DANC_2303_Dance_Appreciation: eBooks

Capturing the vitality of California's unique indigenous cultures, this major new introduction incorporates the extensive research of the past thirty years into an illuminating, comprehensive synthesis for a wide audience. Based in part on new archaeological findings, it tells how the California Indians lived in vibrant polities, each boasting a rich village life including chiefs, religious specialists, master craftspeople, dances, feasts, and ceremonies. Throughout, the book emphasizes how these diverse communities interacted with the state's varied landscape, enhancing its already bountiful natural resources through various practices centered around prescribed burning. A handy reference section, illustrated with more than one hundred color photographs, describes the plants, animals, and minerals the California Indians used for food, basketry and cordage, medicine, and more. At a time when we are grappling with the problems of maintaining habitat diversity and sustainable economies, we find that these native peoples and their traditions have much to teach us about the future, as well as the past, of California.

In this in-depth interdisciplinary study, Jenny Tone-Pah-Hote reveals how Kiowa people drew on the tribe's rich history of expressive culture to assert its identity at a time of profound challenge. Examining traditional forms such as beadwork, metalwork, painting, and dance, Tone-Pah-Hote argues that their creation and exchange were as significant to the expression of Indigenous identity and sovereignty as formal political engagement and policymaking. These cultural forms, she argues, were sites of contestation as well as affirmation, as Kiowa people used them to confront external pressures, express national identity, and wrestle with changing gender roles and representations. Combatting a tendency to view Indigenous cultural production primarily in terms of resistance to settler-colonialism, Tone-Pah-Hote expands existing work on Kiowa culture by focusing on acts of creation and material objects that mattered as much for the nation's internal and familial relationships as for relations with those outside the tribe. In the end, she finds that during a time of political struggle and cultural dislocation at the turn of the twentieth century, the community's performative and expressive acts had much to do with the persistence, survival, and adaptation of the Kiowa nation.

"Few volumes tackle the issue of gender and dance with such currency. A work of high quality, thorough in its composition, impeccable in its rigor, and far-reaching in its approach."--Julie Kerr-Berry, Minnesota State University, Mankato   "Generous with data, this collection of accessible research will inspire a variety of emotions from anger to fascination, prompting us to question our own actions and the shape of the future of dance."--Barbara Bashaw, Rutgers University   Driven by facts and hard data, this volume reveals how gender dynamics affect the lives of dancers, choreographers, directors, students, educators, and others who are involved in the world of dance. It unpacks real issues that matter--not just to dance communities but also to broader societal trends in the West.             In these studies, dancers and dance scholars take readers into classrooms, rehearsals, performances, festivals, competitions, college dance departments, and company administrations. They ask incisive questions and analyze data to learn about the role of gender in attitudes, stereotypes, pedagogy, funding inequities, representation, casting, and body image. Dance is an important part of our larger cultural fabric, and this volume adds powerful findings to today's discussions about living in a gendered society.   Contributors: Gareth Belling | Karen Bond | Carolyn Hebert | Eliza Larson | Pamela S. Musil | Wendy Oliver | Katherine Polasek | Doug Risner | Emily Roper | Karen Schupp | Jan Van Dyke

Uses the concept of "worldmaking" to provide an introduction to American Indian philosophy.

This innovative cultural history examines wide-ranging issues of religion, politics, and identity through an analysis of the American Indian Ghost Dance movement and its significance for two little-studied tribes: the Shoshones and Bannocks. The Ghost Dance has become a metaphor for the death of American Indian culture, but as Gregory Smoak argues, it was not the desperate fantasy of a dying people but a powerful expression of a racialized "Indianness." While the Ghost Dance did appeal to supernatural forces to restore power to native peoples, on another level it became a vehicle for the expression of meaningful social identities that crossed ethnic, tribal, and historical boundaries. Looking closely at the Ghost Dances of 1870 and 1890, Smoak constructs a far-reaching, new argument about the formation of ethnic and racial identity among American Indians. He examines the origins of Shoshone and Bannock ethnicity, follows these peoples through a period of declining autonomy vis-a-vis the United States government, and finally puts their experience and the Ghost Dances within the larger context of identity formation and emerging nationalism which marked United States history in the nineteenth century.

Land is key to the operations of coloniality, but the power of the land is also the key anticolonial force that grounds Indigenous liberation. This work is an attempt to articulate the nature of land as a material, conceptual, and ontological foundation for Indigenous ways of knowing, being, and valuing. As a foundation of valuing, land forms the framework for a conceptualization of Indigenous environmental ethics as an anticolonial force for sovereign Indigenous futures. This text is an important contribution in the efforts to Indigenize Western philosophy, particularly in the context of settler colonialism in the United States. It breaks significant ground in articulating Indigenous ways of knowing and valuing to Western philosophy--not as artifact that Western philosophy can incorporate into its canon, but rather as a force of anticolonial Indigenous liberation. Ultimately, Indigenizing Philosophy through the Land shines light on a possible road for epistemically, ontologically, and morally sovereign Indigenous futures.

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.

José Limón (1908-1972) was one of the leading figures of modern dance in the twentieth century. Hailed by the New York Times as "the finest male dancer of his time" when the José Limón Dance Company debuted in 1947, Limón was also a renowned choreographer who won two Dance Magazine Awards and a Capezio Dance Award, two of dance's highest honors. In addition to directing his own dance company, Limón served as artistic director of the Lincoln Center's American Dance Theater and also taught choreography at the Juilliard School for many years. In this volume, scholars and artists from fields as diverse as dance history, art history, Mesoamerican ethnohistory, Mexican American studies, music studies, and Mexican history come together to explore one of José Limón's masterworks, the ballet La Malinche. Offering many points of entry into the dance, they examine La Malinche from various angles, such as Limón's life story and the influence of his Mexican heritage on his work, an analysis of the dance itself, the musical score composed by Norman Lloyd, the visual elements of props and costumes, the history and myth of La Malinche (the indigenous woman who served the Spanish conquistador Hernán Cortés as interpreter and mistress), La Malinche's continuing presence in Mexican American culture, and issues involved in a modern restaging of the dance. Also included in the book is a DVD written and directed by Patricia Harrington Delaney that presents the ballet in its entirety, accompanied by expert commentary that sets La Malinche within its artistic and historical context.

In this ethnography of Catholic religious practice in Fresno, California, David P. Sandell unveils ritualized storytelling that Mexican and Mexican American people of faith use to cope with racism and poverty associated with colonial, capitalist, and modern social conditions. Based on in-depth interviews and extensive field research conducted in 2000 and 2001, Sandell's work shows how people use story and religious ritual (including the Matachines dance, the Mass, the rosary, pilgrimage, and processions) to create a space in their lives free from oppression. These people give meaning to the expression "open your heart," the book argues, through ritual and stories, enabling them to engage the mind and body in a movement toward, as one participant said, "the sacred center" of their lives. Sandell argues that the storytelling represents a tradition of poetics that provides an alternative, emancipatory epistemology. Américo Paredes, for example, defined this tradition in his scholarship of border balladry. According to Paredes, storytelling with ritual elements raises a feature of performance characterized as a convivial disposition and shared sense of identity among people who call themselves Mexican not for national identification but for a cultural one, understood as "Greater Mexico." Sandell contributes to this tradition and achieves an understanding of Greater Mexico characterized by people whose stories and rituals help them find common ground, unity, and wholeness through an open heart.

This volume examines the theme of fusion in Caribbean dance from a wide range of perspectives, including its socio-cultural-historical formation. The contributions are drawn from a conference entitled “Caribbean Fusion Dance Works: Rituals of Modern Society”, which focused primarily on the Caribbean as a unique locale. However, chapters on dance fusions in other diasporic locations and the sustainability of dance as an art form are also included here in order to offer a sense of an inevitable and, in some instances, desirable evolution due to the globalizing forces that continue to influence dance.

This anthology examines the origins, meanings, and enduring power of the powwow. Held on and off reservations, in rural and urban settings, powwows are an important vehicle for Native peoples to gather regularly. Although sometimes a paradoxical combination of both tribal and intertribal identities, they are a medium by which many groups maintain important practices. nbsp; Powwow begins with an exploration of the history and significance of powwows, ranging from the Hochunk dances of the early twentieth century to present-day Southern Cheyenne gatherings to the contemporary powwow circuit of the northern plains. Contributors discuss the powwow’s performative and cultural dimensions, including emcees, song and dance, the expression of traditional values, and the Powwow Princess. The final section examines how powwow practices have been appropriated and transformed by Natives and non-Natives during the past few decades. Of special note is the use of powwows by Native communities in the eastern United States, by Germans, by gay and lesbian Natives, and by New Agers.

From the colonial period to independence and into the twenty-first century, Latin American culture has been mapped as a subordinate "other" to Europe and the United States. This collection reconsiders geographical space and power and the ways in which theatrical and performance histories have been constructed throughout the Americas. Essays bridge political, racial, gender, class, and national divides that have traditionally restricted and distorted our understanding of Latin American theatre and performance. Contributors--scholars and artists from throughout the Americas, including well-known playwrights, directors, and performers--imagine how to reposition the Latina/o Americas in ways that offer agency to its multiple peoples, cultures, and histories. In addition, they explore the ways artists can create new maps and methods for their creative visions.   Building on hemispheric and transnational models, this book demonstrates the capacity of theatre studies to challenge the up-down/North-South approach that dominates scholarship in the United States and presents a strong case for a repositioning of the Latina/o Americas in theatrical histories and practices.  

A resource for all who teach and study history, this book illuminates the unmistakable centrality of American Indian history to the full sweep of American history. The nineteen essays gathered in this collaboratively produced volume, written by leading scholars in the field of Native American history, reflect the newest directions of the field and are organized to follow the chronological arc of the standard American history survey. Contributors reassess major events, themes, groups of historical actors, and approaches--social, cultural, military, and political--consistently demonstrating how Native American people, and questions of Native American sovereignty, have animated all the ways we consider the nation's past. The uniqueness of Indigenous history, as interwoven more fully in the American story, will challenge students to think in new ways about larger themes in U.S. history, such as settlement and colonization, economic and political power, citizenship and movements for equality, and the fundamental question of what it means to be an American. Contributors are Chris Andersen, Juliana Barr, David R. M. Beck, Jacob Betz, Paul T. Conrad, Mikal Brotnov Eckstrom, Margaret D. Jacobs, Adam Jortner, Rosalyn R. LaPier, John J. Laukaitis, K. Tsianina Lomawaima, Robert J. Miller, Mindy J. Morgan, Andrew Needham, Jean M. O'Brien, Jeffrey Ostler, Sarah M. S. Pearsall, James D. Rice, Phillip H. Round, Susan Sleeper-Smith, and Scott Manning Stevens.