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.

Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the "backstage" stories of those dances, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of the Kandyan dance of Sri Lanka. The dance, which is identified with the island's majority Sinhala ethnic group, is heavily supported by the state. Derived from the Kohomba kankariya, an elaborate village ritual performed by men of the hereditary drummer caste, the dance was adopted by the state as a symbol of traditional Sinhala culture in the postindependence period and opened to individuals of all castes. Reed's evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and women performers. Kandyan dance is characterized by an elegant and energetic style and lively displays of agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.

This groundbreaking collection combines ethnographic and historic strategies to reveal how dance plays crucial cultural roles in various regions of the world, including Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays find a balance between past and present and examine how dance and bodily practices are core identity and cultural creators. Reaching beyond the typically Eurocentric view of dance, Dancing from Past to Present opens a world of debate over the role dance plays in forming and expressing cultural identities around the world.

Updated 2009 edition of this evergreen punk-rock classic!

This collection explores folklore and folkloristics within the diverse and contested national discourses of Britain and Ireland, examining their role in shaping the islands’ constituent nations from the eighteenth century to our contemporary moment of uncertainty and change. This book is concerned with understanding folklore, particularly through its intersections with the narratives of nation entwined within art, literature, disciplinary practice and lived experience. By following these ideas throughout history into the twenty-first century, the authors show how notions of the folk have inspired and informed varied points from the Brothers Grimm to Brexit. They also examine how folklore has been adapting to the real and imagined changes of recent political events, acquiring newfound global and local rhetorical power. This collection asks why, when and how folklore has been deployed, enacted and considered in the context of national ideologies and ideas of nationhood in Britain and Ireland. Editors Cheeseman and Hart have crafted a thoughtful and timely collection, ideal for students and scholars of folklore, history, literature, anthropology, sociology and media studies.

As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast’s most popular middle-class singing group during the mid-nineteenth century, is perhaps the best example of the first strain of music. The group’s songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women’s rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America’s consumer culture while the Hutchinsons’ songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America’s musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America’s capitalist order.

"Fisher traces The Nutcracker's history from its St. Petersburg premiere in 1892 through its emigration to North America in the mid-twentieth century to the many productions of recent years. She notes that after it was choreographed by another Russian immigration to the New World, George Balanchine, the ballet began to thrive and variegate: Hawaiians added hula, Canadians added hockey, Mark Morris set it in the swinging sixties, and Donald Byrd placed it in Harlem. Americans understood and developed the ballet's themes - the pain and promise of childhood, the excitement of Christmas, the independence of its heroines Clara and the Sugar Plum Fairy, and the adventure of journeying to unknown lands and finding that "there's no place like home.""--BOOK JACKET.

While the Haitian musical tradition is probably best known for the Vodou-inspired roots music that helped topple the two-generation Duvalier dictatorship, the nation’s troubled history of civil unrest and its tangled relationship with the United States is more intensely experienced through its art music, which combines French and German elements of classical music with Haiti's indigenous folk music. Vodou Nation examines art music by Haitian and African American composers who were inspired by Haiti’s history as a nation created by slave revolt. Around the time of the United States’s occupation of Haiti in 1915, African American composers began to incorporate Vodou-inspired musical idioms to showcase black artistry and protest white oppression. Together with Haitian musicians, these composers helped create what Michael Largey calls the “Vodou Nation,” an ideal vision of Haiti that championed its African-based culture as a bulwark against America’s imperialism. Highlighting the contributions of many Haitian and African American composers who wrote music that brought rhythms and melodies of the Vodou ceremony to local and international audiences, Vodou Nation sheds light on a black cosmopolitan musical tradition that was deeply rooted in Haitian culture and politics.

Exam board: Eduqas Level: GCSE Subject: History First teaching: September 2016 First exams: June 2018 Endorsed by Eduqas Help every student to achieve their best, with bespoke support for Eduqas GCSE History from the leading History publisher for secondary schools. Structured around the key questions in the 2016 specification, this book: br” Develops in-depth subject knowledge through clear and detailed coverage of the important issues, events and conceptsbrbr” Builds students' historical skills and thinking as they progress through a range of activities and questionsbr