- 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
St. Michael the Archangel is a biblical icon the Spanish brought to Mexico during the sixteenth century. He was used for evangelization as part of a religious discourse incorporating icons as its principal tool, strongly impacting indigenous people. Considered a leader of God’s armies fighting against evil, Michael became the patron saint of soldiers. Danza de Migueles is a Mexican ritual dance-drama about the fight between good and evil, still performed each year by Nahuas and Totonacas indigenous people of Puebla and Veracruz. It reinvents the military attributes of a Catholic icon within the frame of Mesoamerican religions, shaping indigenous identity with new ways of cultural resistance. This chapter addresses changes and reinterpretations that St. Michael’s iconography underwent when placed in a dancing context and how it has served the Nahuas from Tzinacapan in building their identity as a distinct ethnic group in contemporary Mexico.
Ana Patricia Farfán is a Mexican choreographer and researcher currently based in DC. She is a Fulbright fellowship student, MFA Candidate in Dance, at Univesrity of Maryland, CP. She holds degrees in Concert Dance from Academia de la Danza Mexicana, National Institute of Fine Arts, and in Linguistics and Literature from Universidad Nacional Autónoma de Mexico. Ana has showcased her choreography and performance in Teatro de la Danza, Centro Nacional de las Artes, and in the Clarice Smith Performing Arts Center and at Movement Research. Ana has been recognized twice by National Institute of Fine Arts with the grant “Educación por el arte, 2001” and “Educación artistica 2009” and with the “Partnership for Excellence in the Performing Arts Travel Award” in 2012 and 2013. In 2009 she founded and became editor of a dance research journal in Mexico called Centrífuga. Revista de Investigación Dancística.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.