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agency, 100, 119n24, 143–44 Agung, Sultan of Indonesia, 59, 61, 63, 64, 66, 67, 68, 70 Akhak kwebŏm (Guide to the Study of Music), 158 anthropology, viii, ix, 4, 5, 6, 7, 8, 9, 10, 11, 12, 25, 26, 27–48, 54–71, 76, 77– 78, 126, 128, 129, 130, 143–44, 145, 177–78, 213, 215, 218, 222, 231–32, 234–35, 236, 237; cultural, 78, 92, 98; dance, 4, 103, 129, 176; sensory, 98, 116 art, dance as, 5, 176, 177; Eurocentric criteria for, 5, 27, 237; high, 5, 7, 28, 237 authenticity, 14, 15, 16–17, 55, 56, 60, 61, 88, 125, 131, 159, 199, 200, 208–12, 214, 216, 217, 219, 221, 222 Balasaraswati, T., 127, 132–33, 135, 135– 38, 141, 143 ballet, 5, 7, 85, 99, 103, 130, 131, 177, 203 Bandler, Richard, 97–98 Banyan Tree, The (Vata Vriksha), 139–43, 140, 141, 142 B˘edhaya ( Javanese dance), 54, 59, 62, 62–71 Belgrade, NATO bombing of, 76 bharata natyam, 123–46 body, the, 8, 13, 98, 99, 100, 101, 103, 116, 128, 236 Bosnia-Herzegovina, 78, 82, 83, 84, 84–85, 86, 88, 89, 90–92, 93n1, 196n2 Bourdieu, Pierre, 99, 100, 119n25, 128 Britannia Coco-Nut Dancers, 205, 206, 213–15, 214, 216, 219 Bull, Cynthia Cohen, 103 Cable News Network (CNN), 76, 91, 93 Casey, Edward, 98–99 Chinju kŏmmu(Koreandance), 161,161–63 choreography as strategy, 143–44, 145 Choreometrics, 103 Ch’ŏyongmu (Korean dance), 155–60, 158, 163, 167, 168 Cigani. See Gypsies class, 133, 137, 139, 202, 212 Classen, Constance, 98 †co†cek (Romani dance), 183, 184, 188, 193 Cold War, 7, 14, 90, 93n1 colonialism, 6, 7–8, 17, 56, 57, 107, 113, 133, 142, 222 Communism. See state socialism competence, levels of, 46–47 Connerton, Paul, 15, 16, 214, 235 Cook, Captain James, 28, 29, 30, 31–33, 37, 40 241  Page numbers in italics refer to illustrations. Cotswold morris (English dance), 206, 208–9, 212, 218–19 Croatia and Croatian people, 78, 82, 83, 83, 86, 88, 89, 91, 93n1, 176, 184, 196n2, 197n10 Csordas, Thomas, 100–101, 102, 116, 235 cultural studies, 4, 8, 126, 145, 218, 236 culture, 5, 7, 55, 57, 60, 68, 71, 87, 98, 100, 101–2, 103, 106, 116, 144, 145, 210,234–35,236–37;anthropological concept of, 8, 9, 78, 129, 130, 145; high art as, 5, 6, 133; used for political purposes, 57, 79–81 dance scholarship, 5, 8, 10, 12, 13, 130 dance studies in higher education, vii, ix, 4, 176–78 danza, la (Pueblo dance), 109, 113, 113–15 devadasi, 64, 68, 124, 127, 132, 135–36, 137–38, 141, 141 Devi, Rukmini, 131–36, 132, 134, 138, 139, 140, 140, 141, 141, 142, 142, 143 documentation of dances, 4, 10, 12, 153, 177, 199; audiovisual, 179, 180–81, 184, 189–90, 192–93. See also images, interviews, oral history, photographs , sources Efron, David, 104–5 embodiment, vii, 8, 11, 13, 14, 15, 16, 17, 29, 55, 61, 71, 86, 93, 97, 100–2, 104, 105, 112, 115, 116, 235–36 England, 199–222 English dance. See morris dance English Folk Dance and Song Society (EFDSS), 206, 208, 214 English Folk Revival, 199–222 ethnochoreology, 4 ethnography, vii, viii, 4, 5, 12, 15, 16, 25, 92, 126, 129, 144, 195, 217, 222, 232, 237–38; and dance, 3, 4, 6, 8, 98, 178, 222, 232–33, 236, 237; Eastern European approach to, 3–4, 6, 7, 9, 10, 232; ethnographic moment, 38, 41, 76, 189; ethnographic monograph , 4, 12, 92; methodology of, 8, 9–10, 12; as reflexive, 10, 13, 17, 126– 31, 133, 136–39, 146, 200–205, 213– 21. See also fieldwork, sources ethnohistory, 27, 29 ethnology, viii, ix, 3, 4, 6, 92, 106, 116, 129, 153, 175, 176, 181, 192, 195 ethnomusicology, 4, 177, 178 European Union, 91 evolutionist perspectives, 5–6, 7, 16, 26, 204 fieldwork, 9, 10, 25, 26, 27, 41, 54, 71, 84, 90, 126, 128, 137, 139, 153, 178, 221 first fruits, presentation of, 42–43 folk, the, 6–7, 8, 9, 16, 81, 201, 202, 216, 234; industrialized communities as, 208 folk dance, 7, 161–63, 176, 177, 179; as contribution to national identity, 7, 75–93; staged performance of, 14–15, 76, 81–92, 177, 188. See also English Folk Revival folklore ensembles: amateur, 81–92; professional , 77, 78, 82, 83, 85; village, 82–84 folklore/folk life studies, viii...

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