![\"\"](\"http:\/\/www.code.on.ca\/sites\/default\/files\/imagecache\/cover_picture_full\/assets\/blogs\/1148-happy-international-dance-day\/cover-picture\/international-dance-day-2015-wallpapers.jpg\")
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First introduced in 1982 by the International Dance Council and now\u00a0celebrated yearly\u00a0on April\u00a029th, the International Dance Day<\/strong><\/a> brings attention\u00a0to the art of dance. It\u00a0revels the universality of this art form\u00a0that\u00a0crosses all political, cultural and ethnic barriers and brings people together with a common language – Dance!<\/p>\n <\/p>\n ———————————————————————————————————————————–<\/p>\n “Let us read, and let us dance; these two amusements will never do any harm to the world.” –\u00a0Voltaire<\/b><\/span><\/em><\/p>\n ———————————————————————————————————————————–<\/p>\n <\/p>\n To celebrate the Dance Day we\u00a0invite you to browse Dance & Performance Studies<\/a><\/em>\u00a0series. Visit series\u00a0webpage<\/a> and use code DPS16<\/strong>\u00a0at checkout to receive 25% discount on all titles within the\u00a0series (valid\u00a0for the next 30 days).<\/p>\n <\/p>\n <\/p>\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 in cultural contexts at the juncture of history, ritual and performance in an interconnected world.<\/p>\n <\/p>\n CHOREOGRAPHIES OF LANDSCAPE<\/a> <\/p>\n As an international ecotourism destination, Yosemite National Park welcomes millions of climbers, sightseers, and other visitors from around the world annually, all of whom are afforded dramatic experiences of the natural world. This original and cross-disciplinary book offers an ethnographic and performative study of Yosemite visitors in order to understand human connection with and within natural landscapes. By grounding a novel \u201ceco-semiotic\u201d analysis in the lived reality of parkgoers, it forges surprising connections, assembling a collective account that will be of interest to disciplines ranging from performance studies to cultural geography.<\/p>\n Read\u00a0Landscape Performance Theory, an Introduction<\/a><\/p>\n <\/p>\n <\/p>\n IN SEARCH OF LEGITIMACY<\/a> <\/p>\n Every year, countless young adults from affluent, Western nations travel to Brazil to train in capoeira, the dance\/martial art form that is one of the most visible strands of the Afro-Brazilian cultural tradition. In Search of Legitimacy explores why \u201cfirst world\u201d men and women leave behind their jobs, families, and friends to pursue a strenuous training regimen in a historically disparaged and marginalized practice. Using the concept of apprenticeship pilgrimage\u2014studying with a local master at a historical point of origin\u2014the author examines how non-Brazilian capoeiristas learn their art and claim legitimacy while navigating the complexities of wealth disparity, racial discrimination, and cultural appropriation.<\/p>\n Read\u00a0Introduction<\/a><\/strong><\/p>\n <\/p>\n <\/p>\n Volume 6<\/p>\n LEARNING SENEGALESE SABAR<\/a> <\/p>\n \u201cBizas delivers an astute multi-sited ethnography on teaching and learning\u2026 The author’s descriptions of movement often jump from the page to land fully formed in the reader’s imagination so that the reader, too, is moved<\/em>.\u201d\u00a0\u00a0\u00b7\u00a0\u00a0Choice<\/strong><\/p>\n Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the \u2018cultural flow\u2019 of the dances is \u2018punctuated\u2019 by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar\u2019s transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.<\/p>\n <\/p>\n DANCE CIRCLES<\/a> WINNER OF THE 2013 DE LA TORRE BUENO<\/a> SPECIAL CITATION FOR SCHOLARSHIP IN DANCE AWARD <\/p>\n \u201cReading H\u00e9l\u00e8ne Neveu Kringelbach\u2019s ethnography,<\/em> Dance Circles, took me on one of the most intellectually stimulating journeys that I have ever experienced\u2026[It] is excellent because the author destroys the enduring belief that dance is innate to Africans. Generous space is given to learning processes, questions of transmission, and performers\u2019 reflective practice\u2026Historians of dance will draw on innovative themes of inquiry in their field. Anthropologists will marvel at the dense ethnographic detail. This grounded ethnography indeed invites a careful reading. In other words, one does not leaf through this book, but must really read it.\u201d<\/em> \u00b7 Africa<\/strong><\/p>\n Read\u00a0Chapter 1. <\/a><\/strong>Introduction: The Shifting Faces of Dance<\/a><\/p>\n <\/p>\n <\/p>\n Volume 4\u00a0in Paperback<\/em><\/p>\n DANCING CULTURES<\/a> <\/p>\n \u201cThis collection of essays is a welcome focus on dance anthropology. The book encompasses chapters on an impressive range of traditions and practices from developed as well as developing countries across the world, including small and large phenomena. It has a clear introduction to orientate readers in the anthropological study of dance\u2026 The essays are rich and varied case studies, interesting in themselves. However, they also collectively build layered and interlocking perspectives on larger patterns of change in the contemporary world, making the book highly topical\u2026 This collection has breadth yet also coherence. It is a dense but accessible resource on dance anthropology.<\/em>\u201d \u00b7 Journal of the Royal Anthropological Institute<\/strong><\/p>\n Read\u00a0Introduction: <\/a><\/strong>The Movement of Dancing Cultures<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n Volume 3\u00a0in Paperback<\/em><\/p>\n TURNING THE TUNE<\/a> <\/p>\n \u201c…this book is a rarity in understanding the intersection of music, heritage and tourism…”<\/em>\u00a0\u00a0\u00b7\u00a0\u00a0Journal of Heritage Tourism<\/strong><\/p>\n \u201cThe publication of this study is a valuable contribution to the discipline of ethnomusicology and the study of Irish traditional music and tourism within this context. This book is particularly valuable to those interested in the study of Irish traditional music from the ethnomusicological perspective, and students and teachers of these areas will be greatly enhanced by Kaul\u2019s in-depth knowledge of tourism literature.<\/em>\u201d\u00a0 \u00b7\u00a0 <\/b>Ethnomusicology Forum<\/strong><\/p>\n <\/p>\n <\/p>\n <\/p>\n Volume 2\u00a0in Paperback<\/em><\/p>\n EMBODIED COMMUNITIES<\/a> <\/p>\n \u201cEven if it is rather demanding, Hughes-Freeland\u2019s study makes for highly rewarding reading.<\/em>\u201d\u00a0 \u00b7\u00a0 <\/b>JRAI<\/strong><\/p>\n \u201cThis book attempts a much more comprehensive consideration of dance in its cultural, social, and historical contexts than most and the author should be commended not only for this ambitious approach but also for keeping ethnographic method as the foundation of the research\u2026 the world of dance scholarship, anthropology, performance studies, and Indonesian studies are the better for this book which is, in important ways, remarkable.”<\/i>\u00a0\u00a0\u00b7\u00a0\u00a0American Ethnologist<\/b><\/p>\n Visit book webpage to download FREE chapters<\/strong> from this title!<\/a><\/p>\n <\/p>\n <\/p>\n Volume 1\u00a0in Paperback<\/em><\/p>\n DANCING AT THE CROSSROADS<\/a> <\/p>\n “Wulff does convincing and interesting work in making the argument that all Irish dance is influenced by links to the land and\/or notions of Irishness, tradition, authenticity, and collective identity…[that] becomes increasingly complicated given issues of immigration, colonization, diasporic communities, multiculturalism, and cosmopolitanism.”\u00a0<\/em>\u00a0\u00b7\u00a0\u00a0H-Net Reviews<\/strong><\/p>\n “There is an admirable reconception of performance, which moves away from the usual tightly bodily based formulas towards an appreciation of storytelling and characterization… These re-thinkings have significant implications for seeing tradition as a resource and\/or as a mode of engagement.”\u00a0<\/em>\u00a0\u00b7\u00a0\u00a0JRAI<\/strong><\/p>\n Visit book webpage to download FREE chapters<\/strong> from this title!<\/a><\/p>\n <\/p>\n <\/p>\n First introduced in 1982 by the International Dance Council and now\u00a0celebrated yearly\u00a0on April\u00a029th, the International Dance Day brings attention\u00a0to the art of dance. It\u00a0revels the universality of this art form\u00a0that\u00a0crosses all political, cultural and ethnic barriers and brings people together with a common language – Dance! ———————————————————————————————————————————– “Let us read, and let us dance;… Read More<\/a><\/p>\n","protected":false},"author":18,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[112,107,311,637,1740,449,634,207,1814,635,550,315,109,94,230,1781,276,1745,636],"_links":{"self":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/8376"}],"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\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/comments?post=8376"}],"version-history":[{"count":13,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/8376\/revisions"}],"predecessor-version":[{"id":20943,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/8376\/revisions\/20943"}],"wp:attachment":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/media?parent=8376"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/categories?post=8376"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/tags?post=8376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/NessChoreographies.jpg\")
Volume 8<\/p>\n
\nSigns of Performance in Yosemite National Park
\nSally Ann Ness<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/GriffithIn.jpg\")
Volume 7<\/p>\n
\nHow Outsiders Become Part of the Afro-Brazilian Capoeira Tradition
\nLauren Miller Griffith<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/BizasLearning.jpg\")
<\/p>\n
\nDancers and Embodiment in New York and Dakar
\nEleni Bizas<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/NeveuKringelbachDance.jpg\")
Volume 5 New in\u00a0Paperback!
\n<\/em><\/p>\n
\nMovement, Morality and Self-fashioning in Urban Senegal
\nH\u00e9l\u00e8ne Neveu Kringelbach<\/p>\n
\nWINNER OF THE 2013 AMAURY TALBOT PRIZE<\/a> FOR AFRICAN ANTHROPOLOGY<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/NeveuKringelbachDancing.jpg\")
<\/i><\/p>\n
\nGlobalization, Tourism and Identity in the Anthropology of Dance
\nEdited by H\u00e9l\u00e8ne Neveu Kringelbach and Jonathan Skinner<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/KaulTurning.jpg\")
<\/p>\n
\nTraditional Music, Tourism, and Social Change in an Irish Village
\nAdam Kaul<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/Hughes-FreelandEmbodied.jpg\")
<\/p>\n
\nDance Traditions and Change in Java
\nFelicia Hughes-Freeland<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/WulffDancing.jpg\")
<\/p>\n
\nMemory and Mobility in Ireland
\nHelena Wulff<\/p>\n
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\nSelected Journal Articles<\/strong>
\n
\nThe cohesive and revitalizing nature of Maya dance, art, and oral history<\/em><\/a>
\nAllison D. Krogstad
\nRegions and Cohesion<\/em><\/strong><\/a>
\n
\nThe Ritual Experience of Continuity: Flow and Participation in Punu Twin Dancing<\/em><\/a>
\nCarine Plancke
\nSocial Analysis<\/em><\/strong><\/a>
\n
\nDancing on the Threshold: A Cultural Concept for Conditions of Being Far from Salvation<\/em><\/a>
\nGregor Rohmann
\nContributions to the History of Concepts<\/em><\/strong><\/a>
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\nBeyond Frames: The Creation of a Dance Company in Health Care through the Journey of Brain Trauma<\/em><\/a>
\nGregor Rohmann
\nJourneys<\/em><\/strong><\/a>
\n
\n
\n <\/p>\n","protected":false},"excerpt":{"rendered":"