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

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

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

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Treason and the Traitor. Masks for Monacho from the Guatemalan Dance of the Conquest reflect changes in the character’s approach to the invading Spanish. Monacho begins the conquest story loyal to the Maya (left) but eventually aids the Castillians (right). Collection of the Morería Nima’ K’iche’, December 2007. ) Interestingly enough, dance in the modern popular imagination is a common marker of exoticism. From the mindless movie entertainment of Krippendorf ’s Tribe to the operatic art of Bizet’s Carmen, we imagine and present Others as dancing Others.

Such shared history, while possibly rooted in events, derives its power of identification and motivation to action in its telling. As such, it should come as no surprise that myths of origin are told in a way that emphasizes the posi22 Dance, Culture, and Identity tive in self and the negative in Others. For example, in telling their communal history, Zapotec Ixtepejanos emphasize victimization of Santa Catarina Ixtepeji by neighboring communities. Events in which they visited suffering on their neighbors are deemphasized (Kearney 1972:37–41).

Second, dance forms vary in composition of performer and audience. Where social and sacred dances are generally performed within social groups, representational dance, particularly in the global era, is performed with audiences that include insiders and outsiders. Indeed, as I will explore below, sometimes the whole point of representational dance is to perform for outsiders. As such, it is appropriate to consider what a representational dance can say about collective identity as well as individual identity.

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