While there are books about folk dances from individual countries or regions, there isn’t a single comprehensive book on folk dances across the globe. This illustrated compendium offers the student, teacher, choreographer, historian, media critic, ethnographer, and general reader an overview of the evolution and social and religious significance of folk dance. The Encyclopedia of World Folk Dancefocuses on the uniqueness of kinetic performance and its contribution to the study and appreciation of rhythmic expression around the globe. Following a chronology of momentous events dating from prehistoryto the present day, the entries in this volume include material on technical terms, character roles, and specific dances. The entries also summarize the historical and ethnic milieu of each style and execution, highlighting, among other elements, such features as: origins purpose rituals and traditions props dress holidays themes

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

This is an extensive work on international folk dancing as practiced in the United States. It tells how to do the hopak, czardas and the bamboo pole dance; plan an international folk dance program; do the little finger hold and the hambo swing. International Folk Dancing U.S.A. presents historical vignettes on pioneer folk dance leaders; instructions for 180 dances from 30 countries; contributions from 60 folk dance authorities; easy-to-follow dance step descriptions; a Glossary of folk dance terms; many helpful illustrations.

"An important new collection of Native American writers essaying the cultural significance of Utah's Bears Ears landscape." —THE SALT LAKE TRIBUNE In support of tribal efforts to protect the Bears Ears, Native writers bear testimony to the fragile and essential nature of this sacred landscape in America's remote red rock country. Through poem and essay, these often–ignored voices explore the ways many native people derive tradition, sustenance, and cultural history from the Bears Ears. "To us, these places represent more than grass, hills, mountains, and trees…they hold the links to our past and our future." —Martie Simmons, Ho–Chunk The fifteen contributors are multi–generational writers, poets, activists, teachers, students, and public officials, each with a strong tie to landscape and a particular story to tell. Willie Grayeyes, Chairman of Utah Diné Bikéyah, shares his ancestral ties to the Bears Ears. Klee Benally, Diné activist, musician, and filmmaker, asks, "What part of sacred don't you understand?" Morning Star Gali, Tribal Historic Preservation Officer at Pit River Tribe, speaks to the fight for cultural preservation. The fifteen contributors speak for the Bears Ears and elevate the conversation around tribal sovereignty and sacred places across the US. Editor JACQUELINE KEELER is a Navajo/Dakota writer who lives in Portland, Oregon. She is co–founder of Eradicating Offensive Native Mascotry, which seeks to end the use of racial groups as mascots, as well as the use of other stereotypical representations in popular culture. Her work has appeared in The Nation, Indian Country Today, Earth Island Journal, Salon.com, and elsewhere.

Since 1990, thousands of Hungarians have vacationed at summer camps devoted to Hungarian folk dance in the Transylvanian villages of neighboring Romania. This folk tourism and connected everyday practices of folk dance revival take place against the backdrop of an increasingly nationalist political environment in Hungary. In Movement of the People, Mary N. Taylor takes readers inside the folk revival movement known as dancehouse (táncház) that sustains myriad events where folk dance is central and championed by international enthusiasts and UNESCO. Contextualizing táncház in a deeper history of populism and nationalism, Taylor examines the movement's emergence in 1970s socialist institutions, its transformation through the postsocialist period, and its recent recognition by UNESCO as a best practice of heritage preservation. Approaching the populist and popular practices of folk revival as a form of national cultivation, Movement of the People interrogates the everyday practices, relationships, institutional contexts, and ideologies that contribute to the making of Hungary's future, as well as its past.