- 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
For many people, “folk dance” and “ethnic dance” are roughly synonymous, used vaguely to identify colorful but marginal dance traditions. Old stereotypes and biases persist, hindering our understanding of these important spheres of dance activity. This chapter explores this conceptual terrain and proposes definitions that differentiate between the two terms and can be cross-culturally useful. The chapter reviews a number of traditions for conceptualizing “folk dance” and argues that it is sometimes desirable to associate the term specifically with dances of the peasantry (people in rural agricultural societies around the world), as well as those inspired by peasant dancing. It proposes that “ethnic dance” be used to denote any dance in which cultural boundaries are actively engaged. Three Ukrainian dance examples—hutsulka, Hopak, and The Match—illustrate the implications of these suggestions.
Andriy Nahachewsky (PhD 1991) is Professor of Ukrainian folklore at the University of Alberta. He occupies the Huculak Chair of Ukrainian Culture and Ethnography and is the Director of the Kule Centre for Ukrainian and Canadian Folklore. Research interests include folk and ethnic dance, diasporic identity, folk art and material culture, Ukrainian culture in the 20th century. He has conducted ethnographic fieldwork on Ukrainian dance and Ukrainian traditions in a dozen countries. Dancer, choreographer, teacher, adjudicator, consultant, critic, collector and researcher, he has some 40 publications to his credit, including Ukrainian Dance: A Cross-Cultural Approach (McFarland, 2011).
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