By Theresa Jill Buckland

This groundbreaking assortment combines ethnographic and ancient recommendations to bare how dance performs an important cultural roles in a variety of areas of the realm, together with Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays discover a stability among previous and current and think about how dance and physically practices are center id and cultural creators. attaining past the mostly Eurocentric view of dance, Dancing from earlier to give opens a global of discussion over the function dance performs in forming and expressing cultural identities around the globe.

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Extra resources for Dancing from Past to Present: Nation, Culture, Identities (Studies in Dance History)

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Emerson, Rachel I. Fretz, and Linda L. : University of Cornell Press, 1990). As an example of classic modes of documentation in folklore studies, see Kenneth S. : Folklore Associates, 1964). 34. See, for example, Joann W. Kealiinohomoku, “A Comparative Study of Dance as a Constellation of Motor Behaviors among African and United States Negroes,” in Dance Research Annual, VII: Reflections and Perspectives on Two Anthropological Studies of Dance, ed. Adrienne Kaeppler (New York: CORD, 1976), 1–179; Theresa Buckland, “Dance, Technology, and Metaphors of Modernity,” in International Academic Conference on Dance: The Challenge and the Message in Dance, ed.

38. Brenda M. Farnell, “Ethno-graphics and the Moving Body,” Man 29, part 4 (1994): 936–37. Sklar in this book presents a theoretical case for the method. 39. Ness, “Being a Body in a Cultural Way,” 139. 40. Mark Hobart, “As They Like It: Overinterpretation and Hyporeality in Bali,” in The Problem of Context, ed. Roy Dilley (New York: Berghahn Books, 1999), 112–13. 41. : Wesleyan University Press, 2002). There is a growing literature on this phenomenon, and the nature of transformation from field to stage is diverse.

Carr (Berlin: Mouton de Gruyter, 1997), 929–32; and Jane C. Desmond, “Embodying Difference: Issues in Dance and Cultural Studies,” in Meaning in Motion: New Cultural Studies of Dance, ed. Jane C. Desmond (Durham: Duke University Press, 1997), 29–54. 35. See Yvon Guilcher, “Du témoignage au document: Nécessité de la critique,” La Danse et ses sources, actes du colloque, Toulouse 31 Octobre 1992, ISATIS Cahiers d’Ethnomusicologue Régionale, no. 2 (Toulouse: Conservatoire Occitan, Centre des Musiques Traditionnelles en Midi-Pyrénées, 1992), 45–48; and in the same volume, Theresa Buckland, “Le barbare et le pittoresque: Figures de danse d’un monde en movement,” 15–16.

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