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People all over the world dance traditional and popular dances that havebeen staged for purposes of representing specific national and ethnic groups.Anthony Shay suggests these staged dance productions be called "ethno identitydances", especially to replace the term "folk dance," which Shay suggestsshould refer to the traditional dances found in village settings as an organicpart of village and tribal life. Shay investigates the many motives that impelpeople to dance in these staged productions: dancing for sex or dancing sexydances, dancing for fun and recreation, dancing for profit - such as dancingfor tourists - dancing for the nation or to demonstrate ethnic pride. In thisstudy Shay also examines belly dance, Zorba Dancing in Greek nightclubs andrestaurants, Tango, Hula, Irish step dancing, and Ukrainian dancing.
List of contents
Introduction. Ethno Identity Dance.- Part I. Dancing for Sex.- Chapter One. I Wish I Could Shimmy Like My Sister Kate.- Chapter Two. Breaking Plates on the Plaka.- Chapter Three. It Takes Two to Tango.- Part II. Dancing for Profit.- Chapter Four. Lovely Hula Hands.- Part III. Dancing for the Nation.- Chapter Five. When Irish Feet are Twinkling.- Chapter Six. Dancing for Ukraine.- Notes.
About the author
Anthony Shay is Associate Professor of
Dance and Cultural Studies at Pomona College, USA. He is a former dancer and
choreographer, having founded and directed the AMAN Folk Ensemble and the AVAZ
International Dance Theatre. He is the author and editor of ten books,
including the Oxford Handbook of Dance
and Ethnicity (2016) and Dangerous
Lives of Public Performers: Dancing, Sex, and Entertainment in the Islamic
World (2014).
Summary
Shay investigates the many motives that impelpeople to dance in these staged productions: dancing for sex or dancing sexydances, dancing for fun and recreation, dancing for profit - such as dancingfor tourists - dancing for the nation or to demonstrate ethnic pride.
