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Can small indigenous communities survive, as distinct cultural entities, in areas of great ethnic, linguistic and cultural diversity? How successful are such communities in resisting the efforts of the state and their dominant neighbours to erase cultural difference? These are some of the questions addressed in this work with reference to the small Tangsa community living in Assam in northeast India, by analysing the performance of their ethnicity at festivals.
Grassroots social movements played a major role electing left-leaning governments throughout Latin America. Subsequent relations between these states and "the streets" remain troubled. Contextualizing recent developments historically, Dangl untangles the contradictions of state-focused social change, providing lessons for activists everywhere.
The power struggle between traditionalists and progressives on a modern-day reservation is at the center of Eric Gansworth's latest work of fiction. Through the characters and their unique "voices," he deftly develops the multiple viewpoints and arguments that currently exist on many reservations. These voices include a traditional chief and a modern-day group of young adults who, as neglected children, banded together in a traditional dance group. The narrative thread that connects these characters uses the metaphor of traditional dance and its relationship to the integrity of Iroquois culture. A number of the dance group have come to work in the growing empire formed by one of their members--selling tax-free cigarettes and gasoline on reservation land. This new economic base alters the balance of power on the reservation. At the center of the conflict is Fiction Tunny, a dancer and developing love interest of a man in the smoke business. She is also the illegitimate daughter of the chief, who refuses to acknowledge her; to admit she exists would be to admit he is not fit for his role of chief. Fiction's resentment of her father and the sometimes archaic nature of his life and government are juxtaposed with the predatory nature of the entrepreneur who begins pursuing her sexually at all costs. Fiction seeks a balance, a path that will ground her identity in tradition while following her ever-changing culture into the future.
Women from all over Arkansas-left out of the civil rights granted by the post-Civil War Reconstruction Amendments-took part in a long struggle to gain the primary civil right of American citizens: voting. The state's capital city of Little Rock served as the focal point not only for suffrage work in Arkansas, but also for the state's contribution to the nationwide nonviolent campaign for women's suffrage that reached its climax between 1913 and 1920. Based on original research, Cahill's book relates the history of some of those who contributed to this victorious struggle, reveals long-forgotten photographs, includes a map of the locations of meetings and rallies, and provides a list of Arkansas suffragists who helped ensure that discrimination could no longer exclude women from participation in the political life of the state and nation.--Provided by publisher.
Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the "backstage" stories of those dances, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of the Kandyan dance of Sri Lanka. The dance, which is identified with the island's majority Sinhala ethnic group, is heavily supported by the state. Derived from the Kohomba kankariya, an elaborate village ritual performed by men of the hereditary drummer caste, the dance was adopted by the state as a symbol of traditional Sinhala culture in the postindependence period and opened to individuals of all castes. Reed's evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and women performers. Kandyan dance is characterized by an elegant and energetic style and lively displays of agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.
From one of the writers of the twentieth-century Native American Literary Renaissance comes a remarkable tale about how to acknowledge the past and take a chance on the future. Rooted in tribal-world consciousness, That Guy Wolf Dancing is the story of a young tribal wolf-man becoming a part of his not-sonatural world of non-tribal people. Twenty-something Philip Big Pipe disappears from an unsettled life he can hardly tolerate and ends up in an off-reservation town. When he leaves, he doesn’t tell anyone where he is going or what his plans, if he has any, might be. Having never taken himself too seriously, he now faces a world that feels very foreign to him. As he struggles to adapt to the modern universe, Philip, ever a “wolf dancer,” must improvise, this time to a sound others provide for him. Like the wolf, Philip sometimes feels hunted, outrun, verging on extinction. Only by moving rhythmically in a dissident, dangerous, and iconic world can Philip Big Pipe let go of the past and craft a new future.
This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text. Ebook Edition Note: Ebook edition note: Five essays have been redacted, including “The Belly Dance: Ancient Ritual to Cabaret Performance,” by Shawna Helland; “Epitome of Korean Folk Dance”, by Lee Kyong-Hee; “Juba and American Minstrelsy,” by Marian Hannah Winter; “The Natural Body,” by Ann Daly; and “Butoh: ‘Twenty Years Ago We Were Crazy, Dirty, and Mad’,”by Bonnie Sue Stein. Eleven of the 41 illustrations in the book have also been redacted.
He also addresses concerns about how dance performance is documented, including issues around spectatorship and the display of sexuality, the relationship of Ailey's dances to civil rights activism, and the establishment and maintenance of a successful, large-scale Black Arts institution."--Jacket.