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Dancing Bahia is an edited collection that draws together the work of leading scholars, artists, and dance activists from Brazil, Canada, and the United States to examine the particular ways in which dance has responded to socio-political notions of race and community, resisting stereotypes, and redefining African Diaspora and Afro-Brazilian traditions. Using the Brazilian city of Salvador da Bahia as its focal point, this volume brings to the fore questions of citizenship, human rights, and community building. The essays within are informed by both theory and practice, as well as black activism that inspires and grounds the research, teaching, and creative output of dance professionals from, or deeply connected to, Bahia.
Now and then, you still can see the tattered remains of a bumper sticker exclaiming: “If you remember the ’60s, you weren’t there!” But Steven P. Unger is an exception to the rule—he took notes. As a result, his novel Dancing in the Streets is replete with unforgotten and unforgettable images of events and scenes that have long been lost in a smoke-filled haze. From the Merry Pranksters’ Wavy Gravy teaching breathing lessons outside Nixon’s first Inaugural Ball to a near-fatal encounter with Charles de Gaulle’s Republican Guard in Paris, there are compelling scenes from beginning to end no less cinematically vivid for the fact that they’re real. And while the story-chapters of Dancing in the Streets have more than just a ring of truth to them along with generous helpings of riotous comedy, there is also a compelling mystery haunting Unger’s alter ego, Steven Strazza: a deathbed revelation that leads to the discovery of long-buried secrets of murders affecting families on three different continents.
The essays in this dynamic compilation are a testament to dance as a healing art. Widely interdisciplinary in nature and written by women dancers from around the world, they illustrate a rich array of dance practices, cultures, and disciplines and show how this expressive therapy can be both empowering and exhilarating. The women’s narratives all share a deep appreciation for the connection between mental, spiritual, and physical dimensions, offering dance as a transformative power of renewing and rebuilding that bond. Both personal and professional, the stories weave a vivid tapestry of lived experiences and insights, balance, and a community healed by dance.
This book focuses on the myriad ways that people collectively remember or forget shared pasts through popular dance. In dance classes, nightclubs, family celebrations, tourist performances, on television, film, music video and the internet, cultural memories are shared and transformed by dancing bodies adapting yesterday’s steps to today’s concerns. The book gathers emerging and seasoned scholarly voices from a wide range of geographical and disciplinary perspectives to discuss cultural remembering and forgetting in diverse popular dance contexts. The contributors ask: how are Afro-diasporic memories invoked in popular dance classes? How are popular dance genealogies manipulated and reclaimed? What is at stake for the nation in the nationalizing of folk and popular dances? And how does mediated dancing transmit memory as feelings or affects? The book reveals popular dance to be vital to cultural processes of remembering and forgetting, allowing participants to pivot between alternative pasts, presents and futures.
In Brazil, images and ideas of Africa have been historically linked to the northeastern state of Bahia, more specifically with the former colonial capital and port city of Salvador. While the city boasts a dense population of people of African or mixed African and European descent, a powerful way that Bahia's blackness has historically been confirmed and perpetuated has been through the continued reproduction of symbols of Africa, both stigmatized and valorized. An essential and insightful medium through which this Bahian Africa can be seen clearly in Salvador is through the city's dance culture. This master's thesis analyzes the way imagined African symbols have been consumed, appropriated, and authenticated through particular embodied dance forms in Salvador, Bahia, Brazil. This imagined Africa, while both feared and adored, has been effectively re-imagined, consumed, and performed many times in Bahia. This consumption of imagined symbols--both traditional and local, as well as exotic and African--has and continues to solidify stereotypes of Africa as a symbolic form loaded with complex and often contradictory notions of authenticity, one that can be seen as a powerful simulacrum with a life of its own, potentially devoid of any true origin.
Lighting Dance pioneers the discussion of the ability of lighting design to foreground shadow in dance performances. Through a series of experiments integrating light, shadow, and improvised dance movement, it highlights and analyses what it advances as an innovative expression of shadow in dance as an alternative to more conventional approaches to lighting design. Different art forms, such as painting, film, and dance pieces from Loie Fuller, the Russell Maliphant Dance Company, Elevenplay, Pilobolus, and the Tao Dance Theater served to inspire and contextualise the study. From lighting to psychology, from reviews to academic books, shadows are examined as a symbolic and manipulative entity. The book also presents the dance solo Sombreiro, which was created to echo the experiments with light, shadow, and movement aligned to an interpretation of cultural shadow (Jung 1954, in Samuels, Shorter, and Plaut 1986; Casement 2006; Ramos 2004; Stein 2004; and others). The historical development of lighting within dance practices is also outlined, providing a valuable resource for lighting designers, dance practitioners, and theatre goers interested in the visuality of dance performances.
This study describes and analyzes the phenomenal popularity of exotic dance forms in America. Throughout the twentieth century and especially since 1950, millions 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. Most studies in dance ethnography and anthropology have focused specifically on "dancing in the field," or the dancing that native dancers do. This study, by contrast, examines the ways in which ethnic dancing has allowed many Americans to create more exciting, "exotic" and romantic identities. The author describes the uniquely American enthusiasm for exotic dances, and cites specific deficiencies in the U.S. cultural identity that have led many people to seek new feelings and experiences through exotic dance genres.
The popularity and profile of African dance have exploded across the African diaspora in the last fifty years. Hot Feet and Social Change presents traditionalists, neo-traditionalists, and contemporary artists, teachers, and scholars telling some of the thousands of stories lived and learned by people in the field. Concentrating on eight major cities in the United States, the essays challenges myths about African dance while demonstrating its power to awaken identity, self-worth, and community respect. These voices of experience share personal accounts of living African traditions, their first encounters with and ultimate embrace of dance, and what teaching African-based dance has meant to them and their communities. Throughout, the editors alert readers to established and ongoing research, and provide links to critical contributions by African and Caribbean dance experts. Contributors: Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne Daniel, Charles “Chuck” Davis, Esailama G. A. Diouf, Indira Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu Osumare, Amaniyea Payne, William Serrano-Franklin, and Kariamu Welsh
"First published in 2000 by Pluto Press, London, England"--T.p. verso.