By Hélène Neveu Kringelbach, Jonathan Skinner
Dance is greater than a classy of existence – dance embodies existence. this can be glaring from the social background of jive, the promoting of trans-national ballet, ritual therapeutic dances in Italy or folks dances played for travelers in Mexico, Panama and Canada. Dance usually captures these crucial dimensions of social existence that can't be simply positioned into phrases. What are the flows and pursuits of dance carried through migrants and travelers? How is dance used to form nationalist ideology? What are the connections among dance and ethnicity, gender, health and wellbeing, globalization and nationalism, capitalism and post-colonialism? via cutting edge and wide-ranging case reviews, the individuals discover the important position dance performs in tradition as rest 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
Youngerman, S. 1974. ‘Curt Sachs and His Heritage: A Critical Review of World History Of the Dance with a Survey of Recent Studies that Perpetuate His Ideas’, Congress On Reseearch in Dance News 6(2): 6–19. PART I Dance and Globalization q Chapter 1 q Globalization and the Dance Import–Export Business: The Jive Story Jonathan Skinner All the jive is gone! All the jive is gone! What an awful fix, can’t get my kicks, ’Cause all the jive is gone! ’ ive is a living history. It is a language and a movement – both bodily and countercultural – which spans the centuries and crosses the continents, and takes us from the Middle Passage to the D-Day landings, from swing and Lindy hop ‘joints a jumpin’’ in Harlem, New York, to zoot-suit retro swing revivals in Herrang, Sweden.
Modern salsa went through similar dance diffusion, imported and exported by diaspora (dancers, teachers and musicians) and by mediascape (radio and then television, tape, CD, DVD and now internet). In a more recent example of dance diffusion, Wieschiolek (2003: 120) explores the spread of salsa from New York in the 1960s and 1970s, describing it as a concept, a musical and dance mix of Cuban son (Spanish and African core harmonic and rhythmic elements with congas, bongos, maracas and clave sticks) and Puerto Rican bomba5 with Americanized styles of rumba and mambo, interpretive boogaloo music and dance from New York in the 1950s and 1960s (Latin music with Afro-American jazz and soul).
Clifford, J. 1994. ‘Diasporas’, Cultural Anthropology 9(3): 302–38. Cook, S. 1998. ‘Passionless Dancing and Passionate Reform: Respectability, Modernism, and the Social Dancing of Irene and Vernon Castle’, in W. ), The Passion of Music and Dance. 133–50. Crease, R. 1996. ‘The Future of the Lindy and the New York Swing Dance Society: An Epilogue’, in N. Miller and E. Jensen (eds), Swingin’ at the Savoy: The Memoir of a Jazz Dancer. 255–61. Cressey, P. 1968. The Taxi-Dance Hall: A Sociological Study in Commercialized Recreation and City Life.