Shifting perspectives on dance ethnography

Buckland, Theresa Jill

doi:10.4324/9781315109695-3

Cited by 4 publications

(3 citation statements)

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“…3. For more on dance ethnography, see, for example, Buckland (1999Buckland ( , 2010 and Davida (2011). 4.…”

Section: Discussionmentioning

confidence: 99%

Dance in Elderly Care

Lehikoinen

2019

Journal of Dance Education

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Dance pedagogy has expanded into hybrid contexts such as the arts and health in elderly care, calling for a review of the current state of the role and professionalism of dance ambassadors in Finnish society. This article addresses dance ambassadors as a specific brand of training and professionalism in Finland. In addition, framed by theories on practical knowledge, tacit knowledge, and professionalism, the article introduces a case study based on the author's ethnographic field work and analysis of the collected data with a descriptive-interpretative mix of methods and thematic analysis on the professionalism of the dance ambassadors who engage with people in late adulthood. These results show that key components of dance ambassadorship include mindful attention and appreciative dialogue. This article is based on my recent research as part of the ArtsEqual Research Initiative, 1 which studies mechanisms of inequality and well-being in publicly subsidized services in the arts and arts education such as the services of dance ambassadors in Finland. Dance ambassadors 2 is a dance-based service concept and a dance educational practice invented by the Dance Centre of Western Finland to engage people in dance in a range of contexts including elderly care. Using data from my ethnographic field work with the dance ambassadors as a case study, my aim is to describe how a dancer who is trained in dance ambassadorship works in elderly care. Also, the aim is to explicate what counts as professionalism-that is, what are some key principles of practice, practical knowledge, and expanded pedagogical competencies-in the expertise of the dance ambassadors in elderly care. In this article, I present the case study in relation to relevant theoretical ideas to show that key principles of practice in dance ambassadorship include what I call mindful attention and appreciative dialogue.The value of the arts for health and social well-being has been highlighted in governmental green papers, reports, and strategy documents in Finland and abroad (Liikanen 2010;Ings et al. 2012;Sosiaali-ja terveysministeriö 2015). Next to experiential knowledge, research is increasingly available on dance, health, and well-being (see, e.g., Dance Southwest and Department of Health 2011; Karkou, Oliver, and Lycouris 2017). This growing body of research evidence points to the positive impact of dance and other arts on health and social well-being. The cumulative results have emerged in tandem with cultural policymaking and as professionals in the arts have been forced to justify their work in crossprofessional contexts, for example, at the interface between the arts, health care, and social work (Lehikoinen 2017). More generally, as Jing Yang (2015) suggested, existing research on participatory arts and socially engaged arts projects illuminates the complex relations between the arts and society. Such research has shed light on some of the opportunities for the arts and arts pedagogy as holistic approaches to contributing to social change in hybrid context...

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“…3. For more on dance ethnography, see, for example, Buckland (1999Buckland ( , 2010 and Davida (2011). 4.…”

Section: Discussionmentioning

confidence: 99%

Dance in Elderly Care

Lehikoinen

2019

Journal of Dance Education

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“…Moreover, this study draws on a burgeoning field of embodied research methodologies, which stress the importance of "embodied knowledge" (Crosby 1997). Taking up calls for the reintroduction of the researcher's body into the research process, I also employed techniques of embodied research, common in dance ethnographies (Buckland 2010;Crosby 1997) and "carnal sociology" (Wacquant 2004). The acknowledgement of the researcher's own body in the research process is still often neglected in social science literature and its importance is often unrecognised.…”

Section: Part IV Conclusionmentioning

confidence: 99%

Entangled Mobilities in the Transnational Salsa Circuit

Menet¹

2020

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With attention to the transnational dance world of salsa, this book explores the circulation of people, imaginaries, dance movements, conventions and affects from a transnational perspective. Through interviews and ethnographic, multi-sited research in several European cities and Havana, the author draws on the notion of "entangled mobilities" to show how the intimate gendered and ethnicised moves on the dance floor relate to the cross-border mobility of salsa dance professionals and their students. A combination of research on migration and mobility with studies of music and dance, Entangled Mobilities in the Transnational Salsa Circuit contributes to the fields of transnationalism, mobility and dance studies, thus providing a deeper theoretical and empirical understanding of gendered and racialised transnational phenomena. As such it will appeal to scholars across the social sciences with interests in migration, cultural studies and gender studies.

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“…Filming musicians in the field is now a common practice among ethnomusicologists, and not just those interested in making ethnographic films. Three decades after Regula Burckhardt Qureshi's "videographs" of Sufis' musical performances (Qureshi 1995), the growing interest in research subjects such as musical gestures (Godøy and Leman 2010; Gritten and King 2011), embodiment (Clayton et al 2013;Lesaffre et al 2017), and dance anthropology (Buckland 2010) has prompted many scholars to replace the audio recorder with a portable video camera, best suited to grasp performers' and listeners' bodily behaviors and interactions. However, aside from helping my analysis of Roma musical performances, images have had a substantial effect on my field research.…”

Section: Introductionmentioning

confidence: 99%

Between Film and the World: Roma Ways of Seeing and Perceiving Persons

Baraldi¹

2020

Visual Anthropology Review

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In a Roma village of Transylvania (Romania), Western ways of distinguishing visual products in categories such as fiction, ethnographic documentary, and scientific image do not make any sense. Far from being trivial, this dissolution of Western visual categories reveals the particular way Roma conceive of the ontological categories of person, person‐image (actor), and person‐skeleton (phantom), rooted in a strong ambiguity between “being oneself” and “playing a role.” This is an ambiguity that may fade away in some ephemeral moments, when the “true” person manifests.

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Shifting perspectives on dance ethnography

Cited by 4 publications

References 0 publications

Dance in Elderly Care

Dance in Elderly Care

Entangled Mobilities in the Transnational Salsa Circuit

Between Film and the World: Roma Ways of Seeing and Perceiving Persons

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