Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.

Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.

Examines the history of one of the best known dramatic dance performance practices on Bali and its connection with cultural tourism. The kecak is one of the best-known dramatic dance performance practices on Bali. Based on the ancient Indian Ramayana epic, it is performed by an ensemble of male and female solo dancers and accompanied by a hundred men who function as both musicians and living scenery. Since its creation in the 1930s, the kecak has been primarily a tourist performance. Drawing on over twenty years of fieldwork and meticulous archival study, Kendra Stepputat provides here a comprehensive study of the history, form, and cultural significance of the kecak. The first part of the book focuses on the kecak in its present form, including musical, choreographic, and dramatic elements. The connection between cultural tourism on Bali and kecak performance practice is analyzed in detail, including the dependency between tourism professionals and artists and ways of promoting the kecak. Tourists' perspectives on the kecak are addressed separately. The second part deals with the genesis and development of the kecak from the 1930s onward, exploring how it became and stayed a tourist genre for more than eighty years.