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Corn Dance : Inspired First American Cuisine
Growing up in Shawnee, Oklahoma, among a host of grandmothers and aunties, Loretta Barrett Oden learned the lessons and lore of Potawatomi cooking, along with those of her father’s family, whose ancestors arrived on the Mayflower.This rich cultural blend came to bear in the iconic restaurant she opened in Santa Fe, the Corn Dance CafÉ, where many of the dishes in this book had their debut, setting Loretta on her path to fame as one of the most influential Native chefs in the nation, a leader in the new Indigenous food movement, and, with her Emmy Award–winning PBS series, Seasoned with Spirit: A Native Cook’s Journey, a cross-cultural ambassador for First American cuisine. Corn Dance: Inspired First American Cuisine tells the story of Loretta’s journey and of the dishes she created along the way.Alongside recipes that combine the flavors of her Oklahoma upbringing and Indigenous heritage with the Southwest flair of her Santa Fe restaurant, Loretta offers entertaining and edifying observations about ingredients and cooking culture.What kind of quail might turn up in your vicinity, for instance; what to do with pin~on nuts, sumac, or nopales (cactus paddles); when to add a bundle of pine needles or a small branch of cedar to your braise: these and many practical words of wisdom about using the fruits of the forest, stream, or plain, accompany Loretta’s insights on everything from the dubious provenance of fry bread to the Potawatomi legend behind the Three Sisters—corn, beans, and squash, the namesake ingredients of Three Sisters and Friends Salad, served at Corn Dance CafÉ and now at Thirty Nine Restaurant at First Americans Museum in Oklahoma City, where Oden is the Chef Consultant. Amply illustrated and adapted to bring the taste of Native tradition into the home kitchen, Corn Dance invites readers to join Loretta Oden on her inspiring journey into the Indigenous heritage, and the exhilarating culinary future, of North America.
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Louise Lecavalier : Dance, Labour, Culture
As principal dancer with Montréal-based company La La La Human Steps, Louise Lecavalier was among the most iconic dancers of her generation: strong, muscled, androgynous, punk.Moving with spectacular speed, precision and an athletic physicality, her commitment to dancing would ultimately transform the potential of what bodies within Western concert dance could do. Drawing on extensive oral history accounts and archival material, the book follows Lecavalier’s impact on the evolving aesthetic of La La La Human Steps, via the development of its early repertoire, and offers the first sustained account of her 1982 solo Non, Non, Non, je ne suis pas Mary Poppins.More, it tracks diverse influences and sources for the repertoire, complicating understandings of nationalism in Québec, while marking the significance of the collective in generating new aesthetics.What emerges is a portrait of the dancer as artist, icon, labourer and mover of cultural discourse.Featuring an expansive set of photos and ephemera, including performance documentation by photographer/activist Linda Dawn Hammond, production images by choreographer Édouard Lock and street photography by key players in the 1980s Montréal scene, this study offers a critical and celebratory appraisal of Lecavalier’s unique contribution and the role of the dancer more broadly as a producer of culture.
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Dance in US Popular Culture
This innovative textbook applies basic dance history and theory to contemporary popular culture examples in order to examine our own ways of moving in—and through—culture.By drawing on material relevant to students, Dance in US Popular Culture successfully introduces students to critical thinking around the most personal of terrain: our bodies and our identities.The book asks readers to think about: what embodied knowledge we carry with us and how we can understand history and society through that lens what stereotypes and accompanying expectations are embedded in performance, related to gender and/or race, for instance how such expectations are reinforced, negotiated, challenged, embraced, or rescripted by performers and audiences how readers articulate their own sense of complex identity within the constantly shifting landscape of popular culture, how this shapes an active sense of their everyday lives, and how this can act as a springboard towards dismantling systems of oppression Through readings, questions, movement analyses, and assignment prompts that take students from computer to nightclub and beyond, Dance in US Popular Culture readers develop their own cultural sense of dance and the moving body’s sociopolitical importance while also determining how dance is fundamentally applicable to their own identity.This is the ideal textbook for high school and undergraduate students of dance and dance studies in BA and BfA courses, as well as those studying popular culture from interdisciplinary perspectives including cultural studies, media studies, communication studies, theater and performance studies. Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution CC-BY 4.0 license.
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Dance and Ethics : Moving Towards a More Humane Dance Culture
Dance and Ethics: Moving Towards a More Humane Culture is an introductory study of ethical issues as applied to the history and field of Western theatrical dance.It is the first sustained work of its kind, inspired by the belief that there are serious issues to be illuminated by examining dance in relation to ethics and to the changing values in the dance world itself, especially as faced by young dancers entering the profession. Since the 1960s and gathering momentum with the #metoo movement, scholars and practitioners, especially from the fields of dance education, somatics and the realms of postmodern dance and ballet, have increasingly believed that attitudes and practices involving psychological, physical and sexual mistreatment of students and dancers must be challenged.Dance and Ethics examines key ethical issues related to the dance field, primarily within the United States, and how those directly impact different aspects of the lives of dance artists over the span of their careers.The issues discussed include the basic ethical choices facing a dance artist in terms of whether to care about ethics or separate art from morality; ethical issues involved in student–teacher and dancer–choreographer relationships; how ethical concerns relate to the creation and reception of choreographic work; ethical aspects of the critical assessment of dance and dancers; and ethical issues related to presenting systems and institutional infrastructures within the dance field. While there is a clear bias towards greater humanism within the dance field, Naomi Jackson is sensitive to the variety of moral stances available in any given situation.Readers are invited to consider that ethical options exist other than those that are usually promoted, that while sometimes there are no clear right and wrong answers, there are better and worse positions to be explored and defended and that it is important for the dance field and broader culture to consciously address ethical issues in relation to dance in a sustained, thoughtful and creative manner. The book focuses on theatrical dance forms of ballet, modern/postmodern dance and theatrical jazz, but also extends to commercial dance, dance for the camera/internet and social/vernacular/folk dance when relevant to the main argument.Dance and Ethics will appeal primarily to educators and students as well as young professional dancers. It is designed for undergraduate and graduate students in dance studies, American studies, performance studies and cultural studies.It will be useful for undergraduate and graduate dance courses focused on pedagogy, choreography, criticism, community engagement, politics and aesthetics.
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How can one learn to dance at festivals?
One can learn to dance at festivals by participating in dance workshops or classes that are often offered at the event. These workshops are usually led by experienced dancers or instructors who can teach different styles of dance, such as salsa, hip-hop, or traditional folk dances. Additionally, observing and joining in with other festival-goers who are dancing can also be a great way to learn and pick up new moves. Finally, practicing and experimenting with different dance styles in a fun and relaxed festival atmosphere can help one to improve their dancing skills.
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Which culture has the most beautiful traditional dance?
Beauty is subjective and varies from person to person, so it is difficult to determine which culture has the most beautiful traditional dance. Each culture has its own unique and beautiful traditional dances that hold significance and meaning within their respective communities. It is important to appreciate and respect the beauty of traditional dances from all cultures, rather than trying to compare and rank them.
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Which dance style do the Dance Moms kids dance?
The Dance Moms kids primarily dance in the style of competitive dance, which incorporates a variety of dance styles such as jazz, contemporary, lyrical, and hip-hop. The choreography they perform is often high-energy and technically challenging, showcasing their skills in both solo and group performances. The competitive dance style is known for its emphasis on precision, flexibility, and storytelling through movement, and the Dance Moms kids have gained recognition for their talent and dedication to this style of dance.
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Is shuffle dance a dance for women?
Shuffle dance is not specifically a dance for women. It is a style of dance that can be performed by anyone, regardless of gender. The dance originated in the underground rave and club scene and has gained popularity among both men and women. The dance style focuses on quick footwork and rhythmic movements, making it accessible to anyone who enjoys dancing. Therefore, shuffle dance is not exclusive to women and can be enjoyed and performed by people of all genders.
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Heritage Tourism
Heritage Tourism provides a balanced view of both theoretical issues and applied subjects that managers must deal with on a daily basis.These concepts are illustrated throughout the text via examples and boxed case studies. With the rapid growth of special interest travel during the past two decades, the demand for heritage tourism experiences has soared, and its economic and socio-cultural importance cannot be overstated.This book addresses this booming type of tourism and will prove to be a valuable resource for educators, students, and practitioners in the field of heritage tourism.
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Dance Dance Dance
*PRE-ORDER HARUKI MURAKAMI’S NEW NOVEL, THE CITY AND ITS UNCERTAIN WALLS, NOW*An assault on the senses, part murder mystery, part metaphysical speculation; a fable for our times as catchy as a rock song blasting from the window of a sports car. High-class call girls billed to Mastercard. A psychic 13-year-old dropout with a passion for Talking Heads.A hunky matinee idol doomed to play dentists and teachers.A one-armed beach-combing poet, an uptight hotel clerk and one very bemused narrator caught in the web of advanced capitalist mayhem. Combine this offbeat cast of characters with Murakami's idiosyncratic prose and out comes Dance Dance Dance. 'If Raymond Chandler had lived long enough to see Blade Runner, he might have written something like Dance Dance Dance' Observer
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Restoring Heritage Grains : The Culture, Biodiversity, Resilience, and Cuisine of Ancient Wheats
Including recipes for baking with EinkornWheat is the most widely grown crop on our planet, yet industrial breeders have transformed this ancient staff of life into a commodity of yield and profit—witness the increase in gluten intolerance and 'wheat belly’. Modern wheat depends on synthetic fertilizer and herbicides that damage our health, land, water, and environment.Fortunately, heritage ‘landrace' wheats that evolved over millennia in the organic fields of traditional farms do not need bio-chemical intervention to yield bountifully, are gluten-safe, have rich flavor and high nutrition.Yet the robust, majestic wheats that nourished our ancestors are on the verge of extinction. In Restoring Heritage Grains, author Eli Rogosa of the Heritage Grain Conservancy, invites readers to restore forgotten wheats such as delicious gluten-safe einkorn that nourished the first Neolithic farmers, emmer—the grain of ancient Israel, Egypt, and Rome that is perfect for pasta and flatbreads, rare durums that are drought-tolerant and high in protein, and many more little known wheat species, each of which have a lineage intertwined with the human species and that taste better than any modern wheat. Restoring Heritage Grains combines the history of grain growing and society, in-depth practical advice on landrace wheat husbandry, wheat folk traditions and mythology, and guidelines for the Neolithic diet with traditional recipes for rustic bread, pastry and beer.Discover the ancient grains that may be one of the best solutions to hunger today, and provide resilience for our future.
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Women’s Dance Traditions of Uzbekistan : Legacy of the Silk Road
The first comprehensive work in English on the three major regional styles of Uzbek women’s dance – Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore rootsto contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizationsto a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood.It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance.Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women’s dance.
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How can one forget culture and heritage?
One can forget culture and heritage by not actively engaging with it, by being disconnected from one's roots and community, and by prioritizing other aspects of life over preserving and celebrating one's cultural identity. This can happen through assimilation into a different culture, lack of exposure to one's own cultural traditions and practices, and a lack of interest in learning about one's heritage. Additionally, societal pressures and discrimination can also contribute to the erasure of one's culture and heritage.
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Is it haram to dance belly dance only in front of girls or to dance belly dance in general?
In Islam, the permissibility of dancing, including belly dancing, depends on the context and the intentions behind it. If the dance is performed in a modest and respectful manner, with the intention of entertainment or exercise, and in front of a same-gender audience, it may be considered permissible. However, if the dance involves immodest movements or is performed in front of a mixed-gender audience, it may be considered haram. It is important for individuals to consider the Islamic principles of modesty and intention when engaging in any form of dance.
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How do you dance like on Let's Dance?
To dance like on Let's Dance, you need to focus on your posture, technique, and expression. Pay attention to your body movements, footwork, and arm gestures to ensure precision and grace in your dance. Practice different dance styles and routines to improve your skills and versatility on the dance floor. Lastly, remember to have fun and let your personality shine through your performance to captivate the audience and judges.
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Can a dance majorette dance during her period?
Yes, a dance majorette can still dance during her period. Many dancers and athletes continue to perform and compete while menstruating. There are a variety of menstrual products available, such as tampons, menstrual cups, and period underwear, that can provide protection and allow for comfortable movement during physical activity. Additionally, some dancers may choose to modify their routines or take breaks as needed to accommodate any discomfort or changes in energy levels during their period. Ultimately, it is up to the individual dancer to determine what works best for them during this time.
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