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Provocative insights into the nature of dancing as inseparable from human vitality and distinctiveness emerge from this spiraling study of specific cultural dance traditions brought into conversation with various philosophical/theoretical perspectives centering on the topics: movement, gesture, play, masking, ritual, seduction, performance, religion; each the subject of engaging innovative analysis. The author draws on experience as dancer and academic to address contemporary issues such as gender identity development and plasticity and acuity throughout the lifespan.
The relationship between religion and dance is as old as humankind. Contemporary methods for studying this relationship date back a century. The difference between these two time frames is significant: scholars are still developing theories and methods capable of illuminating this vast history that take account of their limited place within it. A History of Theory and Method in the Study of Religion and Dance takes on a primary challenge of doing so: overcoming a conceptual dichotomy between “religion” and “dance” forged in the colonial era that justified western Christian hostility towards dance traditions across six continents over six centuries. Beginning with its enlightenment roots, LaMothe narrates a selective history of this dichotomy, revealing its ongoing work in separating dance studies from religious studies. Turning to the Bushmen of the African Kalahari, LaMothe introduces an ecokinetic approach that provides scholars with conceptual resources for mapping the generative interdependence of phenomena that appear as “dance” and/or “religion.”
"Dance as religious studies" reveals resources for the "art of liturgical dance" in terms of both performance and scholarly interpretation. This collection of methodological essays has been arranged to suggest the wide spectrum and the underlying unity of these diverse and varied approaches to understanding dance as religious studies. Part I concentrates on the relationship between liturgical dance and the scriptural traditions of Judaism and Christianity. Part II indicates the feminist possibilities for liturgical and modern dance. Part III presents a spectrum of the contemporary theory and practice of liturgical dance. The book concludes with a bibliographic survey of sources and resources available to both liturgical dancers and students of dance as religious studies.
For Native Americans, religious freedom has been an elusive goal. From nineteenth-century bans on indigenous ceremonial practices to twenty-first-century legal battles over sacred lands, peyote use, and hunting practices, the U.S. government has often act
Dance is more than an aesthetic of life – dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
Vast numbers of western youth have attached primary significance to raving and post-rave experiences. This collection of essays explores the socio-cultural and religious dimensions of the rave, 'raving' and rave-derived phenomena.
Nation Dance Religion, Identity, and Cultural Difference in the Caribbean Edited by Patrick Taylor Addresses the interplay of diverse spiritual, religious, and cultural traditions across the Caribbean. Dealing with the ongoing interaction of rich and diverse cultural traditions from Cuba and Jamaica to Guyana and Surinam, Nation Dance addresses some of the major contemporary issues in the study of Caribbean religion and identity. The book's three sections move from a focus on spirituality and healing, to theology in social and political context, and on to questions of identity and diaspora. The book begins with the voices of female practitioners and then offers a broad, interdisciplinary examination of Caribbean religion and culture. Afro-Caribbean religions, Hinduism, Judaism, Islam, and Christianity are all addressed, with specific reflections on SanterÃa, Palo Monte, Vodou, Winti, Obeah, Kali Mai, Orisha work, Spiritual Baptist faith, Spiritualism, Rastafari, Confucianism, Congregationalism, Pentecostalism, Catholicism, and liberation theology. Some essays are based on fieldwork, archival research, and textual or linguistic analysis, while others are concerned with methodological or theoretical issues. Contributors include practitioners and scholars, some very established in the field, others with fresh, new approaches; all of them come from the region or have done extensive fieldwork or research there. In these essays the poetic vitality of the practitioner's voice meets the attentive commitment of the postcolonial scholar in a dance of "nations" across the waters. Patrick Taylor, Associate Professor in the Division of Humanities and in the Graduate Programme in Social and Political Thought at York University, Toronto, is past Deputy Director of the Centre for Research on Latin America and the Caribbean and Editor-in-Chief of the Caribbean Religions Project. He is author of The Narrative of Liberation: Perspectives on Afro-Caribbean Literature, Popular Culture and Politics and co-editor of Forging Identities and Patterns of Development in Latin America and the Caribbean. His articles have appeared in Callaloo, Studies in Religion, and other scholarly journals and books. May 2001 224 pages, 1 b&w photo, 1 map, 6 1/8 x 9 1/4, bibl., index cloth 0-253-33835-2 $39.95 L / £30.50 paper 0-253-21431-9 $18.95 s / £14.50 books. Contents Acknowledgments Dancing the Nation: An Introduction,Patrick Taylor I. Spirituality, Healing and the Divine Across the Waters: Practitioners Speak, Eva Fernandez, Yvonne B. Drakes, and Deloris Seiveright How Shall We Sing the Lord's Song in a Strange Land? Constructing the Divine in Caribbean Contexts, Althea Prince Communicating with our Gods: The Language of Winti, Petronella Breinburg The Intersemiotics of Obeah and Kali Mai in Guyana, Frederick Ivor Case Religions of African Origin in Cuba: A Gender Perspective, MarÃa Margarita Castro Flores II. Theology, Society and Politics Sheba's Song: The Bible, the Kebra Nagast and the Rastafari, Patrick Taylor Themes from West Indian Church History in Colonial and Post-Colonial Times, Arthur C. Dayfoot Congregationalism and Afro-Guyanese Autonomy, Juanita de Barros Eden after Eve: Christian Fundamentalism and Women in Barbados, Judith Soares Current Evolution of Relations between Religion and Politics in Haiti, Laënnec Hurbon III. Religion, Identity, and Diaspora Jamaican Diasporic Identity: The Metaphor of Yaad, Barry Chevannes Identity, Personhood and Religion in Caribbean Context, Abrahim H. Khan SanfancÃ3n: Orientalism, Self-Orientalization, and "Chinese Religion" in Cuba, Frank F. Scherer The Diasporic Mo(ve)ment: Indentureship and Indo-Caribbean Identity, Sean Lokaisingh-Meighoo Caribbean Religions: A Selected Bibliography
In private and in public life, the ancient Greeks danced to express divine adoration and human festivity. They danced at feasts and choral competitions, at weddings and funerals, in observance of the cycles of both nature and human existence. Formal and informal dances marked the rhythms of life and death. In Dance and Ritual Play in Greek Religion, Steven Lonsdale looks at how the Greeks themselves regarded the act of dance, and how dance and related forms of ritual play in Greek religious festivals served a wide variety of functions in Greek society. The act of worship, he explains, often implied engaging in collective rites regulated by playful behavior, the most common forms of which were group hymns and choral dances.
The fourteen chapters of this book examine Roman dance by looking at its role in Roman religion, by following it into the theatre and the banquet hall, and by tracing its (metaphorical) presence in a variety of literary contexts, including rhetorical treatises, biography, and lyric poetry. These different approaches, which draw on literary texts, inscriptions, documentary papyri, the visual record, and modern reperformances, converge in illustrating a rich and vibrant dance culture which prided itself on indigenous dances no less than on its capacity to absorb, transform, or revive the dance traditions of their Etruscan or Greek neighbours. Dance was a cultural practice which was able to affirm Romanness, for instance in the case of the Salian priests, but also to raise the question of what was Roman in the first place, for instance when the originally Greek pantomime was embraced by Augustus and came to be known as "Italian style of dancing". Together the fourteen case studies offer fresh perspectives on an underexplored topic, shedding light on the manifold contexts, functions, practitioners, and appreciations of Roman dance.