He also addresses concerns about how dance performance is documented, including issues around spectatorship and the display of sexuality, the relationship of Ailey's dances to civil rights activism, and the establishment and maintenance of a successful, large-scale Black Arts institution."--Jacket.
Few will dispute the profound influence that African American music and movement has had in American and world culture. Dancing Many Drums explores that influence through a groundbreaking collection of essays on African American dance history, theory, and practice. In so doing, it reevaluates "black" and "African American " as both racial and dance categories. Abundantly illustrated, the volume includes images of a wide variety of dance forms and performers, from ring shouts, vaudeville, and social dances to professional dance companies and Hollywood movie dancing. Bringing together issues of race, gender, politics, history, and dance, Dancing Many Drums ranges widely, including discussions of dance instruction songs, the blues aesthetic, and Katherine Dunham’s controversial ballet about lynching, Southland. In addition, there are two photo essays: the first on African dance in New York by noted dance photographer Mansa Mussa, and another on the 1934 "African opera," Kykunkor, or the Witch Woman.
This book depicts the Cherokees' ancient culture and lifestyle, their government, dress, and family life. Mails chronicles the fundamentals of vital Cherokee spiritual beliefs and practices, their powerful rituals, and their joyful festivals, as well as the story of the gradual encroachment that all but destroyed their civilization.
There has long been a need to introduce performing-arts enthusiasts and students to the fascinating field of iconography, both as manifested in art history and in its more pragmatic or applied forms. Yet relatively little systematic effort has been made to collect and interpret centuries of such visual evidence in the light of the best available art-historical information, combined with corroborating textual documentation and insights from the histories of performance disciplines. Aspiring iconographers of the performing arts need to be aware that there are often several levels of interpretation which great works of visual art will sustain. This book explores these levels of interpretation: a surface or literal reading, a deeper reading of the work which seeks to enter the mind of the artist and asks how and why he put a given work together, and the deepest reading of the work relating it to the artistic traditions and culture in which the artist lived. In expounding on these levels of iconographic interpretations four discourses by scholars active in the study of visual records are given in relation to traditions, techniques, and trends: performance in general (Katritzky), music (Heck), theatre (Erenstein), and dance (Smith). Effort is made to keep abreast of modern technology influencing iconographic representations as on the Internet and virtual reality.Thomas F. Heck is Professor of Musicology and Head of the Music and Dance Library at the Ohio State University.
In Peyote and the Yankton Sioux, Thomas Constantine Maroukis focuses on Yankton Sioux spiritual leader Sam Necklace, tracing his family’s history for seven generations. Through this history, Maroukis shows how Necklace and his family shaped and were shaped by the Native American Church. Sam Necklace was chief priest of the Yankton Sioux Native American Church from 1929 to 1949, and the four succeeding generations of his family have been members of the Church. As chief priest, Necklace helped establish the Peyote religion firmly among the Yankton, thus maintaining cultural and spiritual autonomy even when the U.S. government denied them, and American Indians generally, political and economic self-determination. Because the message of peyotism resonated with Yankton pre-reservation beliefs and, at the same time, had parallels with Christianity, Sam Necklace and many other Yankton supported its acceptance. The Yanktons were among the first northern-plains groups to adopt the Peyote religion, which they saw as an essential corpus of spiritual truths.
Haitian Creole (HC) is spoken by approximately 11,000,000 persons in Haiti and in diaspora communities in the United States and throughout the Caribbean. Thus, it is of great utility to Anglophone professionals engaged in various activities—medical, social, educational, welfare— in these regions. As the most widely spoken and best described creole language, a knowledge of its vocabulary is of interest and utility to scholars in a variety of disciplines. The English-Haitian Creole Bilingual Dictionary (EHCBD) aims to assist anglophone users in constructing written and oral discourse in HC; it also will aid HC speakers to translate from English to their language. As the most elaborate and extensive linguistic tool available, it contains about 30 000 individual entries, many of which have multiple senses and include subentries, multiword phrases or idioms. The distinguishing feature of the EHCBD is the inclusion of translated sentence-length illustrative examples that provide important information on usage.
To the Plains Indians, the Sun Dance has traditionally been a profound religious ceremony, the highest form of worship of the Most Holy One. Thomas E. Mails was invited to attend and record in detail the Sioux Sun Dances at Rosebud and Pine Ridge. This was a singular honor no white man has been accorded before or since. The result is this groundbreaking work, illustrated with rare photographs and stunning four-color paintings.
Collaborative Form attempts to show the nature and limits of works of art that are made up of two or more artistic forms. The first task of this book is to analyze and interpret a set of such combinations. Each chapter treats one collaborative work and attempts to show that the principles of collaboration are the same, whether the components are poetry and graphic works as in Lettera Amorosa by Rene Char and George Braque, poetry and music as in Herzgewachse by Maurice Maeterlinck and Arnold Schoenberg, or more complex sets that include painting, music, dance, lighting, and drama as in Der gelbe Klang by Wassily Kandinsky, Morder, Hoffnung der frauen by Oskar Kokoschka, and Triad by Alwin Nikolais. Hines breaks down disciplinary barriers and then emphasizes the effects of the interactions between the arts. The first step, in methodology, is that of refusing to make a priori commitments to the critical methodologies of the arts involved. Each art is treated from its own perspective, and each interpretation attends to interactions of the arts rather than to the contribution of any one art. Once the collaborative works are examined, the book shows that such works are similar to other art forms. They obey the laws of temporal necessity, non-addition, multiple interpretation, and unity that any poem, painting, or musical composition might be said to obey. Unlike other arts though, collaborative forms are unique examples of the combinative effects of the arts. In the process of interpreting individual works and attempting to summarize this form, we are forced to see beyond the conventions of the constituent arts.
Ancient Greek athletics offer us a clear window on many important aspects of ancient culture, some of which have distinct parallels with modern sports and their place in our society. Ancient athletics were closely connected with religion, the formation of young men and women in their gender roles, and the construction of sexuality. Eros was, from one perspective, a major god of the gymnasium where homoerotic liaisons reinforced the traditional hierarchies of Greek culture. But Eros in the athletic sphere was also a symbol of life-affirming friendship and even of political freedom in the face of tyranny. Greek athletic culture was not so much a field of dreams as a field of desire, where fervent competition for honor was balanced by cooperation for common social goals. Eros and Greek Athletics is the first in-depth study of Greek body culture as manifest in its athletics, sexuality, and gender formation. In this comprehensive overview, Thomas F. Scanlon explores when and how athletics was linked with religion, upbringing, gender, sexuality, and social values in an evolution from Homer until the Roman period. Scanlon shows that males and females made different uses of the same contests, that pederasty and athletic nudity were fostered by an athletic revolution beginning in the late seventh century B.C., and that public athletic festivals may be seen as quasi-dramatic performances of the human tension between desire and death. Accessibly written and full of insights that will challenge long-held assumptions about ancient sport, Eros and Greek Athletics will appeal to readers interested in ancient and modern sports, religion, sexuality, and gender studies.
Winner of the Classics and Ancient History award in the Professional and Scholarly Publishing Awards given by the Association of American Publishers In this bold work, Thomas Habinek offers an entirely new theoretical perspective on Roman cultural history. Although English words such as "literature" and "religion" have their origins in Latin, the Romans had no such specific concepts. Rather, much of the sense of these words was captured in the Latin word carmen, usually translated into English as "song." Habinek argues that for the Romans, "song" encompassed a wide range of ritualized speech, including elements of poetry, storytelling, and even the casting of spells. Habinek begins with the fraternal societies, or sodalitates, which predated the Republic and endured into the Imperial era, and whose rites, although adapted over time to different deities and cults, were from the beginning centered on song (perhaps most notably in the ancient Carmen Saliare). He goes on to show how this early use of song became a paradigm for cultural reproduction throughout Roman history. Ritual mastery of the chaos of everyday life, embodied and enacted in song, produced and transmitted the beliefs on which Roman culture was founded and by which Roman communities were sustained. By the emergence of the Empire, "song," in all of its senses, served in particular to reproduce the power of the state, organizing relations of power at every level of society. The World of Roman Song presents a systematic and comprehensive approach to Roman cultural history. Informed and imaginative, this book challenges classicists, social theorists, and literary scholars to engage in a provocative discussion of the power of song.
This book is a practical and informative introduction to dance and ballet for absolute beginners ... gives lots of help in choosing classes, what to wear and warming up ... there are simple dance steps and exercises to try.
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