By Dena Davida

Fields in movement: Ethnography within the Worlds of Dance examines the deeper meanings and resonances of inventive dance in modern tradition. The ebook contains 4 sections: tools and methodologies, autoethnography, pedagogies and artistic techniques, and choreographies as cultural and religious representations. The individuals carry an insiders perception to their bills of the character and serve as of those inventive practices, giving voice to dancers, dance lecturers, creators, programmers, spectators, scholars, and students.

foreign and intergenerational, this selection of groundbreaking scholarly study issues to a brand new path for either dance stories and dance anthropology. often the unique area of aesthetic philosophers, the paintings of dance is the following reframed as cultural perform, and its importance is printed via a refrain of voices from practitioners and insider ethnographers.

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Additional info for Fields in Motion: Ethnography in the Worlds of Dance

Sample text

And since I had undertaken this project later in life (in my fifties), seeking to refresh my professional practice in the dance world, it came as no surprise that my artistic world view was profoundly reshaped during the process. MOVING FROM INSIDER TO OUTSIDER AND BACK AGAIN As an insider working in the same artistic “community of experience” (Novack 1990: 15) as the dance event participants inhabiting my field of my study, I found it often necessary to readjust my physical and philosophical position as fieldworker, vacillating sometimes quite unexpectedly between an insider and outsider frame of mind.

Trans. Annie Suquet. ), Anthropologie de la danse et construction d’une discipline. Paris: Centre national de la danse, 2005: 159–66. Originally published as “The Non-Art of the Dance: An Essay,” in the Journal for the Anthropological Study of Human Movement 1, no. 2 (1980): 38–44. ———. ” Unpublished doctoral dissertation, Indiana University, 1976. ———. ” Folklore and Folklife: An Introduction. Chicago and London: University of Chicago Press, 1972: 381–404. ———. ” Impulse 20 (1969–70): 24–33.

Along the way, I performed, taught, worked backstage and inally claimed the métier of dance presenter. But, devoted as always to reading and inquisitive by nature, I also deepened my ties with academia throughout the decades. And so one day the life of the mind and the body dovetailed when, enrolled in a master’s program, I fell upon Kealiinohomoku’s seminal text (1969/1970) on ballet’s ethnicity, and began the ethnographic journey to understanding why I dance. KEALIINOHOMOKU’S ASSIGNMENT Suddenly, through the common denominator of ethnicity, my small contemporary dance world seemed inevitably linked to a larger world of dancers.

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