By S. Dodds
Utilising a cultural thought procedure, this book explores the connection among well known dance and cost. It lines the moving worth platforms that underpin renowned dance scholarship and considers how diversified dancing groups articulate advanced expressions of judgment, importance and value via their embodied perform.
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Extra resources for Dancing on the Canon: Embodiments of Value in Popular Dance
8 Sklar (2000, p. 70) identifies a nascent direction in dance studies, which she describes as ‘sociopolitical: it draws on the rapidly developing ideas and language of cultural studies’. Desmond (2000, p. 43) relates a similar account: ‘many scholars in dance studies have produced exciting new work by bringing to bear on their research those questions and methodologies that are loosely part of “cultural studies” ’. This raises the question why cultural studies has devoted so little attention to the study of popular dance.
His interest in definitional concepts of culture (which I take up in the following section) and the need to address contextual issues continues with The Long Revolution (1961). This book examines the impact of the media on British cultural life and deals not only with aesthetic questions, but also with institutional and ideological frameworks. Yet The Long Revolution also stands accused of promoting ‘idealist and civilizing’ definitions of culture (Hall, 1996a, p. 34). indd 31 5/23/2011 3:18:19 PM 32 Dancing on the Canon Although these foundational texts reproduce Leavisite perspectives, their impact on the field of cultural studies should not be underestimated.
Indd 38 5/23/2011 3:18:21 PM The Value(s) of Cultural Studies 39 white people that explains some of the irrational features of racism. (Brake, 1985, p. 18 While Brake refers to an ‘irrationality’ within this discourse, it is unclear whether his critique is aimed at an irrational fear of the superiority of the black body or at the contested relationship between the black body and a virile sexuality. The absence of movement analysis and the reduction of the dance to a functionalist expression continue in a brief reference to breakdancing as a form of ‘resistance’ (Brake, 1985, p.