This book explores indigenous dances and social relationships surrounding the dance activities among Yupik on St. Lawrence Island and Iñupiat in Utqiaġvik, Northern Alaska. Yupik and Iñupiat proudly distinguish their indigenous styles of dance, locally called 'Eskimo dance', from Western styles of dance, such as ballroom, disco or ballet. Based on two years of intensive fieldwork and 18 years of experience living in Alaska, Ikuta sets out to understand how Yupik and Iñupiaq dances are at the centre of social relationships with the environment, among humans, between humans and animals, and between Native and the Euro-American societies. It also examines how the nature and structure of dance are connected to cultural politics, wrought by political, economic and historical events.

This book explores indigenous dances and social relationships surrounding the dance activities among Yupik on St. Lawrence Island and Iñupiat in Utqiaġvik, Northern Alaska. Yupik and Iñupiat proudly distinguish their indigenous styles of dance, locally called ‘Eskimo dance’, from Western styles of dance, such as ballroom, disco or ballet. Based on two years of intensive fieldwork and 18 years of experience living in Alaska, Ikuta sets out to understand how Yupik and Iñupiaq dances are at the centre of social relationships with the environment, among humans, between humans and animals, and between Native and the Euro-American societies. It also examines how the nature and structure of dance are connected to cultural politics, wrought by political, economic and historical events.

This thesis explores Eskimo dance and the social relationships surrounding the dance activities among Yupiget on St. Lawrence Island and Iñupiat in Barrow, Alaska. Based on one year of fieldwork, I set out to understand how Eskimo dance is at the centre of social relationships with the environment, among people, between humans and animals, and between Eskimo and the Euro-American societies. I also examine how the nature and structure of Eskimo dance are connected to cultural politics, wrought by political, economic and historical events. St. Lawrence Island and Barrow are both well known as 'dance' communities among Alaskan Eskimos, where the residents did not give up on dancing despite various pressures throughout history, and legendary composers and performers keep attracting a number of Eskimo audiences. Both communities have long been enjoying Eskimo dances, which combine the cultural aesthetics with abstract and embodied knowledge of their Arctic environment in a harmony of movements and sounds. In the contemporary context, Eskimo dance performances have also become a way of presenting ethnic identity, interpreting tradition, and representing culture in political discourse, particularly in the speech community where people do not speak their heritage language in daily life. Yupik and Iñupiaq communities, which vary in language maintenance, post-colonial history, and economic development, have different attitudes toward their own traditions and cultures. This is reflected in the fact that the presentations and meanings of contemporary Eskimo dance are developing differently between St. Lawrence Island and Barrow. I argue that Eskimo dance shows conservatism in artistic form incorporating creativities and improvisation among performers. It also presents continuity of the emotional and social power that dance performances have.

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.

Paper based on observations on the ceremonial dances of the Eskimo in the Bering Strait district.

In 1982, the fledgling Native nonprofit Sealaska Heritage Institute held a dance-and-culture festival to celebrate the Tlingit, Haida, and Tsimshian cultures of Southeast Alaska. A couple of hundred Native people gathered in Juneau for the event, called Celebration. They could not have imagined then that Celebration woud spark a movement across the region - a renaissance of Native culture that prompted people largely unfamiliar with their heritage to learn their ancestral songs and dances and to make regalia for future Celebrations. Today, Celebration is the largest cultural event in the state, drawing thousands of people to the five-day biennial festival. Celebration: Tlingit, Haida, Tsimshian Dancing on the Land, featuring the work by the noted Alaska photographer Bill Hess, includes images from the first Celebrations to the present-day festivals. It is both an introduction to Native cultures and a cherished keepsake for the people who have participated in Celebration. Sealaska Heritage Institute is a regional Native nonprofit organization serving the indigenous peoples of Southeast Alaska. The Institute was founded in 1980 to administer cultural programs for Sealaska Corporation, a Native for-profit company formed under the Alaska Native Claims Settlement Act. The Institute's mission is to perpetuate and enhance Tlingit, Haida, and Tsimshian cultures.