Embodied Nostalgia is a collection of interlocking case studies that focus on how social dance in musical theatre brings forth the dancer on stage as a site of embodied history, cultural memory, and nostalgia, and asks what social dance is doing performatively, dramaturgically, and critically in musical theatre. The case studies in this volume are all Broadway musicals set during the Jazz Age (1910-1950), however, performed and produced after that time, creating a spectrum of nostalgic impulses that are interrogated for social and political resonance and meaning. All reflect the fractures or changes in the social dance when brought to the stage and expose the complexities of the embodied nostalgia – broadly interpreted as the physicalizing of community memories, longings, and historical meaning – the dances carry with them. Particular attention is focused on the Black ownership of the social dances and the subsequent appropriation, cultural theft, and forgotten legacies. By approaching musical theatre through this lens of social dance––always already deeply connected to notions of class and race––and the politics of choreography therein, a unique and necessary method to describing, discussing, and critically evaluating the body in motion in musical theatre is put forth.
This book explores what it means to be and become-at-home in theological perspective, located in the context of a youth club. Drawing on ethnographic research, Phoebe Hill presents an account of what an authentic Christian hospitality could look like in a youth setting, and the ways in which the young people – the strangers at the door – might enable the Christian youth worker to become more fully at home. Discourses around Christian hospitality often unwittingly perpetuate implicit power imbalances. The youth club offers a context for Christian hospitality that ‘tips’ the power in favour of the young people who attend, enabling the youth leaders to share and create home with young people in a distinctive way. As young people leave the Church in droves, the Church faces the urgent and daunting task of finding new ways of being with young people on their own terms; this book offers one solution. Hill argues that homecoming is an essential task of humanity. We are connected in this common pilgrimage and the need to find places and spaces where we can be at home. Becoming at home may be harder than ever before; numerous sociological, philosophical and theological factors are compromising our ability to dwell in the contemporary world.
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