The dances, dramas, puppetry and music of Bali are more than icons for the island; they are part and parcel of life—as expressions of devotion to the gods, as entertainment, and as a way of instilling cultural values on each generation. Balinese Dance, Drama & Music is a lavishly illustrated introduction to Bali's celebrated temple orchestra, the gamelan, to its ancient shadow puppet theater, and to a myriad of traditional and contemporary dances and dance-dramas that continue to enthrall locals and visitors alike.
Ideal reading for visitors to the island as well as for anyone interested in Balinese culture, the book presents the history and function of each performance genre, with illustrations and photographs to aid in identification. Introductory sections discuss the way performing arts are learned in Bali and the basic Balinese values which are passed on in these forms, as well as some of the basic religious and cultural tenets that are expressed in the arts and the functions of the forms themselves.
Different sections describe particular forms of performing arts, such as Gong Angklung, Legong, the Keraton dance, Wayang Kulit, and the new phenomenon of women's gamelan groups, the evolution of each and the place it has in the culture of Bali. The book is enhanced with a bibliography and discography and over 150 specially prepared watercolors of Balinese performers and performances.
In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.
Mendoza draws on early-twentieth-century newspapers and other archival documents as well as interviews with key artistic and intellectual figures and their descendants. She offers vivid descriptions of the Peruvian Mission of Incaic Art, a tour undertaken by a group of artists from Cuzco, at their own expense, to represent Peru to Bolivia, Argentina, and Uruguay in 1923–24, as well as of the origins in the 1920s of the Qosqo Center of Native Art, the first cultural institution dedicated to regional and national folkloric art. She highlights other landmarks, including both The Charango Hour, a radio show that contributed to the broad acceptance of rural Andean music from its debut in 1937, and the rise in that same year of another major cultural institution, the American Art Institute of Cuzco. Throughout, she emphasizes the intricate local, regional, national, and international pressures that combined to produce folkloric art, especially the growing importance of national and international tourism in Cuzco.
Please visit the Web site http://nas.ucdavis.edu/creatingbook for samples of the images and music discussed in this book.
In City Folk, Daniel J. Walkowitz argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the ‘old left.’ He 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, Walkowitz connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, City Folk 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, City Folk injects the riveting history of folk dance in the middle of the story of modern America.
Folk Dancing explains the reasons for the folk dance movement that exploded in Europe and North America in the late 19th century. It describes the clubs, camps, festivals, and communities that sprang up, and examines the culture of the movement—the music, key individuals and events, types of clothing, and influences of technologies and popular culture. The book contains authoritative, original information gleaned from the author's own research conducted with hundreds of folk dance enthusiasts across America.
Spalding analyzes how issues as disparate as industrialization around coal, race relations, and the 1970s folk revival profoundly influenced freestyle clogging and other dance forms. She reveals how African Americans and Native Americans, as well as European immigrants drawn to the timber mills and coal fields, added to local dance vocabularies. By placing each community in its sociopolitical and economic context, Spalding explores how the formal and stylistic nuances found in Appalachian dance reflect the beliefs, shared understandings, and experiences of the community at large.
Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse—the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri’s pathfinding analysis of the vast colonial “dance archive” conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history—the European colonization of the Americas.
This book is one of the great classics about Bali, now with dozens of illustrations and photographs.
Dancing out of Bali is a fascinating personal account of a young Englishman who settled in a small house in Bali in the midst of the political turmoil that griped post–war Indonesia. There, he immersed himself in Balinese culture and made ambitious plans to bring a troupe of Balinese dancers and musicians to Europe and America. The book relates John Coast's daring and remarkable adventure that took him from revolution in Indonesia to the footlights of London and Broadway. Within a few weeks, the troupe had captured the hearts of audiences. Here are photographs of Bali and stories of the performer's magic island and of the enchanting dancers, including the beautiful 12–year–old Ni Gusti Raka. She became a star overnight and delighted audiences everywhere during the troupe's triumphant tour.
It is also a story of Balinese culture and life in Bali–following the devastating Japanese occupation–of music and dancing in Bali, of many of the island's great performing dancers and musicians,
He traveled for more than forty years and visited more than ninety countries. He spoke English, Italian, French and Portuguese fluently and could make himself understood in German, Russian and Japanese. He was a universal man who took the tango from the barrio to the world.
He began dancing not too long after he started to walk, and then there was no stopping him: tango, rock, folklore, Latin rhythms, swing. On stage and off, there was no dance he didn’t try. Over the years, he searched for his own place in the dance world, and then his own tango: the absolutely unique style that brought him to fame.
In the mid 90s, after being out of Argentina for many years, he gained international renown with the company of Forever Tango and word got back to Buenos Aires. From then on, he was an important and imposing figure in the porteño milongas. Julio Fernández Baraibar, who wrote the prologue of the first Spanish edition of this book, said that any milonga that Gavito went to became “the milonga to attend,” and that when Gavito got up to dance, “the dance floor became transformed.”
"Come, sit by me," says Grandmother. "Take this chalk in your hand. Now draw a dot and concentrate all your energy into this one dot. It is the beginning and the end, the navel of the world."
So Fawzia Al-Rawi describes her grandmother's first lesson about the ancient craft of Oriental dance. Grandmother's Secrets always circles back to this grandmother and this young girl, echoing the circular movements of the dance itself. Al-Rawi has written a strikingly graceful and original book that blends personal memoir with the history and theory of the dance known in the West as "belly dancing."
It is the story of a young Arab girl as she is initiated into womanhood. It is a history of the dance from the earliest times through the days of the Pharaohs, the Roman Empire, to the Arab world of the last three centuries. It is a personal investigation into the effects of the dance's movements on individual parts of the body and the whole psyche. It is a guide to the actual techniques of the dance for those who are inspired to put down the book and move.
Al-Rawi conveys in this book not only the history and technique of grieving and mourning dances, pregnancy and birth dances, but the spirit of these age-old rituals, and their possibilities for healing and empowering women today.
Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.