By Susan C. Cook, Sherril Dodds
From the ragtime one-step of the early 20th century to the modern practices of teenybopper membership cultures, renowned dance and tune are inextricably associated. This assortment unearths the intimate connections among the corporeal and the sonic within the construction, transmission and reception of well known dance and song, that's imagined right here as ’bodies of sound’. the amount provokes a wide-ranging, interdisciplinary dialog that comes with scholarship from Asia, Europe and the USA, which explores subject matters from the 19th century via to the current day and engages with practices at neighborhood, nationwide and transnational degrees. partially I: developing the preferred, the authors discover how different types of well known track and dance are built and de-stabilized, and their proclivity to suitable and re-imagine cultural varieties and meanings. partially II: Authenticity, Revival and Reinvention, the authors study how well known kinds produce and manage identities and meanings via their allure to and departure from cultural traditions. partially III: (Re)Framing price, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized via well known tune and dance. And partially IV: Politics of the preferred, the authors learn the preferred as a website of political negotiation and transformation.
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Extra info for Bodies of Sound: Studies Across Popular Music and Dance (Ashgate Popular and Folk Music Series)
The cancan improvisations seem to have been influenced by a variety of foreign dance forms that the working classes would have seen performed at the popular theatres of the Boulevard du Temple. 17 These productions participated in the creation of what Petra Ten-Doesschate Chu describes as a new form of French popular culture built around the mass Paul Smith, ‘Danses prohibées’, Revue et Gazette Musicale de Paris, 8/21, February (1841): p. 114, translated by Anna Davies. , p. 113; Un Vilain Masque, Physiologie de l’Opera, du Carnaval, du Cancan et de la Cachucha (Paris, 1842), pp.
The cancan’s spectacle of popular liberalism would soon join the Eiffel Tower as a national symbol and prime tourist attraction. At the Moulin Rouge the cancan was mass-produced through nightly performances and poster campaigns as a complex spectacle of femininity, masculinity, modernity, primitivity, nationality and class. Oller hired dancers such as La Goulue, Jane Avril and the male dancer Valentin le Désossé to perform the cancan on the dance floor, surrounded by the crowd. Their movements stylized the ‘indecency’ and working-class defiance of the early cancan into recognizable, spectacular motifs, such as high kicks and jump splits.
32, translated by Anna Davies. 29 While individual cancan dancers were considered to pose a threat to public morality, in the atmosphere of increased working-class consciousness following the Revolution of 1830, the dancing crowd always held the latent threat of the cross-class revolutionary mob. 31 Gasnault reports that, on 5 January 1833, the crowd, dissatisfied with the ballet performance they were offered as entertainment, stormed the stage, demanding the chahut. This led to a ‘danced riot’,32 which pitted the crowd’s demands for corporeal freedom against the repressive measures of the police, who made several arrests.