Download Indigenous Dance and Dancing Indian: Contested by Matthew Krystal PDF

By Matthew Krystal

Focusing at the enactment of id in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparability of indigenous dance practices.

Considering 4 genres of dance within which indigenous everyone is represented--K'iche Maya conventional dance, powwow, folkloric dance, and dancing activities mascots--the booklet addresses either the ideational and behavioral dimensions of id. every one dance is tested as a different cultural expression in person chapters, after which all are in comparison within the end, the place impressive parallels and demanding divergences are published. eventually, Krystal describes how dancers and audiences paintings to build and devour fulfilling and significant identities via dance via both tough social inequality or reinforcing the current social order.

Detailed ethnographic paintings, thorough case stories, and an insightful narrative voice make Indigenous Dance and Dancing Indian a considerable addition to scholarly literature on dance within the Americas. it will likely be of curiosity to students of local American stories, social sciences, and appearing arts.

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Extra resources for Indigenous Dance and Dancing Indian: Contested Representation in the Global Era

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Trade relations preceded direct colonization and settlement, and the mutual trust necessary for trading partnerships are commonly cemented by ceremonial gift exchange and feasting. Moreover, the strong material incentives to maintain good relations with trading partners created a more convivial atmosphere than Puritanical religious ideology. Although it is not strictly knowable, the first Thanksgiving almost certainly did not include pilgrims (and more likely included French traders). So why then does the myth select pilgrims?

Representational dance is similar to sacred dance; the latter can be public, and ritual specialists are performers in a sense. Representational dances, however, deal less directly with matters that are beyond the five senses than do sacred dances. As I will describe later, the sacred (or the rituals designed to access the sacred) are sometimes referenced in representational dance but are not central to performance. However, this is not to say that representational dances do not have ritual-like qualities.

Compounding problems of underrepresentation, minority or marginal peoples are frequently misrepresented either by well-intentioned but ethnocentric advocates or by compromised but official bureaucrats and politicians. The point of stressing the complexity of representation is to bring to the surface how a given act can have both symbolic and political dimensions. Particularly useful to the present discussion is Terrence Turner’s (1992, 2002) treatments of Kayapo (Xingu River Basin, Brazil) use of audiovisual technology as a medium of self-representation.

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