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Choreographic Politics
The first in-depth analysis of state-sponsored, professional dance ensembles.
Dancing Across Borders
This study describes and analyzes the phenomenal popularity of exotic dance forms in America. Throughout the twentieth century and especially since 1950, millions have begun learning and performing various Balkan dances, the tango, and other Latin American dances, along with the classical dances of India, Japan, and Indonesia. Most studies in dance ethnography and anthropology have focused specifically on "dancing in the field," or the dancing that native dancers do. This study, by contrast, examines the ways in which ethnic dancing has allowed many Americans to create more exciting, "exotic" and romantic identities. The author describes the uniquely American enthusiasm for exotic dances, and cites specific deficiencies in the U.S. cultural identity that have led many people to seek new feelings and experiences through exotic dance genres.
The Igor Moiseyev Dance Company
In this book Anthony Shay examines the life and works of renowned choreographer Igor Moiseyev and his dance company.
The Oxford Handbook of Dance and Ethnicity
Dance intersects with ethnicity in a powerful variety of ways and at a broad set of venues. Dance practices and attitudes about ethnicity have sometimes been the source of outright discord, as when African Americans were - and sometimes still are - told that their bodies are 'not right' for ballet, when Anglo Americans painted their faces black to perform in minstrel shows, when 19th century Christian missionaries banned the performance of particular native dance traditions throughout much of Polynesia, and when the Spanish conquistadors and church officials banned sacred Aztec dance rituals. More recently, dance performances became a locus of ethnic disunity in the former Yugoslavia as the ...
Balkan Dance
This collection of essays examines popular forms of dance in the Balkan nations, addressing the ways ethnic and national identity constitutes an important aspect of the performance of Balkan dance. Several essays examine the popularity that Balkan dances and music have found among American audiences.
Choreographing Identities
Throughout its history, the United States has become a new home for thousands of immigrants, all of whom have brought their own traditions and expressions of ethnicity. Not least among these customs are folk dances, which over time have become visual representations of cultural identity. Naturally, however, these dances have not existed in a vacuum. They have changed--in part as a response to ever-changing social identities, and in part as a reaction to deliberate manipulations by those within as well as outside of a particular culture. Compiled in great part from the author's own personal dance experience, this volume looks at how various cultures use dance as a visual representation of the...
When Men Dance
When Men Dance explores the intersection of dance and perceptions of male gender and sexuality across history and different cultural contexts. Chapters tackle the history and dilemmas that revolve around dance and notions of masculinity from a variety of dance studies perspectives, and are accompanied by fascinating personal histories that complement their themes.
Ethno Identity Dance for Sex, Fun and Profit
People all over the world dance traditional and popular dances that have been staged for purposes of representing specific national and ethnic groups. Anthony Shay suggests these staged dance productions be called “ethno identity dances”, especially to replace the term “folk dance,” which Shay suggests should refer to the traditional dances found in village settings as an organic part of village and tribal life. Shay investigates the many motives that impel people to dance in these staged productions: dancing for sex or dancing sexy dances, dancing for fun and recreation, dancing for profit - such as dancing for tourists - dancing for the nation or to demonstrate ethnic pride. In this study Shay also examines belly dance, Zorba Dancing in Greek nightclubs and restaurants, Tango, Hula, Irish step dancing, and Ukrainian dancing.
Designed for Dancing
When Americans mamboed in the kitchen, waltzed in the living room, polkaed in the pavilion, and tangoed at the club; with glorious, full-color record cover art. In midcentury America, eager dancers mamboed in the kitchen, waltzed in the living room, Watusied at the nightclub, and polkaed in the pavilion, instructed (and inspired) by dance records. Glorious, full-color record covers encouraged them: Let’s Cha Cha Cha, Dance and Stay Young, Dancing in the Street!, Limbo Party, High Society Twist. In Designed for Dancing, vinyl record aficionados and collectors Janet Borgerson and Jonathan Schroeder examine dance records of the 1950s and 1960s as expressions of midcentury culture, identity, f...
