The Black Death and the Dancing Mania
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The Annals of Iowa for Their Critiques
The Annals of Volume 66, Numbers 3 & 4 Iowa Summer/Fall 2007 A QUARTERLY JOURNAL OF HISTORY In This Issue J. L. ANDERSON analyzes the letters written between Civil War soldiers and their farm wives on the home front. In those letters, absent husbands provided advice, but the wives became managers and diplomats who negotiated relationships with kin and neighbors to provision and shelter their families and to preserve their farms. J. L. Anderson is assistant professor of history and assistant director of the Center for Public History at the University of West Georgia. DAVID BRODNAX SR. provides the first detailed description of the role of Iowa’s African American regiment, the 60th United States Colored Infantry, in the American Civil War and in the struggle for black suffrage after the war. David Brodnax Sr. is associate professor of history at Trinity Christian College in Palos Heights, Illinois. TIMOTHY B. SMITH describes David B. Henderson’s role in securing legislation to preserve Civil War battlefields during the golden age of battlefield preservation in the 1890s. Timothy B. Smith, a veteran of the National Park Service, now teaches at the University of Tennessee at Martin. Front Cover Milton Howard (seated, left) was born in Muscatine County in 1845, kidnapped along with his family in 1852, and sold into slavery in the South. After escaping from his Alabama master during the Civil War, he made his way north and later fought for three years in the 60th U.S. Colored Infantry. For more on Iowa’s African American regiment in the Civil War, see David Brodnax Sr.’s article in this issue. -
GERMAN IMMIGRANTS, AFRICAN AMERICANS, and the RECONSTRUCTION of CITIZENSHIP, 1865-1877 DISSERTATION Presented In
NEW CITIZENS: GERMAN IMMIGRANTS, AFRICAN AMERICANS, AND THE RECONSTRUCTION OF CITIZENSHIP, 1865-1877 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alison Clark Efford, M.A. * * * * * The Ohio State University 2008 Doctoral Examination Committee: Professor John L. Brooke, Adviser Approved by Professor Mitchell Snay ____________________________ Adviser Professor Michael L. Benedict Department of History Graduate Program Professor Kevin Boyle ABSTRACT This work explores how German immigrants influenced the reshaping of American citizenship following the Civil War and emancipation. It takes a new approach to old questions: How did African American men achieve citizenship rights under the Fourteenth and Fifteenth Amendments? Why were those rights only inconsistently protected for over a century? German Americans had a distinctive effect on the outcome of Reconstruction because they contributed a significant number of votes to the ruling Republican Party, they remained sensitive to European events, and most of all, they were acutely conscious of their own status as new American citizens. Drawing on the rich yet largely untapped supply of German-language periodicals and correspondence in Missouri, Ohio, and Washington, D.C., I recover the debate over citizenship within the German-American public sphere and evaluate its national ramifications. Partisan, religious, and class differences colored how immigrants approached African American rights. Yet for all the divisions among German Americans, their collective response to the Revolutions of 1848 and the Franco-Prussian War and German unification in 1870 and 1871 left its mark on the opportunities and disappointments of Reconstruction. -
Trance As Artefact: De-Othering Transformative States with Reference to Examples from Contemporary Dance in Canada
Trance as Artefact: De-Othering transformative states with reference to examples from contemporary dance in Canada Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy Department of Dance Studies, University of Surrey August 1st, 2007 Bridget E. Cauthery © by Bridget E. Cauthery (2007) ABSTRACT Reflecting on his fieldwork among the Malagasy speakers of Mayotte in the Indian Ocean, Canadian anthropologist Michael Lambek questions why the West has a “blind spot” when it comes to the human activity of trance. Immersed in his subject’s trance practices, he questions why such a fundamental aspect of the Malagasy culture, and many other cultures he has studied around the world, is absent from his own. This research addresses the West’s preoccupation with trance in ethnographic research and simultaneous disinclination to attribute or situate trance within its own indigenous dance practices. From a Western perspective, the practice and application of research suggests a paradigm that locates trance according to an imperialist West/non-West agenda. If the accumulated knowledge and data about trance is a by-product of the colonialist project, then trance may be perceived as an attribute or characteristic of the Other. As a means of investigating this imbalance, I propose that trance could be reconceived as an attribute or characteristic of the Self, as exemplified by dancers engaged in Western dance practices within traditional anthropology’s “own backyard.” In doing so, I examine the degree to which trance can be a meaningful construct within the cultural analysis of contemporary dance creation and performance. Through case studies with four dancer/choreographers active in Canada, Margie Gillis, Zab Maboungou, Brian Webb and Vincent Sekwati Mantsoe, this research explores the cultural parameters and framing of transformative states in contemporary dance. -
From the Black Death to Black Dance: Choreomania As Cultural Symptom
270 Cambridge Journal of Postcolonial Literary Inquiry, 8(2), pp 270–276 April 2021 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/pli.2020.46 From the Black Death to Black Dance: Choreomania as Cultural Symptom Ananya Jahanara Kabir Keywords: choreomania, imperial medievalism, Dionysian revivals, St. John’s dances, kola sanjon Paris in the interwar years was abuzz with Black dance and dancers. The stage was set since the First World War, when expatriate African Americans first began creating here, through their performance and patronage of jazz, “a new sense of black commu- nity, one based on positive affects and experience.”1 This community was a permeable one, where men and women of different races came together on the dance floor. As the novelist Michel Leiris recalls in his autobiographical work, L’Age d’homme, “During the years immediately following November 11th, 1918, nationalities were sufficiently con- fused and class barriers sufficiently lowered … for most parties given by young people to be strange mixtures where scions of the best families mixed with the dregs of the dance halls … In the period of great licence following the hostilities, jazz was a sign of allegiance, an orgiastic tribute to the colours of the moment. It functioned magically, and its means of influence can be compared to a kind of possession. -
Friedrich Hecker (I) - Jugend Und Politisches Wirken
Friedrich Hecker (I) - Jugend und politisches Wirken Im Vorfeld des großen Heckerjubiläums am 28.09.2011 werden vier Folgen über das Leben und Wirken des Revolutionärs abgedruckt. Wir danken dem „Hecker- Autor“ Wolfgang Haaß für die Ausarbeitung der Kurz-Biografie. 2011 jährt sich zum 200sten Mal Heckers Geburtstag (28. September). Grund genug, sich einige Gedanken über den berühmten Eichtersheimer zu machen, der "eine Zeitlang tatsächlich der populärste Mann in Deutschland gewesen ist" (W. Blos). "Hecker war der erste demokratische Volksführer größten Stils in Südwestdeutschland" (E.R. Huber, Geschichtswissenschaftler) Hecker - ein großer Volksführer und Politiker? "Seht, da steht der große Hecker, eine Feder auf dem Hut, seht da steht der Volkserwecker, lechzend nach Tyrannenblut" (aus dem "Guckkastenlied vom großen Hecker"). Hecker - der Bürgerschreck? Wer war Hecker, worin lag seine Bedeutung? Aus seinem Leben ist meist nur die kurze Episode des gescheiterten Putschversuches im März 1848 bekannt, der mit dem Gefecht bei Kandern ebenso schnell wie unrühmlich endete. Und meist wird dieser Misserfolg zum) Anlass genommen, Heckers ganze Sache als gescheitert zu erklären. Tatsächlich jedoch hat Hecker in den Jahren als Abgeordneter der II. Badischen Kammer sehr viel zur Entwicklung freiheitlicher und demokratischer Ideen im Staat und im Volk beigetragen, die nach dem Scheitern der Revolution allerdings für .- einige Jahrzehnte "auf Eis gelegt" wurden, um erst in der Weimarer Republik und dann in der Bundesrepublik eine Fortsetzung zu finden. dass lange Zeit in der Geschichtsschreibung das Bild Heckers als das des politischen Romantikers und naiven Revoluzzers überwog, liegt nicht zuletzt daran, "dass Geschichte immer von den Siegern geschrieben wird" (Gustav Heinemann). Heckers Bedeutung als einer der Wegbereiter und Vorkämpfer unseres heutigen Verständnisses von Staat und Gesellschaft wird heute immer mehr erkannt. -
Dancing in Body and Spirit: Dance and Sacred Performance In
DANCING IN BODY AND SPIRIT: DANCE AND SACRED PERFORMANCE IN THIRTEENTH-CENTURY BEGUINE TEXTS A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Jessica Van Oort May, 2009 ii DEDICATION To my mother, Valerie Van Oort (1951-2007), who played the flute in church while I danced as a child. I know that she still sees me dance, and I am sure that she is proud. iii ABSTRACT Dancing in Body and Spirit: Dance and Sacred Performance in Thirteenth-Century Beguine Texts Candidate’s Name: Jessica Van Oort Degree: Doctor of Philosophy Temple University, 2009 Doctoral Advisory Committee Chair: Dr. Joellen Meglin This study examines dance and dance-like sacred performance in four texts by or about the thirteenth-century beguines Elisabeth of Spalbeek, Hadewijch, Mechthild of Magdeburg, and Agnes Blannbekin. These women wrote about dance as a visionary experience of the joys of heaven or the relationship between God and the soul, and they also created physical performances of faith that, while not called dance by medieval authors, seem remarkably dance- like to a modern eye. The existence of these dance-like sacred performances calls into question the commonly-held belief that most medieval Christians denied their bodies in favor of their souls and considered dancing sinful. In contrast to official church prohibitions of dance I present an alternative viewpoint, that of religious Christian women who physically performed their faith. The research questions this study addresses include the following: what meanings did the concept of dance have for medieval Christians; how did both actual physical dances and the concept of dance relate to sacred performance; and which aspects of certain medieval dances and performances made them sacred to those who performed and those who observed? In a historical interplay of text and context, I thematically analyze four beguine texts and situate them within the larger tapestry of medieval dance and sacred performance. -
Tarantism.Pdf
Medical History, 1979, 23: 404-425. TARANTISM by JEAN FOGO RUSSELL* INTRODUCTION TARANTISM IS A disorder characterized by dancing which classically follows the bite of a spider and is cured by music. It may involve one or many persons, and was first described in the eleventh century, but during the fifteenth to the eighteenth centuries many outbreaks were observed and recorded, notably in southern Italy. There is no doubt that it is a hysterical phenomenon closely related to the dancing mania which occurred in Europe in the Middle Ages and with which it is often confused, but unlike the dancing mania it is initiated by a specific cause, real or imagined, and occurs during the summer when the spiders are about. Music as a cure for tarantism was first used in Apulia, a southern state of Italy, where the folk dances would seem to have developed. The music used in the cure is a quick, lively, uninterrupted tune with short repetitive phrases played with increasing tempo and called a tarantella. The word "tarantella" has two meanings: the first is the name of the tune and the second is the name of the accompanying dance which is defined as: "A rapid, whirling southern Italian dance popular with the peasantry since the fifteenth century when it was supposed to be the sovereign remedy for tarantism".11 The dance form still exists, as Raffe2 points out: "The Tarantella is danced in Sicily on every possible occasion, to accompaniment of hand clapping, couples improvising their own figures. It is found in Capri and Sorrento, and in Apulia it is known as the Taranda. -
Gender and Dance in Modern Iran 1St Edition Ebook Free
GENDER AND DANCE IN MODERN IRAN 1ST EDITION PDF, EPUB, EBOOK Ida Meftahi | 9781317620624 | | | | | Gender and Dance in Modern Iran 1st edition PDF Book Burchell, C. The John F. Retrieved September 6, Like other sectors of society during Reza Shah's rule, however, women lost the right to express themselves and dissent was repressed. In , the ban on women was extended to volleyball. Mediterranean delight festival. During the rule of Mohammad Khatami , Iran's president between and , educational opportunities for women grew. The Telegraph. Women have been banned from Tehran's Azadi soccer stadium since Khomeini led protests about women's voting rights that resulted in the repeal of the law. A general trend in these writings has been to link the genealogy of whirling dervish ceremonies—which are performed in Turkey today by Mevlevi-order dervishes— to Iranian mysticism described in Persian poetry. Neil Siegel. Figure 1. It ana- lyzes the ways in which dancing bodies have provided evidence for competing representations of modernity, urbanity, and Islam throughout the twentieth century. Because the first Pahlavi Shah banned the use of the hijab, many women decided to show their favor of Khomeini by wearing a chador, thinking this would be the best way to show their support without being vocal. Retrieved March 12, Archived from the original on February 23, Anthony Shay and Barbara. Genres of dance in Iran vary depending on the area, culture, and language of the local people, and can range from sophisticated reconstructions of refined court dances to energetic folk dances. Khamenei called for a ban on vasectomies and tubal ligation in an effort to increase population growth. -
Workshop Ceremony Dance Film Food & Drink Iranian Bazaar Kids Music Talk / Presentation Theatre Tribute Visual Arts
Date Start End Event Location Ceremony Aug 20,2015 8:30 PM 9:00 PM Opening Speeches Westjet Stage Aug 22,2015 12:00 PM 1:00 PM Short Story and Photo Contest Award Ceremony Studio Theatre Aug 23,2015 4:30 PM 5:45 PM Closing Ceremony (Volunteers and Artists Appreciation - Part I) Westjet Stage Dance Aug 22,2015 12:15 PM 12:45 PM Azarbaijani Dance (Tabriz Dance Group) Westjet Stage Aug 22,2015 1:30 PM 2:00 PM Kurdish Dance (Mayn Zard Dance Group) Westjet Stage Aug 22,2015 3:00 PM 4:00 PM Iranian Traditional and Folk Dances - Vancouver Pars National Ballet Westjet Stage Aug 22,2015 6:30 PM 7:00 PM Azarbaijani Dance (Tabriz Dance Group) Stage in Round Aug 22,2015 8:00 PM 9:30 PM Les Ballets Persans (Iranian Ballet)* Fleck Dance Theatre Aug 23,2015 1:00 PM 2:30 PM Les Ballets Persans (Iranian Ballet)* Fleck Dance Theatre Aug 23,2015 1:00 PM 2:00 PM Iranian Traditional and Folk Dances - Vancouver Pars National Ballet Westjet Stage Aug 23,2015 4:00 PM 4:30 PM Kurdish Dance (Mayn Zard Dance Group) East Side Stage Film Aug 21,2015 7:00 PM 8:45 PM Window Horses Animated Feature Film + Panel Discussion Studio Theatre Aug 21,2015 9:30 PM 11:30 PM Abbas Kiarostami: A Report + Q&A (Directed by Bahman Maghsoudlou) Studio Theatre Aug 22,2015 10:00 AM 11:30 AM Residents of One Way Street (Directed by Mahdi Bagheri) Studio Theatre Aug 22,2015 1:30 PM 3:15 PM One.Two.One + Q&A (Directed by Mania Akbari) Studio Theatre Aug 22,2015 4:00 PM 6:00 PM Exilic Trilogy + Q&A and Panel Discussion (Directed by Arsalan Baraheni) Studio Theatre Aug 22,2015 6:45 PM 8:45 -
The Modern Dance
Library of Congress The modern dance; a historical and analytical treatment of the subject; religious, social, hygienic, industrial aspects as viewed by the pulpit, the press, medical authorities, municipal authorities, social workers, etc., by M. F. Ham ... illustrations by Will N. Nooman. LIGHT ON THE DANCE by M. F. HAM EVANGELIST. The Modern Dance A Historical and Analytical Treatment of the Subject Religious, Social, Hygienic, Industrial Aspects As viewed by The Pulpit, the Press, Medical Authorities, Municipal Authorities, Social Workers, etc. By M ordecai . F ranklin . HAM, Evangelist Illustrations by Will N. Noonan SECOND EDITION REVISED AND ENLARGED Copyright applied for GV1741 .H3 EVANGELIST M. F. HAM The modern dance; a historical and analytical treatment of the subject; religious, social, hygienic, industrial aspects as viewed by the pulpit, the press, medical authorities, municipal authorities, social workers, etc., by M. F. Ham ... illustrations by Will N. Nooman. http:// www.loc.gov/resource/musdi.207 Library of Congress $0 15 ©CI.A431552 JUN 19 1916 no. 1 TABLE OF CONTENTS Page PREFATORY NOTE 3 INTRODUCTORY A Plea For An Open Mind 7 CHAPTER I Popular Ignorance Cleared Away 7 CHAPTER II Brief History of the Dance Dance of Rejoicing. Bible Dance. Modern Dance. 10 CHAPTER III Many Witnesses Testify The Church. Great Preachers. Foremost Men. Dancer and Dancing Master. Municipal Authorities. The Press. Physicians. Business Men. Soul Winners. Hospital and Social Welfare Workers. 13 CHAPTER IV A Country Wide Menace Evidence from Oklahoma. Evidence from Chicago. Evidence from San Francisco. Evidence from Kansas City. Sins of the Fathers. 29 CHAPTER V Psychology of the Dance Craze 35 CHAPTER VI Excuses to Justify the Dance Necessary Amusement. -
“The Mania of the Moment”: Cinema, Dance Hall, and the Rise of 1920S Leisure Culture in Britain
“The Mania of the Moment”: Cinema, Dance Hall, and the Rise of 1920s Leisure Culture in Britain Kathryn Reilly Yurkovsky Senior Thesis Seminar Professor Lisa Tiersten 1 May 2015 Table of Contents Acknowledgements ……………………………………………………………………...………. 1 Introduction …………………………………………………………………………………...…. 2 Historiography ………………………………………………………………………………...… 5 Chapter I ……………………………………………………………………………………....…. 7 Setting the Scene: The Making of a LeisureFriendly Britain Chapter II……………………………………………………………………………………….. 22 “Wherever you look”: The Growth and Democratization of 1920s Leisure Chapter III………………………………………………………………………………………. 35 “A Certain Universal Frivolity”: Anxieties Over Popular Culture and the Growth of Cheap Amusements Chapter IV………………………………………………………………………………………. 46 “The Talk of London”: Advertising Cinema and Dance Hall in the 1920s Conclusion ………………………………………………………………………………...…… 59 Appendix A ………………………………………………………………………………..…….62 Bibliography ……………………………………………………………………………...……..71 1 Acknowledgements Earlier this month, Gallup published an expansive study in response to a simple question: “Is College Worth It?” The study, which surveyed over 30,000 university graduates, created a list of the “Big Six” factors that made for a successful and worthwhile college experience, and led to longterm career and life achievement. According to the study, the top four experiences of successful students are: “(1) a professor who made them excited about learning (2) professors who cared about them as a person (3) a mentor who encouraged them to pursue their goals and dreams. (4) worked on a longterm project.” Although many, many people and experiences have made Barnard “worth it” for me, I have Professor Tiersten to thank for giving me the top four keys to success. Your constant support, your ability to make us laugh, and, most of all, the genuine interest and care you have invested in me over the course of this year means more to me than a million college degrees. -
Friedrich Franz Karl Hecker, 1811–1881 Part II Kevin Kurdylo
Volume 19 No 2 • Summer 2010 Friedrich Franz Karl Hecker, 1811–1881 Part II Kevin Kurdylo As the 150th anniversary of the begin- was convinced that the contract of ning of the Civil War approaches, we the Union could not be broken by a will examine the role German-born minority of states,2 and he believed immigrants played during that histori- firmly that each man should take cal era. The first section of this article on Friedrich Hecker (Spring 2010) his place according to his abilities. examines his career in Europe before Because he felt Sigel was the more he came to this country. This section experienced and competent soldier, focuses on his activities in America. he was prepared to do his part as an infantryman if need be. There were ealizing that Lincoln’s elec- others, including some of his promi- tion as president meant an nent German-American friends, end to compromise on the who felt Hecker should lead his own Rissue of slavery, southern states began troops. to secede from the Union in the first In May of 1861, without Hecker’s months of 1861. Propelled by the knowledge (though capitalizing on same strong beliefs he held during his reputation), recruitment had be- the Revolution of 1848, the fifty-year- gun in Chicago for what was called Colonel Friedrich Hecker old Hecker answered Lincoln’s call the 1st Hecker Jäger [Hunter] Regi- to arms, and he crossed the Missis- ment, later known as the 24th Illinois and not enough privates, and a severe sippi River by rowboat to join Francis Volunteers, and Hecker was offered discipline problem, the latter exac- (Franz) Sigel’s 3rd Missouri Volunteer command of this regiment with the erbated by friction between Hecker Regiment—as a private.1 Hecker rank of colonel.