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This book examines the globalization of belly dance and the
distinct dancing communities that have evolved from it. The history
of belly dance has taken place within the global flow of
sojourners, immigrants, entrepreneurs, and tourists from the
nineteenth to the twenty-first century. In some cases, the dance is
transferred to new communities within the gender normative
structure of its original location in North Africa and the Middle
East. Belly dance also has become part of popular culture's
Orientalist infused discourse. The consequence of this discourse
has been a global revision of the solo dances of North Africa and
the Middle East into new genres that are still part of the larger
belly dance community but are distinct in form and meaning from the
dance as practiced within communities in North Africa and the
Middle East.
This book includes both a description and a discussion of the
methods used by Kanriye Fujima, a member of the Fujima school of
Japan, to teach Nihon Buyon to primarily Japanese-Americans.
Sellers-Young discusses Fujima's life as a teacher in three Pacific
Northwest communities, providing an explanation of her teaching
processes and contexts of performances. Incorporating the themes
and images associated with the pieces, Sellers-Young discusses
Fujima's vital role in the maintenance of specific Japanese
cultural values. Contents: Preface; Becoming a Student; Kanriye
Fujima's Life and Traditional Japanese Dance Theatre; The Movement
and Its Aesthetic Base; The Students; The Studio: The Process of
Teaching; The Performance Elements; Contexts of Performance; Nihon
Buyo: From Japan to the Pacific Northwest; Appendices: The Dances
and Program Notes of Fujinami-Kai; The Ten Most Taught Dances in
Each Age Category; References; List of Illustrations; Tables and
Charts.
This book examines the globalization of belly dance and the
distinct dancing communities that have evolved from it. The history
of belly dance has taken place within the global flow of
sojourners, immigrants, entrepreneurs, and tourists from the
nineteenth to the twenty-first century. In some cases, the dance is
transferred to new communities within the gender normative
structure of its original location in North Africa and the Middle
East. Belly dance also has become part of popular culture's
Orientalist infused discourse. The consequence of this discourse
has been a global revision of the solo dances of North Africa and
the Middle East into new genres that are still part of the larger
belly dance community but are distinct in form and meaning from the
dance as practiced within communities in North Africa and the
Middle East.
This is a collection of works by internationally recognized women
leading the field of dance research and spirituality across the
globe. Building on current soulful research scholarship in the
discipline, these authors offer extensive and detailed research
into spirituality, dance, gender, religion, somatics and
women-centred dance research. Written by women dance scholars in
higher education, this evocative and illuminating work highlights a
growing discourse on gendered leadership in dance research.
Spiritual Herstories provides new pathways and innovative research
methods that respond to the educational needs of women emerging in
male-centric socio-historic research traditions.
Dancer/scholars from around the world have contributed essays on
belly dance to this book. They all carefully consider the
transformation of an improvised folk form from North Africa and the
Middle East into a popular global dance practice. The essays
explore the differences between the solo improvisational forms of
North Africa and the Middle East, often referred to as raqs sharki,
which are part of family celebrations, and the numerous globalised
versions of this dance form, belly dance, derived from the movement
vocabulary of North Africa and the Middle East but with a variety
of performance styles distinct from its site of origin. Local
versions of belly dance have grown and changed along with the role
that dance plays in the community. The global evolution of belly
dance is an inspiring example of the interplay of imagination, the
internet and the social forces of local communities.
Dance intersects with ethnicity in a powerful variety of ways and
at a broad set of venues. Dance practices and attitudes about
ethnicity have sometimes been the source of outright discord, as
when African Americans were - and sometimes still are - told that
their bodies are 'not right' for ballet, when Anglo Americans
painted their faces black to perform in minstrel shows, when 19th
century Christian missionaries banned the performance of particular
native dance traditions throughout much of Polynesia, and when the
Spanish conquistadors and church officials banned sacred Aztec
dance rituals. More recently, dance performances became a locus of
ethnic disunity in the former Yugoslavia as the Serbs of Bosnia
attended dance concerts but only applauded for the Serbian dances,
presaging the violent disintegration of that failed state. The
Oxford Handbook of Dance and Ethnicity brings together scholars
from across the globe in an investigation of what it means to
define oneself in an ethnic category and how this category is
performed and represented by dance as an ethnicity.
Newly-commissioned for the volume, the chapters of the book place a
reflective lens on dance and its context to examine the role of
dance as performed embodiment of the historical moments and
associated lived identities. In bringing modern dance and ballet
into the conversation alongside forms more often considered ethnic,
the chapters ask the reader to contemplate previous categories of
folk, ethnic, classical, and modern. From this standpoint, the book
considers how dance maintains, challenges, resists or in some cases
evolves new forms of identity based on prior categories.
Ultimately, the goal of the book is to acknowledge the depth of
research that has been undertaken and to promote continued research
and conceptualization of dance and its role in the creation of
ethnicity. Dance and ethnicity is an increasingly active area of
scholarly inquiry in dance studies and ethnomusicology alike and
the need is great for serious scholarship to shape the contours of
these debates. The Oxford Handbook of Dance and Ethnicity provides
an authoritative and up-to-date survey of original research from
leading experts which will set the tone for future scholarly
conversation.
Movement: Onstage and Off is the complete guide for actors to the
most effective techniques for developing a fully expressive body.
It is a comprehensive compilation of established fundamentals, a
handbook for movement centered personal growth and a guide to
helping actors and teachers make informed decisions for advanced
study. This book includes: fundamental healing/conditioning
processes essential techniques required for versatile performance
specialized skills various training approaches and ways to frame
the actor's movement training. Using imitation exercises to sharpen
awareness, accessible language and adaptable material for solo and
group work, the authors aim to empower actors of all levels to
unleash their extraordinary potential.
A far-reaching and engaging overview of the role of narrative in
dance and theatre performance, bringing together chapters written
by an international range of scholars and subsequently creating a
critical dialogue for approaching this fundamental topic within
performance studies. Drawing on historical and contemporary
examples of a variety of different performance genres, the book
will provide a method for exploring the context of a particular
form or artist and enhance students' ability to critically reflect
on performance.
A far-reaching and engaging overview of the role of narrative in
dance and theatre performance, bringing together chapters written
by an international range of scholars and subsequently creating a
critical dialogue for approaching this fundamental topic within
performance studies. Drawing on historical and contemporary
examples of a variety of different performance genres, the book
will provide a method for exploring the context of a particular
form or artist and enhance students' ability to critically reflect
on performance.
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