Dancing Cultures: Globalization, Tourism and Identity in the by Hélène Neveu Kringelbach, Jonathan Skinner

By Hélène Neveu Kringelbach, Jonathan Skinner

Dance is greater than a cultured of lifestyles – dance embodies lifestyles. this is often obtrusive from the social historical past of jive, the selling of trans-national ballet, ritual therapeutic dances in Italy or people dances played for travelers in Mexico, Panama and Canada. Dance frequently captures these crucial dimensions of social existence that can't be simply placed into phrases. What are the flows and hobbies of dance carried by means of migrants and travelers? How is dance used to form nationalist ideology? What are the connections among dance and ethnicity, gender, overall healthiness, globalization and nationalism, capitalism and post-colonialism? via leading edge and wide-ranging case stories, the members discover the primary function dance performs in tradition as rest commodity, cultural history, cultural aesthetic or cathartic social movement.

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Extra resources for Dancing Cultures: Globalization, Tourism and Identity in the Anthropology of Dance

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Wallerstein, I. 1990. ‘Culture as the Ideological Battleground of the Modern World System’, in M. ), Global Culture: Nationalism, Globalization and Modernity. 31–55. Watson, S. 1999. ‘The Jive’. streetswing. htm. Wieschiolek, H. 2003. ”: Salsa, Gender and Identity’, in E. Archetti and N. Dyck (eds), Sport, Dance and Embodied Identities. 115–38. Chapter 2 Ballet Culture and the Market: A Transnational Perspective Helena Wulff q I n the ballet world, the market tends to be regarded with ambivalence.

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Rapport, N. 1993. Diverse World-views in an English Village. Edinburgh: Edinburgh University Press. Robertson, R. 1990. ‘Mapping the Global Conditions: Globalization as the Central Concept’, in M. ), Global Culture: Nationalism, Globalization and Modernity. 15–30. Saul, S. 2003. Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press. Skinner, J. 2003. ‘At the Busk and After Dusk: Ceroc and the Construction of Dance Times and Places’, Focaal 42: 117–27.

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