Generations of Texans have believed that "to dance is to live." At rustic "play parties" and elegant cotillions, in tiny family dance halls and expansive urban honky-tonks, from historic beginnings to next Saturday night, Texans have waltzed, polkaed, schottisched, and shuffled their way across the state. In Dance across Texas, internationally known dance instructor and writer Betty Casey takes an informal look at the history of Texas dancing and, in clear diagrams, photos, and detailed instructions, tells "how to" do more than twenty Texas dances. Previously, little had been recorded about the history of dancing on the frontier. Journal and diary entries, letters, and newspaper clippings preserve enticing, if sketchy, descriptions of the types of dances that were popular. Casey uses a variety of sources, including interviews and previously unpublished historical materials, such as dance cards, invitations, and photographs, to give us a delightful look at the social context of dance. The importance of dance to early Texans is documented through colorful descriptions of clothing worn to the dances, of the various locations where dances were held, ranging from a formal hall to a wagon sheet spread on the ground, and of the hardships endured to get to a dance. Also included in the historical section of Dance across Texas are notes on the "morality" of dance, the influence of country music on modern dance forms, and the popularity of such Texas dance halls and clubs as Crider's and Gilley's. The instruction section of the book diagrams twenty-two Texas dances, including standard waltzes and two-steps as well as the Cotton-Eyed Joe, Put Your Little Foot, Herr Schmidt, the Western Schottische, and such "whistle'" or mixer dances as Paul Jones, Popcorn, and Snowball. Clear and detailed directions for each dance, along with suggested musical selections, accompany the diagrams and photos. Dance and physical education teachers and students will find this section invaluable, and aspiring urban cowboys can follow the easy-to-read diagrammed footsteps to a satisfying spin around the honky-tonk floor. Anyone interested in dance or in the history of social customs in Texas will find much to enjoy in this refreshing and often amusing look at a Texas "national" pastime.

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour, the author studies bhuiyan puja (landworship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author's own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies.

"Traditional Barn Dances With Calls & Fiddling" will help you

- learn folk dances and authentic tunes that have been performed for over 350 years in the United States, Canada, Australia, and the British Isles;

- teach 53 dances to participants of all ages and abilities regardless of your experience in dance instruction; and

- impart appropriate historical and cultural information about each dance.

Dance instruction has never been made easier than with "Traditional Barn Dances With Calls & Fiddling." Created by Dudley Laufman, a traditional New England dance caller and fiddler, and his cofiddler, Jacqueline Laufman, who have more than 80 years of combined experience, this book, DVD, and two-CD package contains everything you need for learning to teach 53 dances to participants of all ages and abilities. Music, calls, and dance steps are included for Virginia Reel, Portland Fancy, Paul Jones, Grand March, Seven-Step Polka, Farandole, and Jefferson and Liberty and more.

With its precise and detailed instruction, you will quickly be comfortable with the various circle, square, and longways dances to teach your group how to move through the steps and figures of the dances. Traditional Barn Dances With Calls & Fiddling contains these items:

- An easy-to-use book that features the calls and directions for the dances in large print so you can read them from a distance as you move about the room to help dancers

- Sheet music for the fiddle tunes to promote interdisciplinary collaborations with general music teachers, orchestra directors, and string teachers and to encourage the use of live music with the dancing

- Folklore, facts, and teaching suggestions for each dance

- A DVD that includes a video glossary showing the moves as well as walk-throughs and full demonstrations for selected dances

- Two CDs of authentic fiddle tunes for many of the dances with the calls on one track followed by the music track without calls

"Traditional Barn Dances With Calls & Fiddling" is much more than just dance steps. Lovers of both music and folk culture will enjoy the beautiful cadence and lilt in Dudley Laufman's voice as he calls over the music. The calls blend with the music recorded by traditional dance fiddlers and other musicians on piano, accordion, harmonica, and limberjack, which allow a one-of-a-kind experience in an era when most people will never get to experience a real barn dance, an important part of American cultural history.

This comprehensive package provides the tools for facilitating an interdisciplinary learning experience as participants learn the dances along with their historical contexts. Participants also have the option of playing the music themselves, using the sheet music, or selecting from the music CD tracks. Over time, you will learn the calls, and you can call the dances yourself.

After presenting background on traditional barn dancing and instructions on setting up and calling dances, the Laufmans organize the dances according to three traditional formations, providing detailed instruction on circle dances, square dances, and longways dances. They also cover dances in other formations and provide suggestions for including people in wheelchairs and those with varying abilities.

"Traditional Barn Dances With Calls & Fiddling" also presents teaching tips and tools, including historical tidbits, a glossary, poems and word search puzzles, as well as an index of dances by various categories, such as formation, difficulty, title, and music track. At the end of the book, they explain how to organize a dance to promote social dancing, music appreciation, and community.

Social folk dancing has withstood the test of time because it appeals to people's sense of and desire for community while dancing to joyful music. "Traditional Barn Dances With Calls & Fiddling" will help you build community--and skills--within your group. All will have a great time while taking part in an ongoing tradition of this resounding music and joyful dancing.

"" "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.

Chile had long forgotten about the existence of the country's Black population when, in 2003, the music and dance called the tumbe carnaval appeared on the streets of the city of Arica. Featuring turbaned dancers accompanied by a lively rhythm played on hide-head drums, the tumbe resonated with cosmopolitan images of what the African Diaspora looks like, and so helped bring attention to a community seeking legal recognition from the Chilean government which denied its existence. Tumbe carnaval, however, was not the only type of music and dance that Afro-Chileans have participated in and identified with over the years. In Styling Blackness in Chile, Juan Eduardo Wolf explores the multiple ways that Black individuals in Arica have performed music and dance to frame their Blackness in relationship to other groups of performers-a process he calls styling. Combining ethnography and semiotic analysis, Wolf illustrates how styling Blackness as Criollo, Moreno, and Indigena through genres like the baile de tierra, morenos de paso, and caporales simultaneously offered individuals alternative ways of identifying and contributed to the invisibility of Afro-descendants in Chilean society. While the styling of the tumbe as Afro-descendant helped make Chile's Black community visible once again, Wolf also notes that its success raises issues of representation as more people begin to perform the genre in ways that resonate less with local cultural memory and Afro-Chilean activists' goals. At a moment when Chile's government continues to discuss whether to recognize the Afro-Chilean population and Chilean society struggles to come to terms with an increase in Latin American Afro-descendant immigrants, Wolf's book raises awareness of Blackness in Chile and the variety of Black music-dance throughout the African Diaspora, while also providing tools that ethnomusicologists and other scholars of expressive culture can use to study the role of music-dance in other cultural contexts.

The object of the present work is to develop a method for a structural analysis of European chain and round dance patterns with a view to establishing a categorisation of these dances according to their basic step patterns. This attempt has never been made before as surprisingly few works have been published on this subject. The first of the three volumes contains an introduction to chain and round dances in Europe and describes the collected data used for the analysis. The second volume explains how to read the catalogues and presents the groupings of the material. The third volume contains the complete material as tables and examples. The study concludes that a series of main categories can be established on the basis of the theoretical models suggested here.

The history of dance theory has never been told. Writers in every age have theorized prescriptively, according to their own needs and ideals, and theorists themselves having continually asserted the lack of any pre-existing dance theory. Dance Theory: Source Readings from Two Millenia of Western Dance revives and reintegrates dance theory as a field of historical dance studies, presenting a coherent reading of the interaction of theory and practice during two millennia of dance history. In fifty-five selected readings with explanatory text, this book follows the various constructions of dance theories as they have morphed and evolved in time, from ancient Greece to the twenty-first century. Dance Theory is a collection of source readings that, commensurate with current teaching practice, foregrounds dance and performance theory in its presentation of western dance forms. Divided into nine chapters organized chronologically by historical era and predominant intellectual and artistic currents, the book presents a history of an idea from one generation to another. Each chapter contains introductions that not only provide context and significance for the individual source readings, but also create narrative threads that link different chapters and time periods. Based entirely on primary sources, the book makes no claim to cite every source, but rather, in connecting the dots between significant high points, it attempts to trace a coherent and fair narrative of the evolution of dance theory as a concept in Western culture.

Buto is rarely given the credit it deserves as one of the most innovative forms of dance and theater that emerged throughout the 20th century. One of the world's leading experts on the form, author Bruce Baird offers in The History of Buto a new account of a crucial and influential performance art of the latter half of the 20th century. Tracing the performances and techniques of ten of the most important names in the first and second generation of buto, including Hijikata Tatsumi, Maro Akaji, Carlotta Ikeda, and Kobayashi Saga, as well as following its migration abroad to France and elsewhere, The History of Buto puts on display the creativity of the founders as well as the variety of directions taken by subsequent dancers. In addition, this book places these choreographer/dancers at the center of many of our time's most important issues, demonstrating the importance and relevance of their reflections around the relationship between humans, technology and new media, and the status of gender and ethnicity in Japan, Europe, and the world. Baird guides us through all of this with an approachable, expansive view of an artform with which he is intimately and uniquely familiar.

Tarantella, a genre of Southern Italian folk music and dance, is an international phenomenon--seen and heard in popular festivals, performed across the Italian diaspora, even adapted for New Age spiritual practices. The boom in popularity has diversified tarantella in practice while setting it within a host of new, unexpected contexts. Incoronata Inserra ventures into the history, global circulation, and recontextualization of this fascinating genre. Examining tarantella's changing image and role among Italians and Italian Americans, Inserra illuminates how factors like tourism, translation, and world music venues have shifted the ethics of place embedded in the tarantella cultural tradition. Once rural, religious, and rooted, tarantella now thrives in settings urban, secular, migrant, and ethnic. Inserra reveals how the genre's changing dynamics contribute to reimagining Southern Italian identity. At the same time, they translate tarantella into a different kind of performance that serves new social and cultural groups and purposes. Indeed, as Inserra shows, tarantella's global growth promotes a reassessment of gender relations in the Italian South and helps create space for Italian and Italian-American women to reclaim gendered aspects of the genre.

Learning Capoeira: Lessons in Cunning from an Afro-Brazilian Art is a provocative look at capoeira, a demanding acrobatic art that combines dance, ritual, music, and fighting style. First created by slaves, freedmen, and gang members, capoeira is a study in contrasts that integrates African-descended rhythms and flowing dance steps with hard lessons from the street. According to veteran teachers, capoeira will transform novices, instilling in them a sense of malicia, or "cunning," and changing how they walk, hear, and interact.
Learning Capoeira is an ethnographic study based on author Greg Downey's extensive research about capoeira and more than ten years of apprenticeship. It looks at lessons from traditional capoeira teachers in Salvador, Brazil, capturing the spoken and unspoken ways in which they pass on the art to future generations. Downey explores how bodily training can affect players' perceptions and social interactions, both within the circular roda, the "ring" where the game takes place, as well as outside it, in their daily lives. He brings together an experience-centered, phenomenological analysis of the art with recent discoveries in psychology and the neurosciences about the effects of physical education on perception. The text is enhanced by more than twenty photos of capoeira sessions, many taken by veteran teacher, Mestre Cobra Mansa.
Learning Capoeira breaks from many contemporary trends in cultural studies of all sorts, looking at practice, education, music, nonverbal communication, perception, and interaction. It will be of interest to students of African Diaspora culture, performance, sport, and anthropology. For anyone who has wondered how physical training affects our perceptions, this close study of capoeira will open new avenues for understanding how culture shapes the ways we carry ourselves and see the world.

How did flamenco-a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards-become so inexorably tied to the country's culture? Sandie Holguin focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguin brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.

Far more than just a dance, the dynamic choreography of the Yup'ik provides an illuminating window into the morality, social organization, and colonial history of this indigenous people. In "Yupiit Yurayarait," anthropologist Ann Fienup-Riordan begins with a brief historical overview of the colonization and development of Alaska from the Yup'ik point of view. Then, armed with oral history testimony spanning thirty years, she shows how singing and dancing are interconnected and imbued with meaning in this complex ritual. Accompanied by one hundred and fifty original photographs, this volume marks the first in-depth look at the Yup'ik people through the lens of interpretive dance.