Category Archives: Dance

Capoeira and social justice

Capoeira, as a martial art, was created by enslaved Afro-Brazilians. Today, it blends song, dance, acrobatics, and theatrical improvisation, inspiring many practitioners to become active in social causes. Capoeira often serves as a gateway for individuals to transition from physical training to social justice activities, highlighting its deep roots in resistance and subversion. For instance, practitioners in the United States, both as individuals and as communities, engage in activism by marching against racial discrimination, celebrating Martin Luther King Jr. Day and Juneteenth, organizing clothing drives for job seekers, and advocating for economic and environmental justice in their communities. For these capoeiristas, the practice becomes a form of serious leisure that fosters personal growth, a sense of belonging, and an enhanced sense of self, while also carrying social duties and responsibilities. In this way, capoeira exemplifies how participation in a leisure community—often regarded as trivial—can profoundly reshape one’s worldview and positions capoeira itself as a powerful model for civic engagement.

Using Robert Stebbins’s concept of “serious leisure” helps illuminate how capoeira fosters social activism. Stebbins defines serious leisure as a mix of amateur pursuits, hobbyist activities, and career volunteering that individuals engage in outside of their work life, deriving personal satisfaction from it. In this context, capoeira, as a relational Afro-Brazilian martial art, encourages practitioners to leave with a heightened awareness of, and concern for, the societal structures surrounding them. Capoeira’s African roots, both as a martial art and a cultural expression, touch on themes such as authenticity, gentrification, Afrocentrism, and nationalism. These elements implicitly and explicitly engage with the social dynamics of race, influencing the practice and the ways practitioners interact with their broader societal context.

This according to Graceful resistance: How capoeiristas use their art for activism and community engagement by Lauren Miller Griffith (Urbana: University of Illinois Press, 2023; RILM Abstracts of Music Literature 2023-5114).

Celebrate the UN World Day of Social Justice on February 20.

Watch a performance of capoeira music and solo techniques by children below.

Read a related post in Bibliolore:

https://bibliolore.org/2021/02/28/capoeiras-hidden-history/

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Filed under Black studies, Dance, Politics, South America, World music

Katherine Dunham’s African diasporic dance aesthetics

African American dancer, choreographer, and anthropologist Katherine Dunham used ballet and African diasporic movement traditions to develop a dance methodology that subverted the white patriarchal gaze and forever changed the aesthetics of the Broadway stage. Early in her career as a dancer, Dunham cultivated techniques rooted in ballet but influenced by African dance aesthetics. Throughout her career, she attained a prominent status in the dance world, inspiring Black dance students to pursue their studies with courage and purpose. Her work also elevated Black dance forms out of the burlesque and made them more dignified.

Dunham’s technique combined Eurocentric ballet traditions with elements of the African diaspora, utilizing bodily aesthetics and movement to subversively engage the voyeuristic gaze–an approach that allowed her to manipulate socially inscribed and discursively produced identities. Through her work, including the dance piece L’ag’ya (1938) and the 1940s Broadway musicals Pins and needles and Cabin in the sky, Dunham maneuvered through dominant cultural narratives and cultivated a solid foundation for African American dancers, choreographers, and Black musical theater.

Theorizing Dunham’s work through the lenses of the voyeuristic gaze, race and culture, the sexuality of the Black body, and Black musical theater elucidates how she transgressively used dominant ideologies and spaces of racial and patriarchal oppression. By doing so, Dunham created opportunities to make African diasporic aesthetics of dance and the body legible to white audiences.

This according to “Développé: Katherine Dunham’s diasporic dance” by Amanda Jane Olmstead (Studies in musical theatre 11/3 [2017] 303–310; RILM Abstracts of Music Literature, 2017-37090).

Below, Dunham performs accompanied by a West Indian creole music ensemble in a 1952 ballet at the Cambridge Theatre in London.

Read a related Bibliolore post:

https://bibliolore.org/2012/07/02/katharine-dunham-and-lagya/

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Filed under Africa, Black studies, Dance, North America

RILM Launches DEUMM Online

RILM cordially invites you to join us for the release of DEUMM Online on Wednesday, 30 October 2024, at 7:30 pm CET / 1:30 pm EST. Co-sponsored by the Associazione fra i Docenti Universitari Italiani di Musica (ADUIM) and IAML-Italia, the event will take place in the Teatro Palladium auditorium in Rome, Italy.

Teatro Palladium, Ph. © Francesco Ciccone

DEUMM Online digitizes, enhances, and extends the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM), the most important modern music dictionary in the Italian language. Comprising a broad range of entries (persons, topics, dances, genres, geographical locations, institutions, instruments, and works), DEUMM Online uses advanced and intuitive search and translation functionalities. This venerable music encyclopedia, which has set the standards in modern Italian music lexicography, is, in its new online format, once again an indispensable node in a comprehensive, international, networked research experience.

For those unable to join the Rome event in person, the event will be live streamed on YouTube by Fondazione Roma Tre Teatro Palladium, accessible directly from the following QR code:

The program (below) will include Daniele Trucco’s DEUMM-inspired music, greetings from Luca Aversano (President, ADUIM), Marcoemilio Camera (President, IAML Italia), and Tina Frühauf (Executive Director, RILM), as well as presentations by Zdravko Blažeković (Executive Editor, RILM), Stefano Campagnolo (Director, Biblioteca Nazionale Centrale di Roma), Alex Braga (composer), and DEUMM Online’s general editors Antonio Baldassarre and Daniela Castaldo. Pianist Giuseppe Magagnino will also perform works by Ellington, Beethoven, The Beatles, and more.

And mark your calendars: DEUMM Online will be featured again at the following events:  

  • 19 November 2024: Turin, hosted by Istituto per i Beni Musicali di Piemonte at the Teatro Regio
  • 21 November 2024: Milan, hosted by the Archivio Storico Ricordi in the Biblioteca Nazionale Braidense

Hear more about DEUMM Online and download the DEUMM Online brochure and logo.

DEUMM Online trailer (Italian)

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Filed under 20th- and 21st-century music, Africa, Analysis, Antiquity, Asia, Australia and Pacific islands, Baroque era, Black studies, Central America, Classic era, Dance, Dramatic arts, Ethnomusicology, Europe, Film music, Geography, Iconography, Iconography, Instruments, Jazz and blues, Literature, Mass media, Middle Ages, Musicologists, Musicology, North America, Opera, Opera, Politics, Popular music, Religion, Religious music, Renaissance, RILM news, Romantic era, Sound, South America, Visual art, West Indies, World music

La Argentina in the Philippines

In February 1929, the Spanish dancer Antonia Mercé Luque, better known as La Argentina, arrived in the Philippines during her groundbreaking international tour. This pioneering journey marked a significant expansion of Spanish dance, introducing it to traditional stage circuits across the Americas as well as cities in Asia and Oceania. The Philippines, a former Spanish colony, represents a particularly intriguing case for analyzing the impact of her work. During her visit, La Argentina honored Philippine culture by creating a piece inspired by the cariñosa–a traditional Spanish colonial dance–which she subsequently integrated into her international repertoire.

La Argentina’s brief visit to Manila and the creation of her solo piece, La cariñosa, highlight how early 20th-century Spanish dance served as a colonial gesture, presenting Spanish dance as both a colonizing force and one that was itself influenced by colonial contexts. This solo stylized the Filipino national dance for Western audiences, ostensibly paying tribute to the Filipino people. However, it also obscured a deeper colonial power dynamic, framing the performance in the context of a shared Hispanidad—a constructed cultural policy that promoted a fictive unity in the postcolonial Philippines.

Stills from footage of a 1929 performance of the Philippine cariñosa by La Argentina in Manila.

Like her earlier Latin American tour, La Argentina’s Asian tour should be viewed in the context of other contemporary Western dancers who were effectively conducting a type of fieldwork. Many of these dancers sought artistic and documentary inspiration from cultures considered exotic to Western audiences, primarily drawing from influences in India and Southeast Asia, as well as Indigenous American traditions. By the time La Argentina arrived in the Philippines, her artistic vision had already gained legitimacy within the dominant circles of Western culture. Her critical and public success, especially after founding her company, Les Ballets Espagnols–a name that mirrored Diaghilev’s Ballets Russes–in the autumn of 1927, further elevated her status. The acclaim she received from her peers further solidified her position as the foremost international exponent of Spanish dance.

This according to “Antonia Mercé ‘La Argentina’ in the Philippines: Spanish dance and colonial gesture” by Idoia Murga Castro (Dance research journal 54/3 [2022] 45–67; RILM Abstracts of Music Literature, 2022-16064).

Below is a performance of the cariñosa folk dance of the Philippines.

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Filed under Asia, Dance, Europe, Performers, Politics

Courtship dance step sounds of the blue-capped cordon-bleu

While vocalizations have been elucidated in various songbird studies, non-vocal sounds have received less attention. In the blue-capped cordon-bleu (Uraeginthus cyanocephalus), both sexes perform courtship displays that are accompanied by singing and distinct body movements (i.e., dance). A previous study revealed that cordon-bleu courtship bobbing includes multiple rapid steps. This behavior is quite similar to human tap dancing, because it can function simultaneously as a visual and acoustic signal.

In many cases, the acoustic signal value of such steps (along with the high-speed step movements) produce non-vocal sounds that have amplitudes similar to vocal sounds. In this sense, step behavior strongly affects step sound amplitude. Additionally, the dancing step sounds were substantially louder than feet movement sounds in a non-courtship context, and the amplitude range overlapped with that of song notes. These observations support the notion that, in addition to song, cordon-bleus produce acoustic signals with their feet.

Read more in “Songbird tap dancing produces non-vocal sounds” by Nao Ota, Manfred Gahr, and Masayo Soma (Bioacoustics: The international journal of animal sound and its recording 26.2 [2017], 161–168). Find it in RILM Abstracts of Music Literature.

Below is the step-dancing performed by male and female Uraeginthus cyanocephalus (blue-capped cordon-bleu) captured on a research video by the authors.

Related Bibliolore posts:

https://bibliolore.org/2018/05/21/angelic-bird-musicians/
https://bibliolore.org/2014/11/13/afghan-perceptions-of-birdsong/

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Filed under Animals, Curiosities, Dance, Nature, Science

Cultural politics of the Warlpiri purlapa

Performances of Aboriginal musical traditions have become widespread in various national and international contexts and are significant to the ways in which Aboriginal people from distinct regions project their specific identities to a broader world. In recent decades, Warlpiri people, from the remote settlement of Yuendumu in the Tanami desert of Australia, have increasingly attracted interest in the performances of their ceremonial songs and dances in intercultural spaces, often for audiences with little understanding of their religious significance.

Against a historical backdrop of settlement history and the shifts that have occurred to public ceremonial forms during this period, performances of purlapa at the Aboriginal tent embassy in Canberra have foregrounded issues of Aboriginal politics, systematized racism, contemporary social movements, and the basic difficulties of running a tent embassy on meager donations, especially during the Canberra winter when firewood supplies were low.  Purlapa is a genre of Warlpiri public ceremony involving a high-stepped dance style performed in circular movement with participants shifting their dancing sticks from side to side in rhythm with sung verses. Once held frequently for community entertainment, the performance of purlapa has declined drastically in recent years. Shifts in these performance opportunities show how Warlpiri people engage with a broader world in specific aspects of their identities while maintaining important links to a specific cultural heritage.

Read more in “Performing purlapa: Projecting Warlpiri identity in a globalized world” by Georgia Curran and Otto Jungarrayi Sims (The Asia Pacific journal of anthropology. XXII/2–3 [2021]).

Below is a 1978 performance of a purlapa ceremony recorded on 8 mm film.

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Filed under Australia and Pacific islands, Dance, Politics, Religious music, World music

Central America’s vast dance and musical heritage

The music of Central America tends to borrow heavily from the music of Mexico to the north, Colombia to the south, and the Caribbean Islands to the east, and, in the case of Nicaragua, from the politically motivated nueva canción (new song) movement. Additionally, some traces of the ancient Mayan culture can still be found in Nicaragua and Belize, and more strongly in Guatemala. People of Mayan background form around half of the population of Guatemala. Their cultural heritage has been preserved to an extraordinary extent because of their great reverence for their cultural heritage, mythology, and rituals. Their instruments include various slit-drums, gongs, rattles, and cane flutes that sometimes have the rattles of rattlesnakes enclosed in a hollow space above the embouchure. This is then closed off with a thin membrane, and the resulting menacing buzz is heard in the music of the Baile de venada (dance of the deer).

Along with Indian traditions in Guatemala is the equally thriving music of the Ladino population, which is Hispanic in origin and is found mostly in the country’s urban centers. The instrument that is central to Ladino music, namely the marimba de tecomates, which has a keyboard of wooden bars with gourds suspended underneath, is thought to be of African origin. Although Ladino groups have now adopted more contemporary marimbas, there is still a great variety among them. The largest, the marimba grande, has a range similar to a piano and is usually played by four players.

The son guatemalteco is the national dance of Guatemala, and dancers bring out the son rhythm with zapateadas or foot stamping. These indigenous rhythms and themes have also been incorporated into classical music. The brothers Jesús and Ricardo Castillo were Guatemalan classical composers of the early 20th century. Jesús wrote a treatise on the Mayan music of the country, and both brothers wrote pieces using Indian themes (Suites indigenas) and even operas such as Quiché Vinak. In Nicaragua, composers such as Luis Delgadillo (1887–1962) included Inca themes and other indigenous Nicaraguan music in their work.

The country furthest south in Central America, Panama, was previously part of Colombia until 1903, and is considered by some to be the source of Colombia’s cumbia genre. Its musical traditions are a mix of Spanish, Indian, and African, but as one of the most cosmopolitan countries of the region, folk music is now mainly the preserve of schools and folklore societies.

Celebrate Hispanic Heritage Month by reading through the Latin America section of the Encyclopedia of music in the 20th century (2013). Find it in RILM Music Encyclopedias (RME).

Below is a performance of son guatemalteco and a piece entitled Fiesta de pajaros composed by Jesús Castillo.

Previous related Bibliolore posts to check out:

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Filed under Central America, Dance, Popular music, World music

Revival of hula ku‘i

The reign of King David Kālakaua holds special significance for Hawaiian traditions. After decades of missionary-led censure, Hawaiian customs became revitalized when Kalākaua encouraged their revival. Master teachers (kumu hula) were summoned to the court at Honolulu, where they enjoyed royal patronage. From the environment, hula ku‘i emerged as a new style of dancing.

The term ku‘i means “to join old and new”, and refers to the mix of old and new components of poetry, music, dance, and costume. Traditional conventions gained a new format: texts were strophic, and each strophe consisted of a couplet. Indigenous vocal styles and ornaments were added to melodies based on tempered tones and simple harmonies. Each couplet was uniform in length, most commonly eight or sixteen beats. The format mandated the repetition of the melody for each couplet, and each couplet was commonly performed twice. An instrumental interlude, popularly called a vamp, separated the stanzas. In dances by seated performers, this interlude is called ki’i pā. New sequences of movements joined preexisting, named, lower-body motifs.

The defining distinction of the hula ku‘i was accompaniment from guitars and ‘ukulele. For dances by standing performers, mele composed in the new format also had the accompaniment of ipuor other Indigenous percussive instruments. In the 20th century, performances of those mele came to be called either ancient hula or hula ‘ōlapa, referencing the division of labor between dancers (‘ōlapa) and musicians (ho’opa’a).

Read the entry on hula ku‘i by Amy Ku‘uleialoha Stillman in The Garland encyclopedia of world music. Australia and the Pacific Islands (2013). Find it in RILM Music Encyclopedias (RME).

The image above is of hula dancers and musicians, circa 1883. Photo courtesy of the Hawai’i State Archives. Below is a video of Hawaiian dance and music from the 2019 Merrie Monarch Festival held annually in Hilo, Hawaii.

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Filed under Australia and Pacific islands, Dance

Drag lip syncing and haptic aurality

The performance of lip syncing is ubiquitous in the drag community. It represents a drag queen’s modus operandi from high-femme queens to gender queer club kids. Crucial to lip syncing is the idea that voice is both self and other, voicing the speaker and the listener at the same time–creating an autoaffective feedback loop. Drag queens actively listen to the voice on the track, not only in the moment of lip-syncing, but also in rehearsing this synchronization and listening painstakingly while practicing before the performance.

According to Rodent, one of London’s premier drag queens, an intensely high volume of sound is necessary to their successful lip-sync performance because it enables them to embody the music and the voice, and to “transport [themself] in the moment”. The immersive soundscape of lip-syncing allows drag queens to engage tactually with sound’s vibrations forming what Jacob Mallinson Bird calls a “haptic aurality”.  Haptic aurality creates a successful drag performance because it addresses the immersive potential of sound, its spatial dimensions, tactility, and intercorporeality while suturing the break between drag queen and loudspeaker, “facilitating the reperformance, dramatization, and extension of the processes of everyday speech”.

Read on in “Haptic aurality: On touching the voice in drag lip-sync performance” by Jacob Mallinson Bird (Sound studies 6/1 [2020]. pp. 45-64, RILM Abstracts of Music Literature 2020-3927).

Below is a clip of a drag lip sync performance from a television show in the Philippines called “Drag Race Philippines” (inspired by the US show “RuPaul’s Drag Race”)

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Filed under Dance, Performance practice, Performers

Forró and St. John’s Day in Brazil

June 24, the date on the Catholic calendar commemorating the birth of St. John the Baptist, is widely celebrated in northeastern Brazil. Festas juninas (June festivities, or St. John’s Day festivities) take place from early June to mid-July and are characterized by the presentation and representation of diverse cultural traditions of the region.

Forró, the typical music of this period, brings together diverse musical genres, dances, and a strong festive connotation. Forró emerged in the 1970s with strong contributions from artists of northeastern Brazil, who performed for migrants in the region including construction workers, maids, and middle class people nostalgic for regional rhythms. Although many forró musicians born before the mid-1970s acquired their musical competence outside of formal educational institutions, large segments of the younger generation attend schools of music (though not necessary in lieu of other learning strategies). Meanwhile, changes in the organization of professional forró activities are linked to the larger transformations of northeastern festas juninas since the late 20th century.

Read the entries on forró and junina music in the Encyclopedia of Brazilian music: Erudite, folkloric, popular (2010) in RILM Music Encyclopedias (RME). Also find the article “Musicians in street festivals of northeastern Brazil: Recent changes in forró music and St. John’s Day festivities” by Carlos Sandroni, et al. (The world of music V/1 [2016] pp. 159–79) in RILM Abstracts.

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Filed under Dance, Popular music, South America, World music