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People all over the world dance traditional and popular dances that
have been staged for purposes of representing specific national and
ethnic groups. Anthony Shay suggests these staged dance productions
be called "ethno identity dances", especially to replace the term
"folk dance," which Shay suggests should refer to the traditional
dances found in village settings as an organic part of village and
tribal life. Shay investigates the many motives that impel people
to dance in these staged productions: dancing for sex or dancing
sexy dances, dancing for fun and recreation, dancing for profit -
such as dancing for tourists - dancing for the nation or to
demonstrate ethnic pride. In this study Shay also examines belly
dance, Zorba Dancing in Greek nightclubs and restaurants, Tango,
Hula, Irish step dancing, and Ukrainian dancing.
People all over the world dance traditional and popular dances that
have been staged for purposes of representing specific national and
ethnic groups. Anthony Shay suggests these staged dance productions
be called "ethno identity dances", especially to replace the term
"folk dance," which Shay suggests should refer to the traditional
dances found in village settings as an organic part of village and
tribal life. Shay investigates the many motives that impel people
to dance in these staged productions: dancing for sex or dancing
sexy dances, dancing for fun and recreation, dancing for profit -
such as dancing for tourists - dancing for the nation or to
demonstrate ethnic pride. In this study Shay also examines belly
dance, Zorba Dancing in Greek nightclubs and restaurants, Tango,
Hula, Irish step dancing, and Ukrainian dancing.
This book is about the folk: the folk in folk dance, the folk in
folklore, the folk in folk wisdom. When we see folk dance on the
stage or in a tourist setting, which is the way in which many of us
experience folk dance, the question arises are these the "real
folk" performing their authentic dances? Or are they urban, well
trained, carefully-rehearsed professional dancers who make their
livelihood as representatives of a specific nation-state acting as
the folk? Or something in between? This study delves more deeply
into the folk, their origins, their identities in order to know the
source of inspiration for ethno identity dances - dances prepared
for the stage and the ballroom and for public performances from
ballet, state folk dance ensembles and their amateur emulators,
immigrant folk dance group performances, and tourist presentations.
These dances, unlike modern dance, ballet, or most vernacular
dances, always have strong ethnic references. It will also look at
a gallery of choreographers and artistic directors across a wide
spectrum of dance genres.
Assistive Technology Service Delivery: A Practical Guide for
Disability and Employment Professionals provides professionals
working in vocational rehabilitation with the guidelines and
methodologies they need to carry out their daily work at a high
standard. Crucially, the techniques and tools described in the book
are based on evidence gathered in rigorous research. Chapters cover
an introduction to the accommodations system, the role of assistive
technology as an accommodation and evidence-based practice in
vocational rehabilitation, the service delivery process, from
referral, through technology procurement and implementation, to the
monitoring of outcomes. Drawing on their extensive experience, the
authors then present techniques, tools and tips for assistive
technology service delivery, with illustrative case study examples.
Written with practicing assistive technology professionals and
students in mind, this book translates technical knowledge into
content that professionals can understand and readily apply.
Everyone who viewed the opening ceremonies of the 2008 Beijing
Olympic Games can understand the power of dance and mass movement
in the service of politics. While examples of such public
performances and huge festivals are familiar in Nazi Germany, the
former Soviet Union and today's North Korea, this new book
addresses the lesser known examples of Spain under Franco, the
Dominican Republic, Iran, Croatia and Uzbekistan, all of which have
been subjected to various political regimes. Dance and
choreographed mass movement is the newest field of serious research
in dance studies, particularly in the fields of politics and
international relations and gender and sexuality. The author uses
dance as a lens through which to study political, ethnic, and
gendered phenomena so that the reader grasps that dance constitutes
an important non-verbal lens for the study of human behaviour. This
is the first study on dance and political science to focus
specifically on authoritarian regimes. It is a significant and
original contribution to scholarship in the field, with the key
studies drawn from a variety of different geographical and
historical backgrounds. In Spain under Franco, the Women's Section
of the fascist Falange created a folk dance program that toured
widely and through the performance of Spanish regional folk dances
performed by virginal young Spanish women, embodying Catholic
purity, permitted the regime to re-enter the world of polite
diplomacy. The Dominican Republic dictator, Rafael Trujillo,
himself a gifted dancer, raised the popular folk and vernacular
dance, the merengue, to the level of the "national" dance, which
became a symbol of his regime and Dominican identity, which
merengue it still maintains. For over a thousand years, Croatia,
has endured a series of authoritarian regimes - Hapsburg, Napoleon,
the Yugoslav royal dictatorship, fascist, Josip Broz Tito's
communist regime, Franjo Tudjaman - that ruled that small nation.
For over 70 years, Lado, the National Folk Dance Ensemble of
Croatia, has served as "the light of Croatian identity." Through
its public performances of folk dances and music, Lado has become
the face of a series of different regimes. In Iran, dance became
banned under the Islamic Republic after serving the Pahlavi regime
as a form of representation of its peasant population and its
historic Persian identity. Uzbekistan currently has expanded the
role of the invented tradition of Uzbek "classical" dance, created
during the soviet period, as a representation of Uzbek identity, in
national festivals. Thus, through these examples, the reader will
see how dance and mass movement have become important as political
means for a variety of authoritarian regimes to represent
themselves. Primary readership will be dance scholars; particularly
the growing number interested in ethno-identity dances of the
second half of the twentieth-century Will be of interest to
academic libraries and departments, with valuable information and
interest also for scholars of ethnology, anthropology, cultural
studies, history.
While dance has always been as demanding as contact sports,
intuitive boundaries distinguish the two forms of performance for
men. Dance is often regarded as a feminine activity, and men who
dance are frequently stereotyped as suspect, gay, or somehow
unnatural. But what really happens when men dance?
When Men Dance offers a progressive vision that boldly articulates
double-standards in gender construction within dance and brings
hidden histories to light in a globalized debate. A first of its
kind, this trenchant look at the stereotypes and realities of male
dancing brings together contributions from leading and rising
scholars of dance from around the world to explore what happens
when men dance. The dancing male body emerges in its many contexts,
from the ballet, modern, and popular dance worlds to stages in
Georgian and Victorian England, Weimar Germany, India and the
Middle East. The men who dance and those who analyze them tell
stories that will be both familiar and surprising for insiders and
outsiders alike.
While dance has always been as demanding as contact sports,
intuitive boundaries distinguish the two forms of performance for
men. Dance is often regarded as a feminine activity, and men who
dance are frequently stereotyped as suspect, gay, or somehow
unnatural. But what really happens when men dance?
When Men Dance offers a progressive vision that boldly articulates
double-standards in gender construction within dance and brings
hidden histories to light in a globalized debate. A first of its
kind, this trenchant look at the stereotypes and realities of male
dancing brings together contributions from leading and rising
scholars of dance from around the world to explore what happens
when men dance. The dancing male body emerges in its many contexts,
from the ballet, modern, and popular dance worlds to stages in
Georgian and Victorian England, Weimar Germany, India and the
Middle East. The men who dance and those who analyze them tell
stories that will be both familiar and surprising for insiders and
outsiders alike.
Over the past fifty years national dance companies from Turkey,
Egypt, Mexico, Greece, the former USSR and Croatia have dominated
concert stages throughout the world. Anthony Shay makes coherent
sense of these national programs, which have previously received
scant academic attention. Specifically, he looks at the ways
through which these companies spread political, ethnic and cultural
messages by accruing symbolic and cultural capital for their
respective nation-states. In his analysis, Shay draws on cultural
studies, political science and anthropology to create a work that
cuts across disciplines.
As the first book to address the topic of state-sponsored folk
dance ensembles and their structures, Choreographic Politics
examines the repertoires, performances and choreographic strategies
of these companies within the political, social, gendered and
ethnic contexts in which each company was created. In addition,
Shay's study includes a look at music, costumes, and various
artistic directors and choreographers.
This study describes and analyzes the phenomenal popularity of
exotic dance forms among mainstream Americans. Throughout the
twentieth century and especially since 1950, millions of Americans
have begun learning and performing various Balkan dances, the
tango, and other Latin American dances, along with the classical
dances of India, Japan, and Indonesia.While most previous studies
in dance ethnography and anthropology have focused specifically on
""dancing in the field,"" or the dancing that native dancers do in
their own environments, this study turns the tables to examine the
ways in which ethnic dancing has allowed many Americans to create
more exciting and romantic identities through dancing the dances of
the ""exotic other,"" if only within the framed moment of a
one-time dance lesson or performance. Throughout the work, the
author describes the uniquely American enthusiasm for learning
exotic dances, describing specific deficiencies in the American
cultural identity that have led massive numbers of Americans to
seek new or alternative identities through the various exotic dance
genres.
Throughout its history, the United States has become a new home for
thousands of immigrants, all of whom have brought their own
traditions and expressions of ethnicity. Not least among these
customs are folk dances, which over time have become visual
representations of cultural identity. Naturally, however, these
dances have not existed in a vacuum. They have changed - in part as
a response to ever-changing social identities, and in part as a
reaction to deliberate manipulations by those within as well as
outside of a particular culture. Compiled in great part from the
author's own personal dance experience, this volume looks at how
various cultures use dance as a visual representation of their
identity, and how ""traditional"" dances change over time. It
discusses several ""parallel layers"" of dance: dances performed at
intra-cultural social occasions, dances used for representation or
presentation, and folk dance performances. Individual chapters
center on various immigrant cultures. Chiefly the work focuses on
cultural representation and how it is sometimes manipulated. Key
folk dance festivals in the United States and Canada are reviewed.
Interviews with dancers, teachers, and others offer a first-hand
perspective. An extensive bibliography encompasses concert programs
and reviews as well as broader scholarly sources.
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