- The Oxford Handbook of Dance and Ethnicity
- List of Contributors
- Dance and Ethnicity: Introduction
- “And I Make My Own”: Class Performance, Black Urban Identity, and Depression-Era Harlem’s Physical Culture
- “Do You Want to See My Hornpipe?” Creativity and Irish Step Dance in the Work of Jean Butler and Colin Dunne
- Dancing Jews and Jewesses: Jewishness, Ethnicity, and Exoticism in American Dance
- Queering Ethnicity and Shattering the Disco: Is There an Enduring Gay Ethnic Dance?
- Dancing Multiple Identities: Preserving and Revitalizing Dances of the Skolt Sámi
- To Call Dance Japanese: Nihon Buyô as Ethnic Dance
- Diasporic Ethnicity, Gender, and Dance: Muslim Macedonian Roma in New York
- “An Interesting Experiment in Eugenics”: Ted Shawn, American Dance, and the Discourses of Sex, Race, and Ethnicity
- Dancing Angels and Princesses: The Invention of an Ideal Female National Dancer in Twentieth-Century Iran
- The Spectacularization of Soviet/Russian Folk Dance: Igor Moiseyev and the Invented Tradition of Staged Folk Dance
- LADO, the State Ensemble of Croatian Folk Dances and Songs: Icon of Croatian Identity
- Authenticity and Ethnicity: Folk Dance, Americanization, and the Immigrant Body in the Early Twentieth Century
- A Folklorist’s View of “Folk” and “Ethnic” Dance: Three Ukrainian Examples
- The Jarabe Tapatío: Imagining Race, Nation, Class, and Gender in 1920s Mexico
- Perception, Connections, and Performed Identities in American-Ghanaian Dance Encounters
- Orientalism and the American Belly Dancer: Multiplicity, Authenticity, Identity
- Black Erased: The Tango de Negros in Spain’s Romantic Age
- English-Canadian Ethnocentricity: The Case Study of Boris Volkoff at the 1936 Nazi Olympics
- La Meri: Purveyor of the Dancing Other
- Choreographing Interculturalism: International Dance Performance at the American Museum of Natural History, 1943–1952
- “Hot” Latin Dance: Ethnic Identity and Stereotype
- From Salsa to Salzonto: Rhythmic Identities and Inventive Dance Traditions in Ghana
- Spectacles of Ethnicities: The San Francisco Ethnic Dance Festival
- Dancecapes of Dionysus: From Kali Vrisi (Northern Greece) to the Olympics
- Ballet and Whiteness: Will Ballet Forever Be the Kingdom of the Pale?
- Men and the Happiness Dance
- From Powwow to Stomp Dance: Parallel Dance Traditions in Oklahoma
- Beyond Colonization, Commodification, and Reclamation: Hula and Hawaiian Identity
- Crossing the Seas of Southeast Asia: Indigenous Diasporic Islam and Performances of Women’s Igal
- San Miguel the Arcángel, Capitan of Many Troops: An Ethno-Iconographic Study of Danza de Migueles
- Black Dance after Race
Abstract and Keywords
Oklahoma is home to 67 American Indian tribes, each of which has its own cultural heritage. The result is a wealth of parallel traditions, from powwows deriving from Plains warrior societies to stomp dances of Woodland tribes that were forcibly removed to Indian Territory (present Oklahoma) in the 19th century. Song and dance around the powwow drum contrast sharply with the stomp dance tradition, where all-night singing and dancing around a sacred fire, accompanied by the percussion of the female dancers wearing turtle or can rattles strapped around their lower legs, form the backbone of the Green Corn religion. This chapter will compare and contrast the powwow and the stomp dance in their historical cultural contexts as symbols of Native identity, and examine how these parallel dance traditions continue to reinforce a sense of ethnic pride for Native American communities in Oklahoma.
Paula Conlon has been studying Native American and world music and dance traditions since the mid-1980s when she wrote her Master's thesis on the Native American flute, followed by a semiotic analysis of 300 Iglulik Inuit drum-dance songs from northern Baffin Island for her doctoral dissertation of 1993. Since moving to Oklahoma in 1996, Conlon has participated in a wide range of Native ceremonials and social gatherings, which she incorporates into her publications, conference presentations, workshops, and classroom teaching. Grounded in extensive personal fieldwork and one-on-one interviews with Native musicians and dancers, Conlon’s publications include articles, book chapters, and entries on Native American flute, Mvskoke (Creek) Stomp Dance, and Southern Plains powwow singing and dancing. Her writings also include articles and entries on various Native composers, performing groups, and music and dance traditions of Northwest Coast, Plains, Eastern Woodlands, and Eastern Arctic peoples. Conlon teaches graduate and undergraduate Native American and world music classes at the University of Oklahoma’s School of Music, along with experiential seminars on Native American music and dance traditions that include sessions with Native performing artists and craftsmen.
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