Passages
Postwar Japan was a time for breeding a new code of ethics. To rebel against a failed society was not surprising. The atmosphere was exciting, very unorganized and messy, the kind of confusion that tends to breed either more confusion or acute creativity.
Butoh - “Twenty Years Ago We Were Crazy, Dirty, and Mad
Bonnie Sue Stein
Nearly all of the butoh artists working in Japan have small studios that also serve as performance spaces.
Butoh - “Twenty Years Ago We Were Crazy, Dirty, and Mad
Bonnie Sue Stein
Professor Emerita of dance studies at Temple University
Brenda Dixon Gottschild
The Africanist presence is a defining ingredient that separates American ballet from its European counterpart. Ironically, it was George Balanchine, a Russian immigrant of Georgian ethnicity, who was the principal Americanizer of ballet.
Stripping the Emperor: The Africanist Presence in American Concert Dance
Brenda Dixoon Gottschild
Thus, even before his arrival in the United States, Balanchine was calculating how he could draw upon the energy and phrasing of African Americans.
Stripping the Emperor: The Africanist Presence in American Concert Dance
Brenda Dixoon Gottschild
Fulbright fellow to conduct research on hiphop practices and music broadcasters in Winnipeg
Liz Przybylski
My close readings of two music videos are informed by interviews with rappers, both published interviews and my own.
Customs and Duty: Indigenous Hip Hop and the US-Canada Border
Liz Przybylski
Both Roy and Marina knew that the Canadian dollars I had raised were not enough to cover all the expenses, and they explained that if we wanted to secure the commitment of the 30 newly registered members, we had to provide three meals every day for three consecutive days.
How Black is Black?: The Indienous Atis Compete at the Ati-atihan Festival
Patirck Alcedo
Executive and Artistic Director of GOH (Japanese character; working together under one roof)
Bonnie Sue Stein
As both artists combat negative stereotypes of Indigenous people, they also demonstrate how rappers and their music videos can become part of the project of providing positive role models and messages of hope for their respective communities.
Customs and Duty: Indigenous Hip Hop and the US-Canada Border
Liz Przybylski
The way place functions across the border explains how music videos are shaping public discourses around land rights, environmentalism, and global Indigeneity within and across the borders of the US and Canada.
Customs and Duty: Indigenous Hip Hop and the US-Canada Border
Liz Przybylski
sadsad
dragging one's feet
In the 1960s the national government released a mandate asking local governments to promote regional tourism through cultural events, as way of opening the Philippines to the world.
How Black is Black?: The Indienous Atis Compete at the Ati-atihan Festival
Patirck Alcedo
There is a great variety in the imagery of the butoh dancers, but it is always haunting and of a lasting impression.
Butoh - “Twenty Years Ago We Were Crazy, Dirty, and Mad
Bonnie Sue Stein
gangsa
brass gong