By Hélène Neveu Kringelbach, Jonathan Skinner
Dance is greater than a cultured of existence – dance embodies existence. this is often glaring from the social heritage of jive, the selling of trans-national ballet, ritual therapeutic dances in Italy or folks dances played for travelers in Mexico, Panama and Canada. Dance frequently captures these crucial dimensions of social existence that can not be simply placed into phrases. What are the flows and events of dance carried via migrants and travelers? How is dance used to form nationalist ideology? What are the connections among dance and ethnicity, gender, future health, globalization and nationalism, capitalism and post-colonialism? via leading edge and wide-ranging case reviews, the members discover the critical function dance performs in tradition as relaxation commodity, cultural history, cultural aesthetic or cathartic social movement.
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Additional info for Dancing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance
1936. ‘All the Jive is Gone’. New York: Decca Records Milkowski, B. 2001. Swing It! An Annotated History of Jive. New York: Billboard Books. Rapport, N. 1993. Diverse World-views in an English Village. Edinburgh: Edinburgh University Press. Robertson, R. 1990. ‘Mapping the Global Conditions: Globalization as the Central Concept’, in M. ), Global Culture: Nationalism, Globalization and Modernity. 15–30. Saul, S. 2003. Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press.
1996. Moving Words: Re-writing Dance. London: Routledge. Morton, C. 2009. ‘The Initiation of Kamanga: Visuality and Textuality in Evans-Pritchard’s Zande Ethnography’, in C. Morton and E. Edwards (eds), Photography, Anthropology and History: Expanding the Frame. 119–42. A. 1992. Body, Movement, and Culture: Kinesthetic and Visual Symbolism in a Philippine Community. Philadelphia: University of Pennsylvania Press. Novack, C. 1990. Sharing the Dance: Contact Improvisation and American Culture.
Louis had a fast version – the Imperial Style, they called it – that retained certain features of the old Charleston. Texas had two styles called the Push and the Whip. California was home to a version called the West Coast Swing. Not only were these different stylistically from each other and from the Lindy (or Savoy Style Swing, as some began to call it), but outside of New York, Swing clubs tended to emphasize competitions, while we tended to view our dances as social events. (Crease 1996: 259) Jive has historical tentacles in a number of dance styles, foremost among them the jitterbug and other swing dances.
Dancing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance by Hélène Neveu Kringelbach, Jonathan Skinner