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Abstract
Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative.
Panas Karampampas is a post-doctoral researcher at the Institut interdisciplinaire d’anthropologie du contemporain (IIAC), École des hautes études en sciences sociales (EHESS). He currently works on Intangible Cultural Heritage policies and global governance. Previously he was a guest lecturer in the Department of Social Anthropology at the University of St Andrews, where he also completed his Ph.D. His doctoral research focused on the goth scene, digital anthropology, dance and cosmopolitanism. He has also conducted ethnographic research on Roma education as a scientific associate in the Centre for Intercultural Studies at the University of Athens.
Evangelos Chrysagis initially trained in History and Archaeology at the University of Ioannina, Greece, before embarking on postgraduate studies in Social Anthropology, earning an M.Sc. and a Ph.D. from the University of Edinburgh, where he was also a guest lecturer until 2015. His doctoral research explored the intersection of do-it-yourself (DiY) music-making and ethics in Glasgow. He has published on the themes of publicity and invisibility in DiY practice, and is currently completing an ethnographic monograph based on his Ph.D. thesis.
“Collaborative Intimacies in Music and Dance is an innovative collection of sound and movement anthropologies. These interdisciplinary texts employ the timely and sharp lens of critical studies while engaging with post-colonial cultural studies. A vital, exemplary collection of ethnographic writing.” · Dena Davida, Université du Québec à Montréal
“An absolutely fascinating collection. The diverse case studies in this book wonderfully explore the contrasts between different cultural attitudes toward the practices of music-making and dance.” · Yvon Bonenfant, University of Winchester
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Collaborative Intimacies in Music and Dance | iii | ||
| Contents | v | ||
| Illustrations and Table | vii | ||
| Preface | ix | ||
| Introduction Collaborative Intimacies | 1 | ||
| PART I Sound, Meaning and Self-Awareness | 25 | ||
| Chapter 1 Being in Sound | 27 | ||
| Chapter 2 Performing and Narrating Selves in and through Classical Music | 44 | ||
| PART II Pedagogies of Bodily Movement | 63 | ||
| Chapter 3 Kinaesthetic Intimacy in a Choreographic Practice | 65 | ||
| Chapter 4 The Presentation of Self in Participatory Dance Settings | 96 | ||
| PART III Music Practices and Ethical Selfhood | 119 | ||
| Chapter 5 The Animador as Ethical Mediator | 121 | ||
| Chapter 6 A Sense of Togetherness | 139 | ||
| PART IV Bodies Dancing in Time and across Space | 161 | ||
| Chapter 7 Rumba | 163 | ||
| Chapter 8 Cinematic Dance as a Local Critical Commentary on the ‘Economic Crisis’ | 187 | ||
| PART V Motion, Irony and the Making of Lifeworlds | 207 | ||
| Chapter 9 Performing Irony on the Dance Floor | 209 | ||
| Chapter 10 The Intoxicating Intimacy of Drum Strokes, Sung Verses and Dancing Steps in the All-Night Ceremonies of Ambonwari (Papua New Guinea) | 234 | ||
| Index | 259 |