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By Theresa Jill Buckland

This groundbreaking assortment combines ethnographic and ancient recommendations to bare how dance performs an important cultural roles in numerous areas of the area, together with Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays discover a stability among earlier and current and consider how dance and physically practices are middle identification and cultural creators. attaining past the quite often Eurocentric view of dance, Dancing from previous to provide opens an international of discussion over the function dance performs in forming and expressing cultural identities around the globe.

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Additional resources for Dancing from Past to Present: Nation, Culture, Identities (Studies in Dance History)

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25 26    .     Because of the problematic heritage of evolutionism and diffusionism, however, anthropologists have generally shied away from history and especially from grandiose schemes. Those, such as Marshall Sahlins, who have attempted to bridge the gap between the structural/functional emphasis on synchrony and the historian’s emphasis on diachrony, have carried out long-term fieldwork in contemporary societies and combed libraries and archives to place them in a historical perspective.

Buckland, “‘Th’Owd Pagan Dance’: Ritual, Enchantment, and an Enduring Intellectual Paradigm,” Journal for the Anthropological Study of Human Movement 11, no. 4, and 12, no. 1 (Fall 2001/Spring 2002; double issue): 418–20. See also Andrée Grau, “Myths of Origin,” in The Routledge Dance Studies Reader, ed. Alexandra Carter (London: Routledge, 1998), 197–202. 15. See Anca Giurchescu, “European Perspectives in Structural Analysis of Dance,” in Dance—A Multicultural Perspective, ed. , Dance and Structural Analysis (Budapest: Hungarian Academy of Sciences, forthcoming).

The king’s birthday celebrations and the annual agricultural show are contemporary expressions of the giving of first fruits and valuables to the king, who gives them a Christian blessing. They are then redistributed and used in his court. Dances are first performed with the food and valuables before they are publicly performed—usually during the public days of the k¯atoanga and the days leading up to it. Sons and daughters of the king and chiefs are often the central performers—they will be the next generation of chiefs and parents of future generations of chiefs.

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