{"id":17420,"date":"2022-04-29T06:00:00","date_gmt":"2022-04-29T06:00:00","guid":{"rendered":"http:\/\/berghahnbooks.com\/blog\/?p=17420"},"modified":"2025-04-01T14:05:43","modified_gmt":"2025-04-01T14:05:43","slug":"dance-into-international-dance-day","status":"publish","type":"post","link":"https:\/\/www.berghahnbooks.com\/blog\/dance-into-international-dance-day","title":{"rendered":"Dance into International Dance Day"},"content":{"rendered":"
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International Dance Day (April 29) was introduced in 1982 by the International Dance Council<\/a> (CID, Conseil International de la Danse<\/em>), a UNESCO partner NGO. The main purpose of this day is to celebrate dance, revel in the universality of this art form, cross all political, cultural and ethnic barriers, and bring people together with a common language – dance. For more information please visit the official site<\/a>. <\/p>\n\n\n\n\n\n\n\n

Joining the celebration, we are happy to offer free access<\/strong> to our journal TURBA: The Journal for Global Practices in Live Arts Curation<\/a><\/em> until May 8, 2024. See below for details.<\/p>\n\n\n\n

We would also like highlight our Dance and Performance Studies <\/em>series<\/a>,\u00a0which explores dance, music, and bodily movement in cultural contexts at the juncture of history, ritual, and performance. We are pleased to offer a 25% discount on our Performance Studies titles<\/a>, valid for the next two weeks, through\u00a0May 13th, 2024. Enter code IDD2<\/strong>4 at checkout. <\/p>\n\n\n\n

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TURBA<\/a>
<\/strong>The Journal for Global Practices in Live Arts Curation
Managing Editor: <\/strong>Dena Davida<\/p>\n\n\n\n

Berghahn Journals is offering free access<\/strong> to TURBA <\/em>until May 8, 202<\/strong>4. To access, use code IDD24<\/strong>. View redemption instructions.<\/a> <\/em> <\/p>\n\n\n\n

TURBA<\/em> is the first journal for the study, theory, and praxis of curatorial strategies in the live arts. The live arts are broadly defined as those arts in which contingent, momentary acts and events, performed by human or other autonomous agents, are crucial to the aesthetic perception and the emergence of meaning in ephemeral time-based work. They include, but are not limited to, dance, music, sound art, theatre, performance art, verbal arts, circus arts, live media arts and inter-arts performance works. With this journal, we aim to create a platform for the exploration of ideas, concepts, constraints, expectations, and contingencies which guide and drive curatorial practices in these fields. <\/p>\n\n\n\n

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Dance and Performance Studies<\/em> Series<\/a><\/h4>\n\n\n\n

General Editors:
Jonathan Skinner, <\/strong>University of Surrey<\/em>
Helena Wulff,<\/strong> Stockholm University<\/em><\/p>\n\n\n\n

In all cultures, and across time, people have danced. For performers and spectators, the expressive nature of dance opens up spaces where social and political circumstances are creatively negotiated. Grounded in ethnography, this series explores dance, music and bodily movement. Read more.<\/a> <\/p>\n\n\n\n

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PERSPECTIVES IN MOTION<\/a><\/strong>
Engaging the Visual in Dance and Music
Edited by Kendra Stepputat and Brian Diettrich<\/strong>
Foreword by Nanasipau\u02bbu Tuku\u02bbaho<\/em><\/p>\n\n\n\n

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion<\/em> explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies.  <\/p>\n\n\n\n

Read Introduction<\/a><\/p>\n\n\n\n

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STAGING CITIZENSHIP<\/a><\/strong>
Roma, Performance and Belonging in EU Romania
Ioana Szeman <\/strong><\/p>\n\n\n\n

Through accounts of music and dance performances, media representations, activism, and interactions with both non-governmental organizations and state agencies, author Ioana Szeman grounds broad themes of political economy, citizenship, resistance, and neoliberalism in her subjects\u2019 remarkably varied lives and experiences. <\/p>\n\n\n\n

Read Introduction<\/a><\/p>\n\n\n\n

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COLLABORATIVE INTIMACIES IN MUSIC AND DANCE<\/a><\/strong>
Anthropologies of Sound and Movement
Edited by Evangelos Chrysagis and Panas Karampampas <\/strong><\/p>\n\n\n\n

\u201cThe book chapters demonstrate rich ethnographic and disciplinary diversity.\u201d<\/em> \u2022 Social Anthropology<\/strong> <\/p>\n\n\n\n

Read Introduction<\/a><\/p>\n\n\n\n

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LANGUID BODIES, GROUNDED STANCE<\/a>S<\/strong>
The Curving Pathway of Neoclassical Odissi Dance
Nandini Sikand <\/strong><\/p>\n\n\n\n

\u201cThis is a significant work of scholarship as Sikand also draws attention to important methodological approaches in the future study of odissi, its historiography and sources such as paintings and palm-leaf manuscripts which have only been studied by very few scholars\u2026 These are the voices who are attempting to answer the question, how does an art form continue to flourish for generations to come? May such work continue to be explored and appreciated.\u201d<\/em> \u00b7 Pulse Magazine<\/strong> <\/p>\n\n\n\n

Read Introduction<\/a><\/p>\n\n\n\n

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CHOREOGRAPHIES OF LANDSCAPE<\/a><\/strong>
Signs of Performance in Yosemite National Park
Sally Ann Ness <\/strong><\/p>\n\n\n\n

\u201cNess provides conceptual insights which connect a range of disciplines, drawing upon detailed research undertaken over many years \u2013 including in-depth ethnographic work. The book addresses new challenges and deepens our understanding of landscape from a number of disciplinary perspectives. The delight of this book is that it provides a serious engagement with a web of theories, yet it retains a light touch in style. Through careful attention to observation-performance, it offers an intimate approach to its subject that is both complex and beautifully poetic.\u201d<\/em> \u2022 Cultural Geographies<\/strong> <\/p>\n\n\n\n

Read Introduction<\/a> <\/p>\n\n\n\n

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IN SEARCH OF LEGITIMACY<\/a><\/strong>
How Outsiders Become Part of the Afro-Brazilian Capoeira Tradition
Lauren Miller Griffith <\/strong><\/p>\n\n\n\n

\u201c\u2026an important study of the confluence of travel and pilgrimage, race\/class\/gender issues, embodiment and physical (and emotional) expertise, and the defense of tradition and of \u2018lineage\u2019-specific knowledge and identity in the context of globalization and an openness to (tradition-defined) innovation.\u201d<\/em> \u00b7 Anthropology Review Database<\/strong> <\/p>\n\n\n\n

Read Introduction<\/a> <\/p>\n\n\n\n

For a full selection of volumes in the series please visit series webpage<\/a>.<\/strong><\/h4>\n\n\n\n
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Of Related Interest<\/strong><\/h2>\n\n\n\n
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CURATING LIVE ARTS<\/a><\/strong>
Critical Perspectives, Essays, and Conversations on Theory and Practice
Edited by Dena Davida, Marc Pronovost, V\u00e9ronique Hudon, and Jane Gabriels <\/strong><\/p>\n\n\n\n

\u201cThe volume appears as an assemblage that is not immediately easy to approach, but precisely because of that, it is an extremely interesting polyphony that can illuminate our understanding of what we are talking about when we talk about curation today.\u201d<\/em> \u2022 JRAI<\/strong> <\/p>\n\n\n\n

Read A<\/a><\/strong> Collective Introduction<\/a> <\/p>\n\n\n\n

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POWER IN PRACTICE<\/a><\/strong>
The Pragmatic Anthropology of Afro-Brazilian Capoeira
Sergio Gonz\u00e1lez Varela <\/strong><\/p>\n\n\n\n

Considering the concept of power in capoeira, an Afro-Brazilian ritual art form, Varela describes ethnographically the importance that capoeira leaders (mestres<\/em>) have in the social configuration of a style called Angola in Bahia, Brazil. He analyzes how individual power is essential for an understanding of the modern history of capoeira, and for the themes of embodiment, play, cosmology, and ritual action. The book also emphasizes the great significance that creativity and aesthetic expression have for capoeira\u2019s practice and performance. <\/p>\n\n\n\n

Read Introduction<\/a><\/p>\n\n\n\n

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PERFORMING PLACE, PRACTISING MEMORIES<\/a><\/strong>
Aboriginal Australians, Hippies and the State
Rosita Henry <\/strong><\/p>\n\n\n\n

\u201cThe descriptive and intellectual depth of this book, shaped by Henry\u2019s empathetic but critically aware insight, makes this a highly readable and valuable book for a diversity of readers.\u201d<\/em> \u00b7 Pacific Affairs<\/strong> <\/p>\n\n\n\n

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Featured Articles from Berghahn Journals<\/strong><\/h4>\n\n\n\n

Open Access Articles<\/strong> <\/p>\n\n\n

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ANTHROPOLOGY IN ACTION<\/a>
<\/strong>Physically Distant \u2013 Socially Intimate: Reflecting on Public Performances of Resistance in a Pandemic Situation
<\/a><\/em>Marion Hamm (Vol. 27, Issue 3)<\/a><\/p>\n\n\n\n

Intimacy, Zoom Tango and the COVID-19 Pandemic
<\/a><\/em>Jonathan Skinner (Vol. 27, Issue 2)<\/a><\/p>\n\n\n\n

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SIBIRICA<\/a>
<\/strong>All-Male Warrior Dances and Men’s Groups Coping with the Decline of Manhood and Immigration in the Sakha Republic (Yakutia)<\/a>
<\/em>Zoia Tarasova (Vol. 20, Issue 2) <\/a><\/p>\n\n\n\n

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Free access until May 8, 2022<\/strong> <\/p>\n\n\n

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ANTHROPOLOGICAL JOURNAL OF EUROPEAN CULTURES<\/a><\/strong>
Bodies That Cannot Listen<\/a><\/em>
Livia Jim\u00e9nez Sedano (Vol. 28, Issue 1)<\/a><\/p>\n\n\n\n

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ANTHROPOLOGY OF THE MIDDLE EAST
<\/a><\/strong>The Changing Portrayal of Dancers in Egyptian Films: Three Roles in the Career of Tahia Carioca (1946, 1958 and 1972)<\/a><\/em>
Carolina Bracco (Vol. 14, Issue 1)<\/a><\/p>\n\n\n\n

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SIBIRICA<\/a><\/strong>
Osuokhai, The Yakut Circle Dance
<\/a><\/em>Angelina Lukina (Vol. 17, Issue 3)<\/a><\/p>\n\n\n\n

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Stay connected<\/strong><\/h3>\n\n\n\n

Don’t miss out on new title announcements or special offers related to your area of study, sign up for customized e-Newsletters<\/a>, become a Facebook fan<\/a>, follow us on Twitter<\/a> and Instagram<\/a>, and listen to our podcast, Salon B<\/em>, on Spotify<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

International Dance Day (April 29) was introduced in 1982 by the International Dance Council (CID, Conseil International de la Danse), a UNESCO partner NGO. The main purpose of this day is to celebrate dance, revel in the universality of this art form, cross all political, cultural and ethnic barriers, and bring people together with a… Read More<\/a><\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[107,1778,1785,1740,111,449,113,992,1771,635,550,1615,1614,1781,204,1616,1801,1745],"_links":{"self":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/17420"}],"collection":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/comments?post=17420"}],"version-history":[{"count":18,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/17420\/revisions"}],"predecessor-version":[{"id":19587,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/17420\/revisions\/19587"}],"wp:attachment":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/media?parent=17420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/categories?post=17420"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/tags?post=17420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}