By Susan C. Cook, Sherril Dodds
From the ragtime one-step of the early 20th century to the modern practices of teenybopper membership cultures, renowned dance and track are inextricably associated. This assortment unearths the intimate connections among the corporeal and the sonic within the construction, transmission and reception of well known dance and tune, that's imagined right here as 'bodies of sound'. the amount provokes a wide-ranging, interdisciplinary dialog that incorporates scholarship from Asia, Europe and the U.S., which explores themes from the 19th century via to the current day and engages with practices at neighborhood, nationwide and transnational levels.In half I: developing the preferred, the authors discover how different types of well known track and dance are developed and de-stabilized, and their proclivity to acceptable and re-imagine cultural varieties and meanings. partly II: Authenticity, Revival and Reinvention, the authors learn how well known types produce and manage identities and meanings via their allure to and departure from cultural traditions. partly III: (Re)Framing worth, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized via renowned track and dance. And partially IV: Politics of the preferred, the authors learn the preferred as a website of political negotiation and transformation.
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Extra resources for Bodies of Sound: Studies Across Popular Music and Dance
19 In the early twentieth century, the desire to popularize folk traditions produced a paradox in the revivalist aim. To ensure that folk music and dance would be accessible to young, urban middle-class audiences, these ‘traditional’ forms were adapted and thus reinvented. In the second revival, the intent was to preserve the tradition in its ‘authentic form’; yet this strategy placed folk within a cultural vacuum and promulgated the mythology of a pure and unchanging tradition. Consequently, there was no acknowledgement of folk’s relationship to the popular and furthermore produced a division between the folk and popular idiom.
Mélanges de Linguistique Française Offerts à M. Charles Bruneau (Geneva, 1954), p. 178. 15 Un Vilain Masque, Physiologie, pp. 79-80. 16 Luchet, ‘La Descente de la Courtille’, p. 42. 17 Marion Winter, The Theatre of Marvels (London, 1962); Lisa C. ), Rethinking the Sylph: New Perspectives on the Romantic Ballet (Hanover, 1997). 1 Bodies of Sound Illustrations by Quillenbois (Charles Marie de Sarcus) published in Le Conservatoire de la Danse Moderne (1845). 18 Not satisfied with consuming foreign dances as spectacles, working-class dancers incorporated them into their own movement vocabularies and used them as inspiration for their own innovations.
54 22 Bodies of Sound ‘Arabia’, a technique common in late nineteenth-century exotic performance and in Hollywood film musicals. Through this lens, Anu’s performance is haunted by the modernist and colonialist fetishization of the bodies of racial and gendered others. Her embodiment of the cancan, therefore, conjures an array of historical identity politics, which play ambiguously on and with her contemporary body. Anu’s cancan performance can be considered in relation to film scholar Diane Sandars’s argument that Australian musicals such as Moulin Rouge!