This study surveys music and dance from a global perspective, viewing them as a composite whole found in every culture. To some, music means sound and body movement. To others, dance means body movement and sound. The author examines the complementary connection between sound and movement as an element of the human experience as old as humanity itself. Music and dance from Africa, the Americas, Asia, Europe, the Middle East and the South Pacific are discussed.

"Textbook for undergrad general education and dance courses on the topic of dance around the world. It serves as a gateway into studying world cultures through dance"--

Using an interdisciplinary and transhistorical framework this book examines the cultural, material, and symbolic articulations of Irish migration relationships from the medieval period through to the contemporary post-Celtic Tiger era. With attention to people’s different uses of social space, relationships with and memories of the landscape, as well as their symbolic expressions of diasporic identity, Heritage, Diaspora and the Consumption of Culture examines the different forms of diaspora over time and contributes to contemporary debates on home, foreignness, globalization and consumption. By examining various movements of people into and out of Ireland, the book explores how expressions of cultural capital and symbolic power have changed over time in the Irish collective imagination, shedding light on the ways in which Ireland is represented and Irish culture consumed and materialized overseas. Arranged around the themes of home and location, identity and material culture, and global culture and consumption, this collection brings together the work of scholars from the UK, Ireland, Europe, the US and Canada, to explore the ways in which the processes of movement affect the people’s negotiation and contestation of concepts of identity, the local and the global. As such, it will appeal to scholars working in fields such as sociology, politics, cultural studies, history and archaeology, with interests in migration, gender studies, diasporic identities, heritage and material culture.

This collection of essays brings together performers, writers, critics and musicologists from the Dutch-, English-, French- and Spanish-speaking Caribbean, as well as Britain and the US. It explores the history of music and writing from trans-Atlantic, intra-Caribbean and global perspectives. The contributors discuss exchanges between Africa, the Caribbean, Europe and native America, the places of music and dance in Caribbean culture in general, in the establishment of a literary aesthetic, in idividual authors and in specific island cultures.

This collectively written monograph is the first work to provide a broad history of the relationship between Eastern Europe and the decolonising world. It ranges from the late nineteenth to the late twentieth century, but at its core is the dynamic of the post-1945 period, when socialism's importance as a globalising force accelerated and drew together what contemporaries called the 'Second' and 'Third Worlds'. At the centre of this history is the encounter between the Soviet Union and Eastern Europe on one hand, and a wider world casting off European empires or struggling against western imperialism on the other. The origins of these connections are traced back to new forms of internationalism enabled by the Russian Revolution; the interplay between the first 'decolonisation' of the twentieth century in Eastern Europe and rising anti-colonial movements; and the global rise of fascism, which created new connections between East and South. The heart of the study, however, lies in the Cold War, when these contacts and relationships dramatically intensified. A common embrace of socialist modernisation and anti-imperial culture opened up possibilities for a new and meaningful exchange between the peripheries of Eastern Europe, Latin America, Africa, and Asia. Such linkages are examined across many different fields - from health to archaeology, economic development to the arts - and through many people - from students to experts to labour migrants - who all helped to shape a different form and meaning of globalisation.

Rwanda is a small landlocked country located in Central-East Africa. It has a total land area of 26,338 square kilometers and is bordered by Uganda to the north, Tanzania to the east, Burundi to the south and the Democratic Republic of Congo to the west. The population is predominantly composed of three ethnic groups: the Hutu, Tutsi, and Twa. The country experienced a major genocide in 1994, resulting in the deaths of approximately 800,000 people, mainly Tutsi. The genocide shattered the country's economic and social infrastructure, leading to a long period of recovery and reconstruction. Since then, Rwanda has undergone significant transformation and is emerging as one of Africa's success stories. The government has prioritized modernizing the agriculture sector, promoting investment in infrastructure, and reducing corruption. Rwanda has also embraced technology, becoming a hub for information communication and innovation. The country is now known for its initiatives such as the Kigali Innovation City, which aims to create jobs through attracting tech companies to set up shop in the country. While there are still challenges, Rwanda is making strides towards becoming a prosperous and thriving nation.

Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today’s mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres—from house, techno, and garage to drum and bass, dubstep, and psytrance—have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from—and at times into—corporatization in China; and even undergirding a veritable “independent republic” in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.