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This volume celebrates the significant resurgence of interest in the anthropology of music and dance in recent decades. Traversing a range Traversing a range of fascinating topics, from the reassessment of historical figures such as Katherine Dunham and John Blacking, to the contemporary salience of sonic conflict between Islamic Uyghurand the Han Chinese, the essays within Music, Dance, Anthropology make a strong argument for the continued importance of the work of ethnomusicologists and ethnochoreologists, and of their ongoing recourse to anthropological theories and practices. Case studies are offered from areas as diverse as Central Africa, Ireland, Greece, Uganda and Central Asia, and illuminate core anthropological concepts such as the nature of embodied knowledge, the role of citizenship, ritual practices, and the construction of individual and group identities via a range of ethnographic methodologies. These include the consideration of soundscapes, theuse of ethnographic filmmaking, and a reflection on the importance of close cultural engagement over many years.Taken together these contributions show the study of music and dance practices to be essential to any rounded study of social activity, in whatever context it is found. For as this volume consistently demonstrates, the performance of musicand dance is always about more than just the performance of music and dance.
Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative.
Presenting seven examples from Africa, Southeast Asia, Melanesia and Oceania, this study attempts to further the anthropological understanding of dance's social significance and critical relevance by exploring it as a reflection of social forces.
Anya Peterson Royce turns the anthropological gaze on the performing arts, attempting to find broad commonalities in performance, art, and artists across space, time, and culture. She asks general questions as to the nature of artistic interpretation, the differences between virtuosity and artistry, and how artists interplay with audience, aesthetics, and style. To support her case, she examines artists as diverse as Fokine and the Ballets Russes, Tewa Indian dancers, 17th century commedia dell'arte, Japanese kabuki and butoh, Zapotec shamans, and the mime of Marcel Marceau, adding her own observations as a professional dancer in the classical ballet tradition. Royce also points to the recent move toward collaboration across artistic genres as evidence of the universality of aesthetics. Her analysis leads to a better understanding of artistic interpretation, artist-audience relationships, and the artistic imagination as cross-cultural phenomena. Over 29 black and white photographs and drawings illustrate the wide range of Royce's cross-cultural approach. Her well-crafted volume will be of great interest to anthropologists, arts researchers, and students of cultural studies and performing arts.
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.
Harriet Cavalli, internationally recognized as one of the most talented and experienced specialists in the art of music for dancers and dance teachers, presents here the definitive book on accompaniment, as well as her personal - often humorous - look behind the scenes at the world of dance. The text is enhanced by diagrams and 83 complete musical examples, providing a wealth of repertoire choices.
Drid Williams explores dance and dance-related subjects ranging from Aboriginal and African dances to the Royal Ballet, and makes a compelling case for moving beyond the Western view of the dance as mere entertainment.
The Choctaws are among the largest and best-known Indian tribes originally of the Southeastern United States, but over the centuries they have become one of the most acculturated to white ways, known more for what they absorbed of white culture than for their own distinctive traditions. Since the removal of the greatest part of the tribe to Oklahoma in the 1830s, Euro-American acculturation has become especially dominant. Nevertheless, among the isolated group of Choctaws that remained in Mississippi after Removal and a few individuals in Oklahoma, the old tribal dances and songs have been preserved. This book discusses all aspects of the Choctaw dances and songs performed today by dance troupes in Mississippi and Oklahoma. It describes the social organization of the troupes, the construction and use of their musical instruments, and their costumes. Extensive historical information surveys the early literature on Choctaw music and dance, the divergent experiences of the Mississippi and Oklahoma Groups, and the recent movement toward cultural revival among traditionalists in both states. The choreography for each dance that survives in the Choctaw repertory is described in detail and illustrated by photographs. The book also contains an overview of Choctaw dance music, with a classification of the song and in-depth analyses of musical elements, form, and design. The structure of dance events is reconstructed here for the first time. Musical transcriptions of thirty songs are included. The authors, using a comparative approach, have focused on the relationship between contemporary performances in Oklahoma and Mississippi. Despite regional variations in performance practice, the Choctaws have sustained considerable continuity in their dance and music in this century, successfully resisting fierce pressure to assimilate and thereby lose all remaining vestiges of their culture. This is the first book-length study of Choctaw music and dance since 1943, with much new information on the dances. It will be welcomed by ethnomusicologists, dance ethnologists, students of Native American culture, anthropologists, folklorists, and anyone interested in American Indian dance.
Based on ethnographic research that author Kisliuk conducted from 1986 through 1995, this book describes BaAka songs, drum rhythms, and dance movements--and their immediate, interactive contexts--in an elegantly written narrative illustrated with many photographs, musical illustrations, and field recordings on two CDs. Key theoretical issues addressed include socioaesthetics and the politics of identity, gender relations, colonialism, and missionization.
This book celebrates the power of music, dance, and oral narrative to create identities by imaginatively connecting performers and audiences with ethnic and political groupings, global and sacred landscapes, histories and heroes, spirits and gods.Three distinct cultural eras of Mongolian society are represented. Many Mongolsare now performing publicly the diverse traditions of Old Mongolia that they practised in private following the communist revolution of 1921; some are perpetuating the Soviet transformations of those traditions introduced prior to 1990; and yet others are dipping their curly-toed boots into new performance arts as they revel in musical encounters on the global stage. By highlighting the sheer variety ofrepertories, this book illustrates the rich diversity of Mongolia's peoples andperformance arts.An accompanying compact disc contains musical examples linked to the text.Carole Pegg is ethnomusicology editor for the New Grove Dictionary of Musicand Musicians and associate lecturer in social anthropology at the University of Cambridge, England. As an ethno-musicologist and musician she has been working with nomadic groups in remote areas of Mongolia and Inner Mongolia, China, and with urban Mongols in both countries since 1987. She has also toured with Mongol musicians in England and Hong Kong.