By S. Dodds
Applying a cultural concept technique, this book explores the connection among well known dance and cost. It lines the moving price platforms that underpin renowned dance scholarship and considers how various dancing groups articulate complicated expressions of judgment, value and value via their embodied perform.
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Additional info for Dancing on the Canon: Embodiments of Value in Popular Dance
43) relates a similar account: ‘many scholars in dance studies have produced exciting new work by bringing to bear on their research those questions and methodologies that are loosely part of “cultural studies” ’. This raises the question why cultural studies has devoted so little attention to the study of popular dance. indd 21 5/23/2011 3:16:27 PM 22 Dancing on the Canon Desmond (1997, p. 29) states that dance is ‘undervalued and undertheorized’ within academia in general and that cultural studies could benefit from a greater engagement with the subject of dance.
43) observes that ‘work on the history or representational practices of concert dance, especially modern dance and ballet’ predominates dance studies. Crease (2000, p. 5 Buckland (1999a, p. 6 Indeed, this privileging of art dance within the academy offers some explanation of why popular dance has occupied such a marginal or low position within dance scholarship: it lacked artistic legitimacy and concomitant cultural worth. In spite of the social and intellectual frameworks that seek to ensure the continuity of the art canon, its stability has been called into question over the past few decades.
1993; Johnson, 1996; Storey, 1998). In this regard the humanist legacy of the arts and humanities is evident in the constitution of cultural studies scholars as politically engaged subjects, so it is not surprising that social, political and intellectual values are inextricably linked. 6 At this stage, I conclude that cultural studies has legitimized the study of popular forms and conceives the popular as a framework of power politics. First, this informs my argument in Chapter 3 that ‘the popular’ is more appropriately understood as an approach through which to examine a range of dance practices that exist under particular conditions, than as comprising a discrete set of movement forms.