Dieser Buchtitel ist Teil des Digitalisierungsprojekts Springer Book Archives mit Publikationen, die seit den Anfangen des Verlags von 1842 erschienen sind. Der Verlag stellt mit diesem Archiv Quellen fur die historische wie auch die disziplingeschichtliche Forschung zur Verfugung, die jeweils im historischen Kontext betrachtet werden mussen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ideologischen Ausrichtung vom Verlag nicht beworben.

Meke, a traditional rhythmic dance accompanied by singing, signifies an important piece of identity for Fijians. Despite its complicated history of colonialism, racism, censorship, and religious conflict, meke remained a vital part of artistic expression and culture. Evadne Kelly performs close readings of the dance in relation to an evolving landscape, following the postcolonial reclamation that provided dancers with political agency and a strong sense of community that connected and fractured Fijians worldwide. Through extensive archival and ethnographic fieldwork in both Fiji and Canada, Kelly offers key insights into an underrepresented dance form, region, and culture. Her perceptive analysis of meke will be of interest in dance studies, postcolonial and Indigenous studies, anthropology and performance ethnography, and Pacific Island studies.

An important center of dancehall reggae performance, sound clashes are contests between rival sound systems: groups of emcees, tune selectors, and sound engineers. In World Clash 1999, held in Brooklyn, Mighty Crown, a Japanese sound system and the only non-Jamaican competitor, stunned the international dancehall community by winning the event. In 2002, the Japanese dancer Junko Kudo became the first non-Jamaican to win Jamaica's National Dancehall Queen Contest. High-profile victories such as these affirmed and invigorated Japan's enthusiasm for dancehall reggae. In "Babylon East," the anthropologist Marvin D. Sterling traces the history of the Japanese embrace of dancehall reggae and other elements of Jamaican culture, including Rastafari, roots reggae, and dub music.

Sterling provides a nuanced ethnographic analysis of the ways that many Japanese involved in reggae as musicians and dancers, and those deeply engaged with Rastafari as a spiritual practice, seek to reimagine their lives through Jamaican culture. He considers Japanese performances and representations of Jamaican culture in clubs, competitions, and festivals; on websites; and in song lyrics, music videos, reggae magazines, travel writing, and fiction. He illuminates issues of race, ethnicity, gender, sexuality, and class as he discusses topics ranging from the cultural capital that Japanese dancehall artists amass by immersing themselves in dancehall culture in Jamaica, New York, and England, to the use of Rastafari as a means of critiquing class difference, consumerism, and the colonial pasts of the West and Japan. Encompassing the reactions of Jamaica's artists to Japanese appropriations of Jamaican culture, as well as the relative positions of Jamaica and Japan in the world economy, "Babylon East" is a rare ethnographic account of Afro-Asian cultural exchange and global discourses of blackness beyond the African diaspora.

This book examines the relation between bodies and political economies at micro and macro levels. It stands in the space between ends and beginnings - some long-desired, such as the end of capitalism and racism, and others long-dreaded, such as the climate catastrophe - and reimagines what the world can be like instead. It offers an original investigation into the relation between performance, dance, and political economy, looking at the points where politics, economics, ethics, and culture intersect. Arising from live conversations and exchanges among the contributors, this book is written in an interdisciplinary and dialogical manner by leading scholars and artists in the fields of Performance Studies, Dance, Political Theory, Economics, and Social Theory: Marc Arthur, Melissa Blanco Borelli, Anita Gonzalez, Alexandrina Hemsley, Jamila Johnson-Small, Elena Loizidou, Tavia Nyong'o, Katerina Paramana, Nina Power, and Usva Seregina. Their critical and creative examinations of the relation between bodies and political economy offer insights for both imagining and materializing a world beyond the present.

Dieses Buch ist nicht aus der Absicht entstanden, eine Physiologie der Singstimme zu schreiben, die nur eine Wiederholung bekannter Tat sachen in veranderter Form mit entsprechenden Erganzungen sein kannte. J ene Tatsachen werden im groBen und ganzen vorausgesetzt. Auf friihere Arbeiten muBte nur dort zuriickgegriffen werden, wo die bisherigen Handbiicher Liicken aufweisen, sei es in Darstellung der Ent wicklung einer Lehre, sei es in Literaturangaben, also um der geschicht lichen Gerechtigkeit willen. Der Kunstgesang erscheint uns trotz der bisherigen physiologischen Arbeit noch als ein ungelastes und schwieriges Problem. Vielleicht wird die experimentelle Phonetik dessen Lasung ermaglichen. Inwieweit mir dieser Versuch einer Phonetik des Kunstgesangs gelungen sei, mage der - physiologisch vorgebildete - Leser beurteilen und er mage dabei beriicksichtigen, welche Schwierigkeiten einem solchen Unternehmen entgegenstehen. Miinchen, Weihnachten 1922. lU. Nadoleczny. Inhaltsverzeichnis. Seite Einleitung. . . . . . . . 1 I. Untersuchungsapparate . 6 II. Untersuchungsmethodik 8 Atembewegungen der Brust, des Bauches und des Kehlkopfs, die "Ruhekurve." S. 10. III. Die Versuchspersonen, ihr Vorstellungstypus und ihre Singstimmen. . . . . . . . . . . . . . . . . . . . . . . .. 15 Untersuchungsbefundederoberen Luftwege. S. 16. - Vorstellungs. typus. S. 18. - Stimmumfange und Stimmgattungen. S. 25. - Register der Gesangstimme. S. 33. - Registerdefinition. S. 45. IV. Inneres Singen. Atem. und Kehlkopfbewegungen beim Horen und Vorstellen von Tonen und Gesangskliingen . . . . . . . . . . . 46 Bisherige Untersuchungen der Atembewegungen. S.46. - Kehl. kopfbewegungen. S. 48. - Frage der Bewegungsvorstellungen. S. 50. - Eigene Versuchsanordnung. S. 52. - BerechnungsverIahren. S. 53 . ...., ..."

In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti's conceptually forceful Dance Constructions had premiered in Yoko Ono's loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer-all with Jewish roots-found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art. Published in association with the Art, Design & Architecture Museum, University of California, Santa Barbara. Exhibition dates: Art, Design & Architecture Museum, University of California, Santa Barbara: January 17-April 30, 2017 New York Public Library for the Performing Arts: May 24-September 16, 2017 Events: Pillowtalks, Jacob's Pillow, Becket, MA: July 1, 2017