Provocative insights into the nature of dancing as inseparable from human vitality and distinctiveness emerge from this spiraling study of specific cultural dance traditions brought into conversation with various philosophical/theoretical perspectives centering on the topics: movement, gesture, play, masking, ritual, seduction, performance, religion; each the subject of engaging innovative analysis. The author draws on experience as dancer and academic to address contemporary issues such as gender identity development and plasticity and acuity throughout the lifespan.
Dealing with the ongoing interaction of rich and diverse cultural traditions from Cuba and Jamaica to Guyana and Surinam, Nation Dance addresses some of the major contemporary issues in the study of Caribbean religion and identity. The book’s three sections move from a focus on spirituality and healing, to theology in social and political context, and on to questions of identity and diaspora. The book begins with the voices of female practitioners and then offers a broad, interdisciplinary examination of Caribbean religion and culture. Afro-Caribbean religions, Hinduism, Judaism, Islam, and Christianity are all addressed, with specific reflections on Santería, Palo Monte, Vodou, Winti, Obeah, Kali Mai, Orisha work, Spiritual Baptist faith, Spiritualism, Rastafari, Confucianism, Congregationalism, Pentecostalism, Catholicism, and liberation theology. Some essays are based on fieldwork, archival research, and textual or linguistic analysis, while others are concerned with methodological or theoretical issues. Contributors include practitioners and scholars, some very established in the field, others with fresh, new approaches; all of them come from the region or have done extensive fieldwork or research there. In these essays the poetic vitality of the practitioner’s voice meets the attentive commitment of the postcolonial scholar in a dance of "nations" across the waters.
Provocative insights into the nature of dancing as inseparable from human vitality and distinctiveness emerge from this spiraling study of specific cultural dance traditions brought into conversation with various philosophical/theoretical perspectives centering on the topics: movement, gesture, play, masking, ritual, seduction, performance, religion; each the subject of engaging innovative analysis. The author draws on experience as dancer and academic to address contemporary issues such as gender identity development and plasticity and acuity throughout the lifespan.
The relationship between religion and dance is as old as humankind. Contemporary methods for studying this relationship date back a century. The difference between these two time frames is significant: scholars are still developing theories and methods capable of illuminating this vast history that take account of their limited place within it. A History of Theory and Method in the Study of Religion and Dance takes on a primary challenge of doing so: overcoming a conceptual dichotomy between “religion” and “dance” forged in the colonial era that justified western Christian hostility towards dance traditions across six continents over six centuries. Beginning with its enlightenment roots, LaMothe narrates a selective history of this dichotomy, revealing its ongoing work in separating dance studies from religious studies. Turning to the Bushmen of the African Kalahari, LaMothe introduces an ecokinetic approach that provides scholars with conceptual resources for mapping the generative interdependence of phenomena that appear as “dance” and/or “religion.”
Vast numbers of western youth have attached primary significance to raving and post-rave experiences. This collection of essays explores the socio-cultural and religious dimensions of the rave, 'raving' and rave-derived phenomena.
For Native Americans, religious freedom has been an elusive goal. From nineteenth-century bans on indigenous ceremonial practices to twenty-first-century legal battles over sacred lands, peyote use, and hunting practices, the U.S. government has often act
Dance is more than an aesthetic of life – dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
From the time Buddhism entered the mythical land of the snows, Tibetans have expressed their spiritual devotion and celebrated their culture with dance. This book--lavishly illustrated with color and rare historic photographs depicting the dances, costumes, and masks--is the first to explore the significance and symbolism of the sacred and secular ritual dances of Tibetan Buddhism.
Dancing the Dharma examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin’in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami’s Rikugi and Zenchiku’s Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh’s allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan.
Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.
