the dog-end of American show business, a bastard form of entertainment which borrowed from vaudeville, burlesque, night club acts and sports.
Features important information about Dene community life in the 1960s during the crucial period immediately following the move from bush to town. Deals extensively with the traditional economy, the structure of Dene Kinship, its role in social organization, and the role of the drum dance in the social life of the community under rapidly-changing circumstances.
The festival tradition of Irish dancing has played a significant part in Ulster's culture over the past century. This historical account takes the reader on a journey from courtly ballrooms and cottage firesides across a landscape of barn dances, harvest homes, fancy dance classes, feiseanna and festivals, narrating how Catholic and Protestant children held hands in town halls, parochial halls and Protestant halls even when bombs splintered communities and deepened mistrust. Highlighting the various provincial towns that nurtured and helped grow the festival movement throughout the 20th century, Angeline's work explores significant figures in the development of both 'feis' and `festival', the champion dancers, influential teachers and unsung community `heroes' who kept this cross-community activity alive. Containing source and archive material drawn from newspaper reports dating back to the 1700s, Ordnance surveys, diaries, journals and interviews with more than 80 of the 20th century's festival dance teachers and pupils, this work will fill a significant gap in Irish dancing publications and appeal to the tens of thousands of current and former festival Irish dancers and Irish dancing enthusiasts in Northern Ireland and further afield.
This is the story of English Country Dance, from its 18th century roots in the English cities and countryside, to its transatlantic leap to the U.S. in the 20th century, told by not only a renowned historian but also a folk dancer, who has both immersed himself in the rich history of the folk tradition and rehearsed its steps.
In City Folk, Daniel J. Walkowitz argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the 'old left.' He situates folk dancing within surprisingly diverse contexts, from progressive era reform, and playground and school movements, to the changes in consumer culture, and the project of a modernizing, cosmopolitan middle class society.
Tracing the spread of folk dancing, with particular emphases on English Country Dance, International Folk Dance, and Contra, Walkowitz connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, City Folk allows dancers and dancing bodies to speak. From the norms of the first half of the century, marked strongly by Anglo-Saxon traditions, to the Cold War nationalism of the post-war era, and finally on to the counterculture movements of the 1970s, City Folk injects the riveting history of folk dance in the middle of the story of modern America.
Considering the concept of power in capoeira, an Afro-Brazilian ritual art form, Varela describes ethnographically the importance that capoeira leaders (mestres) have in the social configuration of a style called Angola in Bahia, Brazil. He analyzes how individual power is essential for an understanding of the modern history of capoeira, and for the themes of embodiment, play, cosmology, and ritual action. The book also emphasizes the great significance that creativity and aesthetic expression have for capoeira's practice and performance.
In the 1880s, there wasn't much in Anson, Texas, in the way of entertainment for the area's cowhands. But Star Hotel operator M. G. Rhodes changed that when he hosted a Grand Ball the weekend before Christmas. A restless traveling salesman, rancher, and poet from New York named William Lawrence Chittenden, a guest at the Star Hotel, was so impressed with the soiree that he penned his observances in the poem "The Cowboys' Christmas Ball." Re-enacted annually since 1934 based on Chittenden's poem, the contemporary dances attract people from coast to coast, from Canada, and from across Europe and elsewhere. Since 1993 Grammy Award-winning musical artist Michael Martin Murphey has played at the popular event. Far more than a history of the Jones County dance, Paul Carlson analyses the long poem, defining the many people and events mentioned and explaining the Jones County landscape Chittenden lays out in his celebrated work. The book covers the evolution of cowboy poetry and places Chittenden and his poem chronologically within the ever-changing western genre. Dancin' in Anson: A History of the Texas Cowboys' Christmas Ball is a novel but refreshing look at a cowboy poet, his poem, and a joyous Christmas-time family event that traces its roots back nearly 130 years.
This is a book for both ballet and Spanish dancers. It is a journey through the history of the fascinating country of Spain with its vibrant culture and people. It is the fusion of fifty years of ballet and Spanish dance experienced by the author as dancer, teacher and director of Spanish dance performances for her own company in the USA and others. The author endeavours to unlock and explain the many mysteries that surround this dance form for teachers, historians and lay readers. The connection to ballet is explored, especially to the style of the 19th century as found in the Cecchetti method and in the work of August Bournonville. Also explored is the bolero school's distinction from ballet, that makes it so unique. The historical progression and significance of the Escuela Bolera or the classical bolero school of Spanish dance and its regional roots are traced, as well as those of the Pericet family who today are its main preservers. The book also contains biographies of Spanish dancers and teachers who have been connected with the bolero school through the ages
Spirit of Powwow has evolved as we have talked with dancers and drummers until we feel we now have a powwow book that goes beyond the usual mere description of regalia and dances. The photography and text cover every component of the powwow, not just the dance competition. The Nahanee family and their friends make this book a very personal experience for the reader as we have maintained the true voices of the dancers, drummers, officials and volunteers throughout as they speak of their experiences and beliefs. You will follow a powwow family and their friends into the dance arbour, learn of their experiences and meet the behind the scenes people who hold the event together. You will meet young dancers learning how to dance and how to make their very first regalia as they are being taught about their culture by Gloria. We have tried to create a book that will become a bridge between cultures. Come over the bridge with us. Come into the kitchens and taste Maizy's bannock, help set up the powwow ground, walk tall in the Grand Entry. Mix with the dancers and drummers and listen to them speak to you.
This is the story of English Country Dance, from its 18th century roots in the English cities and countryside, to its transatlantic leap to the U.S. in the 20th century, told by not only a renowned historian but also a folk dancer, who has both immersed himself in the rich history of the folk tradition and rehearsed its steps. In City Folk, Daniel J. Walkowitz argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the 'old left.' He situates folk dancing within surprisingly diverse contexts, from progressive era reform, and playground and school movements, to the changes in consumer culture, and the project of a modernizing, cosmopolitan middle class society. Tracing the spread of folk dancing, with particular emphases on English Country Dance, International Folk Dance, and Contra, Walkowitz connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, City Folk allows dancers and dancing bodies to speak. From the norms of the first half of the century, marked strongly by Anglo-Saxon traditions, to the Cold War nationalism of the post-war era, and finally on to the counterculture movements of the 1970s, City Folk injects the riveting history of folk dance in the middle of the story of modern America.
Over the course of the 40 years between 1970 and 2010 Britany has experienced an intense revival of activity in the area of vernacular traditional music performance and social dancing. Circle dancing there is arguably the most popularly enjoyed community based dance form in Western Europe. In its most traditional form the music and singing which drive the dance are immediate and arresting in their raw appeal. Addressing both scholarly and musical constituencies, Irish musician and academic Desi Wilkinson opens a nuanced window, informed by his own experience, into this vibrant socio-musical reality. The book deals with issues of local identity as expressed through the aesthetic medium of music and dance and includes access to field recordings of selected singers and musicians. Directly related to these recordings are basic transcriptions of both text and music that, taken together, give readers a good template from which to develop some understanding of its aesthetic features. The Pan-Breton selection to be found here is the cohort of round dance music forms that are most representative of the Breton tradition in the 2010s. A description of what has emerged as the most iconic dance form, the suite gavotte montagne, is included. The notional world of contemporary popular Celticism (Celtitude) is tied to folk music performance and Wilkinson examines the particularity of its Breton and francophone construction. Desi Wilkinson is a leading exponent of the traditional Irish flute and a fine traditional singer. He has recorded five albums with the internationally renowned group Cran, two solo albums--the Three Piece Flute and Shady Woods --and a host of other recording collaborations that reflect his eclectic musical interests. He is currently traditional musician in residence at Mary Immaculate College, University of Limerick, where he continues to combine music-making with academic pursuits.
Dance in India has been deemed sacred because of its innate capacity to visualise and actualise the deepest philosophical concepts through gestures, movements and the art of suggestion. Immediate collective transcendence is possible only through dance when the dancer disappears and melts away in the dance and when the audience is transported to the realm of 'rasa srishti', the pure aesthetic delight. Any attempt to transcribe and describe dance through words is bound to remain incomplete as dance is a visual art. In India it has sat atop a pyramid of various art forms which have had an oral and written history. As dance in India freely uses literary and poetic works taken from all vernacular languages, its repertory is rich beyond imagination. Vocal and instrumental music provides a constant accompaniment to translate ideas contained in these literary texts. Profusion of intricately carved sculptures on temple-walls have kept the forms alive even through dark periods of unsympathetic foreign rule. Dance has inspired a wealth of stone, metal and wood carvings, frescoes, murals and miniature paintings as well as textiles reflecting a panorama of dance movements. Special ornaments in gold, ruby, emerald, diamond or silver used by dancers have had a tradition of being crafted by hand. The art of decorating hair with different kinds of arrangements of flowers and fragrant leaves according to seasonal availability and suitability was specially taught as an additional accomplishment of a dancer. This book points at many such ideas and urges the reader to take a plunge in the ocean of ambrosial knowledge, which is called 'natya vidya'.
Immerse students in the music traditions of the Irish, one of North America's largest ethnic populations. Across the Water: Teaching Irish Music and Dance at Home and Abroad gives general music teachers the tools to introduce the music and dance of Ireland while respecting the music's cultural origins. An overview of the history of Irish traditional music provides a basic understanding of the political and cultural events that have influenced this musical style. Readers learn how Irish traditional music is viewed both in formal and informal schools in Ireland and find a literature review of current ethnomusicology and world music resources. Music teachers can follow the ready-to-use, 8- to 10-week music unit and use the accompanying CD full of authentic materials that the author collected while living in Limerick, Ireland. Recorded in the field, these materials will bring master teachers to the classroom with song, ceili bands, and Irish step and set dancing. Units with Irish ceili assessments.
By the middle of the twentieth century, Hollywood, formerly the one
and only dream factory, found itself facing a host of media rivals
for the public's attention. In the 1980s, another competitor
arrived in the form of the proto-Internet--a computer network as
yet untested by all but research scientists, college students, the
military, and a few thousand PC and modem owners. How did Hollywood
respond to this nascent challenge? By dreaming about it, in a
series of technological fantasies, from "Tron" to "War Games" to
"Lawnmower Man. The Cinema Dreams Its Rivals "examines the meaning
and effect of the movies' attempts to reshape the shifting media
Indonesia, with its mix of ethnic cultures, cosmopolitan ethos, and strong national ideology, offers a useful lens for examining the intertwining of tradition and modernity in globalized Asia. In Inventing the Performing Arts, Matthew Isaac Cohen explores the profound change in diverse arts practices from the nineteenth century until 1949. He demonstrates that modern modes of transportation and communication not only brought the Dutch colony of Indonesia into the world economy, but also stimulated the emergence of new art forms and modern attitudes to art, disembedded and remoored traditions, and hybridized foreign and local. In the nineteenth century, access to novel forms of entertainment, such as the circus, and newspapers, which offered a new language of representation and criticism, wrought fundamental changes in theatrical, musical, and choreographic practices. Musical drama disseminated print literature to largely illiterate audiences starting in the 1870s, and spoken drama in the 1920s became a vehicle for exploring social issues. Twentieth-century institutions-including night fairs, the recording industry, schools, itinerant theatre, churches, cabarets, round-the-world cruises, and amusement parks-generated new ways of making, consuming, and comprehending the performing arts. Concerned over the loss of tradition and ""Eastern"" values, elites codified folk arts, established cultural preservation associations, and experimented in modern stagings of ancient stories. Urban nationalists excavated the past and amalgamated ethnic cultures in dramatic productions that imagined the Indonesian nation. The Japanese occupation (1942-1945) was brief but significant in cultural impact: plays, songs, and dances promoting anti-imperialism, Asian values, and war-time austerity measures were created by Indonesian intellectuals and artists in collaboration with Japanese and Korean civilian and military personnel. Artists were registered, playscripts censored, training programs developed, and a Cultural Center established. Based on more than two decades of archival study in Indonesia, Europe, and the United States, this richly detailed, meticulously researched book demonstrates that traditional and modern artistic forms were created and conceived, that is ""invented,"" in tandem. Intended as a general historical introduction to the performing arts in Indonesia, it will be of great interest to students and scholars of Indonesian performance, Asian traditions and modernities, global arts and culture, and local heritage.
"" "Caribbean Dance from Abakua to Zouk" is an unprecedented overview of the dances from each of this region's major islands and the complex, fused, and layered cultures that gave birth to them. The authors in this collection, from distinguished cultural leaders to highly innovative choreographers, reveal how dance shapes personal, communal, and national identity. They also show how Caribbean rhythms, dances, fragments of movement, and even attitudes toward movement reach beyond the islands and through the extensive West Indian diaspora communities in North America, Latin America, and Europe to be embraced by the world at large. From the anthropological to the literary and from the practical to the creative, these dances are explored in the contexts of social history, tradition, ritual, and performance. Connections are made among a fascinating array of dances, both familiar and little known, from culturally based to newly created performance pieces. Particular emphasis is placed on the African contribution in making Caribbean dance distinctive. An extensive glossary of terms and more than 30 illustrations round out the book to make it the most complete resource on Caribbean dance available.
While there are books about folk dances from individual countries or regions, there isn't a single comprehensive book on folk dances across the globe. This illustrated compendium offers the student, teacher, choreographer, historian, media critic, ethnographer, and general reader an overview of the evolution and social and religious significance of folk dance. The Encyclopedia of World Folk Dance focuses on the uniqueness of kinetic performance and its contribution to the study and appreciation of rhythmic expression around the globe. Following a chronology of momentous events dating from prehistory to the present day, the entries in this volume include material on technical terms, character roles, and specific dances. The entries also summarize the historical and ethnic milieu of each style and execution, highlighting, among other elements, such features as: *origins *purpose *rituals and traditions *props *dress *holidays *themes
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