Keywords: folk dancing (21 Results)
Keywords: folk dancing x
NYU Press (5)
University Press of Florida (3)
University of Hawai'i Press (1)
20th-century and Contemporary Literature (1)
[[missing key: search-facet.tree.open-section]] Music (11)
History, Western (4)
Ethnomusicology, World Music (2)
Cultural Studies (1)
[[missing key: search-facet.tree.open-section]] Sociology (1)
Race and Ethnicity (1)
Tradition Reaffirming Itself in New Forms: An Overview of Trinidad and Tobago Folk Dances
Hazel Franco (ed.)
in Making Caribbean Dance: Continuity and Creativity in Island Cultures
University Press of Florida
10.5744/florida/9780813034676.003.0020
Music, Dance
Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages ... More
Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages and various infusions, on Carnival traditions from the balls of French plantation owners to the development of traditional Carnival characters to the mid-20th century bands of sailors and ship's firemen following steel bands. She notes the different history and dances of Tobago, government innovations like the Best Village competitions, and the black power movement of the 1970s. She charts an arc of choreographers adopting folklore for the stage, with new theatrical fusions from pioneer Beryl McBurnie to Cyril St. Lewis to Astor Johnson.Less
Tradition Reaffirming Itself in New Forms : An Overview of Trinidad and Tobago Folk Dances
Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages and various infusions, on Carnival traditions from the balls of French plantation owners to the development of traditional Carnival characters to the mid-20th century bands of sailors and ship's firemen following steel bands. She notes the different history and dances of Tobago, government innovations like the Best Village competitions, and the black power movement of the 1970s. She charts an arc of choreographers adopting folklore for the stage, with new theatrical fusions from pioneer Beryl McBurnie to Cyril St. Lewis to Astor Johnson.
Keywords: Hazel Franco, Trinidad, Tobago, Trinidad and Tobago folk dance, Carnival, steel bands, Best Village, Beryl McBurnie, Cyril St. Lewis, Astor Johnson
Traditional Arts in the Twentieth Century
David Manning
in Vaughan Williams on Music
Music, History, Western
The revival of folk song and dance has been active for nearly 40 years. The folk dance and song stand or fall entirely on their intrinsic merits. This is one of the ways in which the folk song has ... More
The revival of folk song and dance has been active for nearly 40 years. The folk dance and song stand or fall entirely on their intrinsic merits. This is one of the ways in which the folk song has evolved. Nobody wants an obscurantist policy; it should not be the object of the Society to recreate outward accidents of folk song and dance. The folk song as a concert singer sings it, the folk dance as a member of the English Folk Dance and Song Society (EFDSS) dances it, is necessarily something different from the same tune or dance when collected from a traditional singer or dancer. Surely the dance has evolved, whether we wish it or no, from the first moment that Cecil Sharp taught, to a girl from a factory, steps that he had learnt from a country labourer.Less
The revival of folk song and dance has been active for nearly 40 years. The folk dance and song stand or fall entirely on their intrinsic merits. This is one of the ways in which the folk song has evolved. Nobody wants an obscurantist policy; it should not be the object of the Society to recreate outward accidents of folk song and dance. The folk song as a concert singer sings it, the folk dance as a member of the English Folk Dance and Song Society (EFDSS) dances it, is necessarily something different from the same tune or dance when collected from a traditional singer or dancer. Surely the dance has evolved, whether we wish it or no, from the first moment that Cecil Sharp taught, to a girl from a factory, steps that he had learnt from a country labourer.
Keywords: folk song, obscurantist policy, folk dance, Cecil Sharp
Dance at Pine Mountain Settlement School: Ideals and Institutions
Susan Eike Spalding
in Appalachian Dance: Creativity and Continuity in Six Communities
This chapter examines the role played by the Pine Mountain Settlement School in the promotion of dance in Eastern Kentucky beginning in the early twentieth century. It first provides a historical ... More
This chapter examines the role played by the Pine Mountain Settlement School in the promotion of dance in Eastern Kentucky beginning in the early twentieth century. It first provides a historical background on Pine Mountain Settlement School and on one of its founders, Katherine Pettit. It then discusses the ways that Pine Mountain utilized recreation and dance to promote good health and good citizenship; settlement workers' fight for dance hall reform in the Eastern Kentucky mountains beginning in 1910; and the establishment of the Conference of Southern Mountain Workers and the Russell Sage Foundation. It also explores the role of folk dance as an antidote to popular culture; how the Mountain Folk Festival helped to sustain dance at Pine Mountain; and Pine Mountain's promotion of Danish dance above local dance as well as its decision to return to local dance tradition. The chapter concludes with an assessment of Pine Mountain's legacy in terms of helping various types of dancing take root as living tradition in Eastern Kentucky.Less
Dance at Pine Mountain Settlement School : Ideals and Institutions
This chapter examines the role played by the Pine Mountain Settlement School in the promotion of dance in Eastern Kentucky beginning in the early twentieth century. It first provides a historical background on Pine Mountain Settlement School and on one of its founders, Katherine Pettit. It then discusses the ways that Pine Mountain utilized recreation and dance to promote good health and good citizenship; settlement workers' fight for dance hall reform in the Eastern Kentucky mountains beginning in 1910; and the establishment of the Conference of Southern Mountain Workers and the Russell Sage Foundation. It also explores the role of folk dance as an antidote to popular culture; how the Mountain Folk Festival helped to sustain dance at Pine Mountain; and Pine Mountain's promotion of Danish dance above local dance as well as its decision to return to local dance tradition. The chapter concludes with an assessment of Pine Mountain's legacy in terms of helping various types of dancing take root as living tradition in Eastern Kentucky.
Keywords: dance, Eastern Kentucky, Pine Mountain Settlement School, Katherine Pettit, recreation, settlement workers, Conference of Southern Mountain Workers, Russell Sage Foundation, folk dance, Mountain Folk Festival
The American Branch
Daniel J. Walkowitz
in City Folk: English Country Dance and the Politics of the Folk in Modern America
NYU Press
10.18574/nyu/9780814794692.003.0006
History, Cultural History
This chapter details the history of the American Branch of the English Folk Dance Society (EFDS), as well as its clashes with the International Folk Dance movement. In the years between 1915 and ... More
This chapter details the history of the American Branch of the English Folk Dance Society (EFDS), as well as its clashes with the International Folk Dance movement. In the years between 1915 and 1918, Cecil Sharp had come to establish a cultural hegemony that emphasized the American Branch as the leading authority on folk dance. However, the American Branch of EFDS was but one of many ethnic urban folk centers among a wide range of immigrant cultures with folk dance traditions. One person in particular embodied the alternative vision of an International Folk Dance of the peoples of many lands, and she found herself as the center of conflict with the American Branch, and most especially with Sharp: Elizabeth Burchenal.Less
This chapter details the history of the American Branch of the English Folk Dance Society (EFDS), as well as its clashes with the International Folk Dance movement. In the years between 1915 and 1918, Cecil Sharp had come to establish a cultural hegemony that emphasized the American Branch as the leading authority on folk dance. However, the American Branch of EFDS was but one of many ethnic urban folk centers among a wide range of immigrant cultures with folk dance traditions. One person in particular embodied the alternative vision of an International Folk Dance of the peoples of many lands, and she found herself as the center of conflict with the American Branch, and most especially with Sharp: Elizabeth Burchenal.
Keywords: Elizabeth Burchenal, English Folk Dance Society, folk dance traditions, immigrant cultures, International Folk Dance, Cecil Sharp
Trish Winter and Simon Keegan-Phipps
in Performing Englishness: Identity and politics in a contemporary folk resurgence
Society and Culture, Cultural Studies
Chapter 1 introduces the main themes of book, the scholarly contexts within which the research is situated, and the methods by which the research for the book was conducted. It begins by giving a ... More
Chapter 1 introduces the main themes of book, the scholarly contexts within which the research is situated, and the methods by which the research for the book was conducted. It begins by giving a brief overview of existing approaches to the study of the English folk arts (e.g. socio-historical, folkloristic) before defining the book's key terms (folk; resurgence; and performing Englishness). The chapter goes on to explain the methods and scope of the ethnographic research on which the book has been based. It then gives a broad overview of the English folk scene, itemising the key performance contexts of music and dance. The chapter ends with a short synopsis of the book's remaining content and structure.Less
Trish WinterSimon Keegan-Phipps
Chapter 1 introduces the main themes of book, the scholarly contexts within which the research is situated, and the methods by which the research for the book was conducted. It begins by giving a brief overview of existing approaches to the study of the English folk arts (e.g. socio-historical, folkloristic) before defining the book's key terms (folk; resurgence; and performing Englishness). The chapter goes on to explain the methods and scope of the ethnographic research on which the book has been based. It then gives a broad overview of the English folk scene, itemising the key performance contexts of music and dance. The chapter ends with a short synopsis of the book's remaining content and structure.
Keywords: Englishness, Folk music, Folk dance, Ethnography, Resurgence, Ethnomusicology, Cultural Studies
Béla Bartók's Rural Miniatures and the Case of Romanian Folk Dances
Joshua S. Walden
in Sounding Authentic: The Rural Miniature and Musical Modernism
Chapter 6 focuses on the role of the rural miniature in the early period of Béla Bartók's career. Bartók's essays and letters about folk music, recording technology, and nationalism demonstrate his ... More
Chapter 6 focuses on the role of the rural miniature in the early period of Béla Bartók's career. Bartók's essays and letters about folk music, recording technology, and nationalism demonstrate his belief that the folk music of the countryside constituted the pure and simple expression of the Hungarian soul, and he promoted its study, transcription, and arrangement as art music. The chapter offers an extended analysis of Romanian Folk Dances, to view the relation between his ethnographic research and his composition of rural miniatures. It examines the wax cylinder recordings of the original source melodies, Bartók's transcriptions in his anthologies, manuscript sketches of Romanian Folk Dances, and professional recordings by Zoltán Székely and Joseph Szigeti of the arrangement of the work for violin and piano.Less
Chapter 6 focuses on the role of the rural miniature in the early period of Béla Bartók's career. Bartók's essays and letters about folk music, recording technology, and nationalism demonstrate his belief that the folk music of the countryside constituted the pure and simple expression of the Hungarian soul, and he promoted its study, transcription, and arrangement as art music. The chapter offers an extended analysis of Romanian Folk Dances, to view the relation between his ethnographic research and his composition of rural miniatures. It examines the wax cylinder recordings of the original source melodies, Bartók's transcriptions in his anthologies, manuscript sketches of Romanian Folk Dances, and professional recordings by Zoltán Székely and Joseph Szigeti of the arrangement of the work for violin and piano.
Keywords: Béla Bartók, Joseph Szigeti, Zoltán Székely, Ethnomusicology, Wax cylinder, Romanian Folk Dances, Transcription, Arrangement
Folk Revival Connection: The Dancers
Mark F. DeWitt
in Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World
Music, Ethnomusicology, World Music
This chapter focuses on revivalist dancers. Just like revivalist musicians, revivalist dancers had accumulated strong cadres in northern California with well-developed social networks before the ... More
This chapter focuses on revivalist dancers. Just like revivalist musicians, revivalist dancers had accumulated strong cadres in northern California with well-developed social networks before the enthusiasms of a few of them turned to Louisiana French music. International folk dancing provided a pool of people who were curious about other cultures, and who welcomed the challenge of learning new dance steps and styles. The chapter profiles the following individuals: Gary and Maryanne Canaparo, Paul Strogen, Ron Rumney, and Dana DeSimone.Less
Folk Revival Connection : The Dancers
This chapter focuses on revivalist dancers. Just like revivalist musicians, revivalist dancers had accumulated strong cadres in northern California with well-developed social networks before the enthusiasms of a few of them turned to Louisiana French music. International folk dancing provided a pool of people who were curious about other cultures, and who welcomed the challenge of learning new dance steps and styles. The chapter profiles the following individuals: Gary and Maryanne Canaparo, Paul Strogen, Ron Rumney, and Dana DeSimone.
Keywords: revivalist dancers, international folk dancing, Gary Canaparo, Maryanne Canaparo, Paul Strogen, Ron Rumney, Dana DeSimone
Dancing Natives, Dancing Nation: From Bayan to Bayanihan
William Peterson
in Places for Happiness: Community, Self, and Performance in the Philippines
University of Hawai'i Press
10.21313/hawaii/9780824851637.003.0005
To make sense of how and why dance circulates so widely in the Philippines, one must start by considering how it emerged from folk and indigenous dance traditions shaped by the pioneering fieldwork ... More
To make sense of how and why dance circulates so widely in the Philippines, one must start by considering how it emerged from folk and indigenous dance traditions shaped by the pioneering fieldwork of Francisca Reyes-Aquino earlier in the twentieth century. This chapter sets out a genealogy of dance that demonstrates both how Reyes' work fed into creation of the core Bayanihan repertory of five foundational dance suites as well as how dance came to be codified and imbedded in the national physical education curriculum as a compulsory subject. The perception that all Filipinos can dance owes much to the fact that virtually every child learns local, regional, and other iconic national dances at school. This chapter also considers in some detail the features of two key "Suites" in the Bayanihan repertory, the so-called "Cordillera" and "Muslim Suites."Less
Dancing Natives, Dancing Nation : From Bayan to Bayanihan
To make sense of how and why dance circulates so widely in the Philippines, one must start by considering how it emerged from folk and indigenous dance traditions shaped by the pioneering fieldwork of Francisca Reyes-Aquino earlier in the twentieth century. This chapter sets out a genealogy of dance that demonstrates both how Reyes' work fed into creation of the core Bayanihan repertory of five foundational dance suites as well as how dance came to be codified and imbedded in the national physical education curriculum as a compulsory subject. The perception that all Filipinos can dance owes much to the fact that virtually every child learns local, regional, and other iconic national dances at school. This chapter also considers in some detail the features of two key "Suites" in the Bayanihan repertory, the so-called "Cordillera" and "Muslim Suites."
Keywords: Philippines, dance, folk dance, Francisca Reyes-Aquino, Bayanihan, identity, Cordillera, singkil, pangalay, Muslim
Reviving England
Simon Featherstone
in Englishness: Twentieth-Century Popular Culture and the Forming of English Identity
Literature, 20th-century and Contemporary Literature
This chapter examines three private initiatives of national recovery during the main period of English revivalism. It states that the Boy Scouts of Robert Baden-Powell and the English folk-dance ... More
This chapter examines three private initiatives of national recovery during the main period of English revivalism. It states that the Boy Scouts of Robert Baden-Powell and the English folk-dance movements that were founded by Mary Neal and Cecil Sharp used both modern and traditional resources for similar revivals. The chapter also suggests the disorderly influence of conflicts about gender, race and class in the development of a new vision of Englishness.Less
This chapter examines three private initiatives of national recovery during the main period of English revivalism. It states that the Boy Scouts of Robert Baden-Powell and the English folk-dance movements that were founded by Mary Neal and Cecil Sharp used both modern and traditional resources for similar revivals. The chapter also suggests the disorderly influence of conflicts about gender, race and class in the development of a new vision of Englishness.
Keywords: national recovery, private initiatives, English revivalism, Boy Scouts, folk-dance movements, influence of conflicts, new vision, Englishness
This introductory chapter casts new perspectives on folk dance and its relationships to liberalism and modernity, in particular pointing to two conjunctions of the urban and popular: the folk as an ... More
This introductory chapter casts new perspectives on folk dance and its relationships to liberalism and modernity, in particular pointing to two conjunctions of the urban and popular: the folk as an imagined subject from the rural past that contemporary and largely urban-suburban dancers revive; and the folk as the urban culture of the revival dancers themselves. Moreover, people in the modern era who choose to do English Country Dance have been a social and political breed apart. Folk dancers located themselves outside the mainstream of popular culture, but they did so in explicit relationship to aspects of that culture they found problematic.Less
This introductory chapter casts new perspectives on folk dance and its relationships to liberalism and modernity, in particular pointing to two conjunctions of the urban and popular: the folk as an imagined subject from the rural past that contemporary and largely urban-suburban dancers revive; and the folk as the urban culture of the revival dancers themselves. Moreover, people in the modern era who choose to do English Country Dance have been a social and political breed apart. Folk dancers located themselves outside the mainstream of popular culture, but they did so in explicit relationship to aspects of that culture they found problematic.
Keywords: folk dance, liberalism, modernity, urban culture, popular culture
Orderly Bodies: Dancing London, 1900–1914
This chapter details American efforts to visit England in search of folk dance roots. These people encountered an exciting movement, but they were sometimes unwittingly the subject of disputes and ... More
This chapter details American efforts to visit England in search of folk dance roots. These people encountered an exciting movement, but they were sometimes unwittingly the subject of disputes and sometimes appeared deliberately to aggravate the conflict. The most profound and earliest dispute involved the two people who took the lead in the revival in England, Mary Neal and Cecil Sharp. The English folk dance revival may properly be said to have begun with Mary Neal, a woman every bit as imposing and outspoken as Sharp. It was Neal's success with folk dance that reawakened his interest in dance in 1905. However, Neal's and Sharp's differences had a bearing on the history of the dance movement, most especially in the style and spirit of the dance. In both cases, Sharp would eventually proceed as the dance patriarch.Less
Orderly Bodies : Dancing London, 1900–1914
This chapter details American efforts to visit England in search of folk dance roots. These people encountered an exciting movement, but they were sometimes unwittingly the subject of disputes and sometimes appeared deliberately to aggravate the conflict. The most profound and earliest dispute involved the two people who took the lead in the revival in England, Mary Neal and Cecil Sharp. The English folk dance revival may properly be said to have begun with Mary Neal, a woman every bit as imposing and outspoken as Sharp. It was Neal's success with folk dance that reawakened his interest in dance in 1905. However, Neal's and Sharp's differences had a bearing on the history of the dance movement, most especially in the style and spirit of the dance. In both cases, Sharp would eventually proceed as the dance patriarch.
Keywords: Cecil Sharp, Mary Neal, English folk dance revival, dance history, dance movement
City Folk: English Country Dance and the Politics of the Folk in Modern America
This is the story of English Country Dance, from its 18th-century roots in the English cities and countryside, to its transatlantic leap to the United States in the 20th century. The book argues that ... More
This is the story of English Country Dance, from its 18th-century roots in the English cities and countryside, to its transatlantic leap to the United States in the 20th century. The book argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the "old left." The book situates folk dancing within surprisingly diverse contexts, from progressive era reform, and playground and school movements, to the changes in consumer culture, and the project of a modernizing, cosmopolitan middle-class society. Tracing the spread of folk dancing, with particular emphases on English Country Dance, International Folk Dance, and Contra, the book connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, it allows dancers and dancing bodies to speak. From the norms of the first half of the century, marked strongly by Anglo-Saxon traditions, to the Cold War nationalism of the post-war era, and finally on to the counterculture movements of the 1970s, the book injects the riveting history of folk dance in the middle of the story of modern America.Less
City Folk : English Country Dance and the Politics of the Folk in Modern America
This is the story of English Country Dance, from its 18th-century roots in the English cities and countryside, to its transatlantic leap to the United States in the 20th century. The book argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the "old left." The book situates folk dancing within surprisingly diverse contexts, from progressive era reform, and playground and school movements, to the changes in consumer culture, and the project of a modernizing, cosmopolitan middle-class society. Tracing the spread of folk dancing, with particular emphases on English Country Dance, International Folk Dance, and Contra, the book connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, it allows dancers and dancing bodies to speak. From the norms of the first half of the century, marked strongly by Anglo-Saxon traditions, to the Cold War nationalism of the post-war era, and finally on to the counterculture movements of the 1970s, the book injects the riveting history of folk dance in the middle of the story of modern America.
Keywords: English Country Dance, country dancing, folk dancing, International Folk Dance, Contra, folk dance, modern America
This concluding chapter illustrates how English Country Dance thrives in New York (and the United States) today, while comparatively languishing in London (and the United Kingdom). It notes the ... More
This concluding chapter illustrates how English Country Dance thrives in New York (and the United States) today, while comparatively languishing in London (and the United Kingdom). It notes the increasing differences on both sides of the Atlantic, because while an Anglo-American folk dance tradition emerged on both sides of the pond, it did so with national inflections. In addition, the chapter looks at the problem of whiteness (and its contrary, the absence of other racial groups) in the country dance community as it is implicated in the history of liberalism in the twentieth-century United States. Finally, the chapter considers the future of English Country Dance, hinting at the possibility of a third folk revival.Less
This concluding chapter illustrates how English Country Dance thrives in New York (and the United States) today, while comparatively languishing in London (and the United Kingdom). It notes the increasing differences on both sides of the Atlantic, because while an Anglo-American folk dance tradition emerged on both sides of the pond, it did so with national inflections. In addition, the chapter looks at the problem of whiteness (and its contrary, the absence of other racial groups) in the country dance community as it is implicated in the history of liberalism in the twentieth-century United States. Finally, the chapter considers the future of English Country Dance, hinting at the possibility of a third folk revival.
Keywords: English Country Dance, New York, London, Anglo-American folk dance tradition, liberalism, third folk revival
'To plough in winter is hard work': 1914–1918
in Béla Bartók
10.12987/yale/9780300148770.003.0006
This chapter focuses on Béla Bartók's musical activities between 1914 and 1918. It first examines Bartók's ballet The Wooden Prince, which was based in part on Béla Balázs's libretto, before turning ... More
This chapter focuses on Béla Bartók's musical activities between 1914 and 1918. It first examines Bartók's ballet The Wooden Prince, which was based in part on Béla Balázs's libretto, before turning to his interest in folk music. It then considers the impact of World War I on Bartók's public activity as a composer, pianist, and folk-music collector. It also discusses some of Bartók's compositions, including two sets of Romanian Christmas Carols, Romanian Folk Dances, and a three-movement Sonatina for piano; his self-imposed withdrawal from public life as a composer; the progress he made in terms of his composition and folk-song collection during the war years; and the recognition he received as one of Hungary's most important musicians.Less
'To plough in winter is hard work' : 1914–1918
This chapter focuses on Béla Bartók's musical activities between 1914 and 1918. It first examines Bartók's ballet The Wooden Prince, which was based in part on Béla Balázs's libretto, before turning to his interest in folk music. It then considers the impact of World War I on Bartók's public activity as a composer, pianist, and folk-music collector. It also discusses some of Bartók's compositions, including two sets of Romanian Christmas Carols, Romanian Folk Dances, and a three-movement Sonatina for piano; his self-imposed withdrawal from public life as a composer; the progress he made in terms of his composition and folk-song collection during the war years; and the recognition he received as one of Hungary's most important musicians.
Keywords: ballet, Béla Bartók, compositions, The Wooden Prince, folk music, World War I, piano, Hungary, Romanian Christmas Carols, Romanian Folk Dances
Banda and the Slovak Folk Revival
Barbara Rose Lange
in Local Fusions: Folk Music Experiments in Central Europe at the Millennium
Chapter 4 discusses the Slovak folk revival of the 1990s–2000s with a case study of the musical group Banda. In Slovakia, audiences continued to enjoy styles of staged folklore from the communist ... More
Chapter 4 discusses the Slovak folk revival of the 1990s–2000s with a case study of the musical group Banda. In Slovakia, audiences continued to enjoy styles of staged folklore from the communist era, but revivalists opposed these older styles and were outspoken in rejecting them. The chapter describes how revival folklorism is part of a movement to rediscover and reimagine Slovakia that sprang up in the 1990s; revivalists wanted to expand styles of rural music-making that existed outside communist-era folklore performance. The chapter discusses the mediation of neighboring Hungary's dance house movement in Slovakia, and outlines the historical conditions that made it challenging to sustain dance house activity. The chapter argues that at the turn of the twenty-first century, revivalists managed artistic tensions and strengthened their reform efforts by becoming skilled neoliberal actors; making the transition from revivalism to a world-music fusion style allowed the musicians of Banda to be independent creatively and economically.Less
Chapter 4 discusses the Slovak folk revival of the 1990s–2000s with a case study of the musical group Banda. In Slovakia, audiences continued to enjoy styles of staged folklore from the communist era, but revivalists opposed these older styles and were outspoken in rejecting them. The chapter describes how revival folklorism is part of a movement to rediscover and reimagine Slovakia that sprang up in the 1990s; revivalists wanted to expand styles of rural music-making that existed outside communist-era folklore performance. The chapter discusses the mediation of neighboring Hungary's dance house movement in Slovakia, and outlines the historical conditions that made it challenging to sustain dance house activity. The chapter argues that at the turn of the twenty-first century, revivalists managed artistic tensions and strengthened their reform efforts by becoming skilled neoliberal actors; making the transition from revivalism to a world-music fusion style allowed the musicians of Banda to be independent creatively and economically.
Keywords: folk revival, state folk dance companies, dance house, tanečný dom, Slovakia, Hungary, Magyar, folklorism, Banda, Muzička
The Africanness of Dance in Cuba
Graciela Chao Carbonero and Melba Núñez Isalbe (eds)
Cuban dance researcher Graciela Chao Carbonero discusses how the African element penetrates all aspects of Cuban dance. She begins with the African-based danced religions of Cuba, Regla de Ocha or ... More
Cuban dance researcher Graciela Chao Carbonero discusses how the African element penetrates all aspects of Cuban dance. She begins with the African-based danced religions of Cuba, Regla de Ocha or Santería (the religion of the Yoruba orishas), Palo Monte and other Congolese-based sects, Arará, and Abakuá, and how steps from such traditions merge with secular Cuban folk dances such as carnival comparsas and sones miméticos and also influence the dances that descend from European contradanza. Chao delves into contemporary casino and casino rueda and the African underpinnings of such dances and also of Cuban modern dance, with its training technique, técnica cubana, developed by Ramiro Guerra and others, and of Cuban variety dance in clubs and pn television.Less
Cuban dance researcher Graciela Chao Carbonero discusses how the African element penetrates all aspects of Cuban dance. She begins with the African-based danced religions of Cuba, Regla de Ocha or Santería (the religion of the Yoruba orishas), Palo Monte and other Congolese-based sects, Arará, and Abakuá, and how steps from such traditions merge with secular Cuban folk dances such as carnival comparsas and sones miméticos and also influence the dances that descend from European contradanza. Chao delves into contemporary casino and casino rueda and the African underpinnings of such dances and also of Cuban modern dance, with its training technique, técnica cubana, developed by Ramiro Guerra and others, and of Cuban variety dance in clubs and pn television.
Keywords: Graciela Chao Carbonero, Cuban dance, African-based religions of Cuba, Santería, Yoruba orishas, Palo Monte, Arara, Abakuá, Cuban folk dances, casino rueda
'The forest rustles, the fields rustle': 1925–1928
This chapter discusses Béla Bartók's concerts and other musical activities during the years 1925–1928. In October 1925 Bartók embarked on a brief concert tour of Holland in collaboration with Zoltán ... More
This chapter discusses Béla Bartók's concerts and other musical activities during the years 1925–1928. In October 1925 Bartók embarked on a brief concert tour of Holland in collaboration with Zoltán Székely. As well as playing sonatas by Bach, Brahms and Mozart, and a selection of Bartók's piano pieces, they performed Székely's own arrangement of the Romanian Folk Dances. The duo's recitals at Arnhem and Utrecht passed off successfully and Bartók also performed his Rhapsody op. 1 with the Concertgebouw Orchestra in Amsterdam. This chapter analyses some of Bartók's compositions during this period, including the Sonata for Piano, Out of Doors, Nine Little Piano Pieces, and the First Piano Concerto. It also considers Bartók's performances in various U.S. cities.Less
'The forest rustles, the fields rustle' : 1925–1928
This chapter discusses Béla Bartók's concerts and other musical activities during the years 1925–1928. In October 1925 Bartók embarked on a brief concert tour of Holland in collaboration with Zoltán Székely. As well as playing sonatas by Bach, Brahms and Mozart, and a selection of Bartók's piano pieces, they performed Székely's own arrangement of the Romanian Folk Dances. The duo's recitals at Arnhem and Utrecht passed off successfully and Bartók also performed his Rhapsody op. 1 with the Concertgebouw Orchestra in Amsterdam. This chapter analyses some of Bartók's compositions during this period, including the Sonata for Piano, Out of Doors, Nine Little Piano Pieces, and the First Piano Concerto. It also considers Bartók's performances in various U.S. cities.
Keywords: piano, Béla Bartók, concerts, Holland, Zoltán Székely, Romanian Folk Dances, recitals, compositions, Sonata for Piano, First Piano Concerto
Jack Cole and Theatrical Jazz Dance
Teal Darkenwald
in Jazz Dance: A History of the Roots and Branches
Jack Cole is credited as the father of theatrical jazz dance. His career spanned from the 1920s through the 1950s and he developed a specific method of training theatrical jazz dancers in a style ... More
Jack Cole is credited as the father of theatrical jazz dance. His career spanned from the 1920s through the 1950s and he developed a specific method of training theatrical jazz dancers in a style which he called "jazz-ethnic-ballet". Cole provided daily "urban folk dance" classes at Columbia Pictures for a four year period, which prepared his dancers for his rigorous choreography and allowed Cole to develop his distinct teaching style. Additional well-known contributions include choreography for nightclubs, Broadway musicals, and film and television. Cole directly influenced many dance artists including his muse Gwen Verdon and jazz legends such as Bob Fosse and Matt Mattox. Cole choreographed some of the most memorable scenes of 20th century cinema, including the infamous scene in Gentlemen Prefer Blondes with Marilyn Monroe singing "Diamonds are a Girl's Best Friend."Less
Jack Cole is credited as the father of theatrical jazz dance. His career spanned from the 1920s through the 1950s and he developed a specific method of training theatrical jazz dancers in a style which he called "jazz-ethnic-ballet". Cole provided daily "urban folk dance" classes at Columbia Pictures for a four year period, which prepared his dancers for his rigorous choreography and allowed Cole to develop his distinct teaching style. Additional well-known contributions include choreography for nightclubs, Broadway musicals, and film and television. Cole directly influenced many dance artists including his muse Gwen Verdon and jazz legends such as Bob Fosse and Matt Mattox. Cole choreographed some of the most memorable scenes of 20th century cinema, including the infamous scene in Gentlemen Prefer Blondes with Marilyn Monroe singing "Diamonds are a Girl's Best Friend."
Keywords: Broadway, Bob Fosse, Columbia Pictures, Father of theatrical jazz dance, Jack Cole, Jazz-ethnic-ballet, Marilyn Monroe, Matt Mattox, Urban folk dance
The Travelling Dancer
Nadine Meisner
in Marius Petipa: The Emperor's Ballet Master
Focusing on Petipa's professional life before his arrival in Russia, this chapter deals with his time in the French provincial theatres of Nantes and Bordeaux, describing the conditions there, ... More
Focusing on Petipa's professional life before his arrival in Russia, this chapter deals with his time in the French provincial theatres of Nantes and Bordeaux, describing the conditions there, listing his early ballets and roles, outlining the importance of national or folk dance on the ballet stage. It follow this with his adventures—on stage and off—in Spain; he fought a duel and eloped with a young Spanish noblewoman, events described in his memoirs that appear, according to the evidence, to have really happened. The chapter also touches upon two other members of the Petipa family: his brother Lucien, star of the Paris Opera; and his father Jean, an eminent ballet master, who briefly joined a company on tour to New York.Less
Focusing on Petipa's professional life before his arrival in Russia, this chapter deals with his time in the French provincial theatres of Nantes and Bordeaux, describing the conditions there, listing his early ballets and roles, outlining the importance of national or folk dance on the ballet stage. It follow this with his adventures—on stage and off—in Spain; he fought a duel and eloped with a young Spanish noblewoman, events described in his memoirs that appear, according to the evidence, to have really happened. The chapter also touches upon two other members of the Petipa family: his brother Lucien, star of the Paris Opera; and his father Jean, an eminent ballet master, who briefly joined a company on tour to New York.
Keywords: Lucien Petipa, Jean Petipa, New York, folk dance, provincial opera houses, Spain, a duel, an elopement
Work, Depression, Failure
Eleanor Ty
in Asianfail: Narratives of Disenchantment and the Model Minority
Sociology, Race and Ethnicity
This chapter looks at repercussions of the sense of failure in two stories of second-generation Asian immigrant women who grew up assimilated into North American culture and became successful ... More
This chapter looks at repercussions of the sense of failure in two stories of second-generation Asian immigrant women who grew up assimilated into North American culture and became successful professionals but who experience a crisis and fall into depression. Mimi, a character in Catherine Hernandez's play Singkil (2009), and journalist Jan Wong both suffer from a breakdown that forces them to rethink or reassess their priorities and identities. Singkil is, in part, a coming-of-age story, while Out of the Blue (2012) is a memoir of workplace depression. Though different in genre, these two works recount Asianfails that critique the model minority discourse, and they also show the links between private health and professional, social trauma.Less
This chapter looks at repercussions of the sense of failure in two stories of second-generation Asian immigrant women who grew up assimilated into North American culture and became successful professionals but who experience a crisis and fall into depression. Mimi, a character in Catherine Hernandez's play Singkil (2009), and journalist Jan Wong both suffer from a breakdown that forces them to rethink or reassess their priorities and identities. Singkil is, in part, a coming-of-age story, while Out of the Blue (2012) is a memoir of workplace depression. Though different in genre, these two works recount Asianfails that critique the model minority discourse, and they also show the links between private health and professional, social trauma.
Keywords: workplace depression, memoir, Jan Wong, Filipino folk dance, affect, Asian Canadian play, feminism, Asianfail, Catherine Hernandez