Dancing To The State

Can small indigenous communities survive, as distinct cultural entities, in areas of great ethnic, linguistic and cultural diversity? How successful are such communities in resisting the efforts of the state and their dominant neighbours to erase cultural difference? These are some of the questions addressed in this work with reference to the small Tangsa community living in Assam in northeast India, by analysing the performance of their ethnicity at festivals.

In the past decade, grassroots social movements played major roles in electing left - leaning governments throughout Latin America, but subsequent relations between the streets and the states remain uneasy. In Dancing with Dynamite, award - winning journalist Benjamin Dangl explores the complex ways these movements have worked with, against, and independently of national governments.From dynamite - wielding miners in Bolivia to the struggles of landless farmers in Brazil and Paraguay, Dangl discusses the dance between movements and states in seven different Latin American countries. Using original research, lively prose, and extensive interviews with workers, farmers, and politicians, he suggests how Latin American social movement strategies could be applied internationally to build a better world now.Ben Dangl breaks the sound barrier, exploding many myths about Latin America that are all - too - often amplified by the corporate media in the United States. Read this much - needed book.'' - Amy Goodman, host of Democracy Now! Dancing with Dynamite dares to navigate the cloudy waters of Latin American social movements in the wake of the neoliberal wave, something which increasingly fewer thinkers and activists dare to do, but which turns out to be urgent.'' - Ral Zibechi, Uruguayan journalist and author of Dispersing Power; Social Movements as Anti - State Forces Dangl brings complicated politics to life by infusing them with the magic, mystery and unbridled joy that invigorate social movements and permeate Latin American life in general.'' - Kari Lydersen, author of Revolt on Goose Island; The Chicago Factory Takeover and What it Says About the Economic Crisis.

The power struggle between traditionalists and progressives on a modern-day reservation is at the center of Eric Gansworth's latest work of fiction. Through the characters and their unique "voices," he deftly develops the multiple viewpoints and arguments that currently exist on many reservations. These voices include a traditional chief and a modern-day group of young adults who, as neglected children, banded together in a traditional dance group. The narrative thread that connects these characters uses the metaphor of traditional dance and its relationship to the integrity of Iroquois culture. A number of the dance group have come to work in the growing empire formed by one of their members--selling tax-free cigarettes and gasoline on reservation land. This new economic base alters the balance of power on the reservation. At the center of the conflict is Fiction Tunny, a dancer and developing love interest of a man in the smoke business. She is also the illegitimate daughter of the chief, who refuses to acknowledge her; to admit she exists would be to admit he is not fit for his role of chief. Fiction's resentment of her father and the sometimes archaic nature of his life and government are juxtaposed with the predatory nature of the entrepreneur who begins pursuing her sexually at all costs. Fiction seeks a balance, a path that will ground her identity in tradition while following her ever-changing culture into the future.

This overview of folk dancing in the United States showcases an important historical movement and explains how folk dance communities evolved to fulfill the needs of specific groups of people over time. While the general term "folk dance" encompasses a surprising variety of specific dances, there are three major recreational communities or forms: international folk dance, modern western square dance, and contra dance. Throughout the last century, millions of people have enjoyed folk dancing as an educational and recreational activity, regardless of the particular style. Folk Dancing explains the reasons for the folk dance movement that exploded in Europe and North America in the late 19th century. It describes the clubs, camps, festivals, and communities that sprang up, and examines the culture of the movement—the music, key individuals and events, types of clothing, and influences of technologies and popular culture. The book contains authoritative, original information gleaned from the author's own research conducted with hundreds of folk dance enthusiasts across America.

Focusing on the enactment of identity in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparison of indigenous dance practices. Considering four genres of dance in which indigenous people are represented--K'iche Maya traditional dance, powwow, folkloric dance, and dancing sports mascots--the book addresses both the ideational and behavioral dimensions of identity. Each dance is examined as a unique cultural expression in individual chapters, and then all are compared in the conclusion, where striking parallels and important divergences are revealed. Ultimately, Krystal describes how dancers and audiences work to construct and consume satisfying and meaningful identities through dance by either challenging social inequality or reinforcing the present social order. Detailed ethnographic work, thorough case studies, and an insightful narrative voice make Indigenous Dance and Dancing Indian a substantial addition to scholarly literature on dance in the Americas. It will be of interest to scholars of Native American studies, social sciences, and performing arts.

Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. During and after the Second World War, modern dance and ballet thrived in New York City, a fertile cosmopolitan environment in which dance was celebrated as an emblem of American artistic and cultural dominance. In the ensuing Cold War years, American choreographers and companies were among those the U.S. government sent abroad to serve as ambassadors of American cultural values and to extend the nation's geo-political reach. Less-known is that international dance performance, or what was then-called "ethnic" or "ethnologic" dance, enjoyed strong support among audiences in the city and across the nation as well. Produced in non-traditional dance venues, such as the American Museum of Natural History, the Ethnologic Dance Center, and Carnegie Hall, these performances elevated dance as an intercultural bridge across human differences and dance artists as transcultural interlocutors. Dancing the World Smaller draws on extensive archival resources, as well as critical and historical studies of race and ethnicity in the U.S., to uncover a hidden history of globalism in American dance and to see artists such as La Meri, Ruth St. Denis, Asadata Dafora, Pearl Primus, José Limón, Ram Gopal, and Charles Weidman in new light. Debates about how to practice globalism in dance proxied larger cultural struggles over how to reconcile the nation's new role as a global superpower. In dance as in cultural politics, Americans labored over how to realize diversity while honoring difference and manage dueling impulses toward globalism, on the one hand, and isolationism, on the other.

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.