By Rodgers, Daniel T.; Raman, Bhavani; Reimitz, Helmut
In the wide-ranging and leading edge essays of Cultures in Motion, a dozen distinct historians supply new conceptual vocabularies for realizing how cultures have trespassed throughout geography and social area. From the modifications of the meanings and practices of charity in the course of past due antiquity and the transit of scientific wisdom among early sleek China and Europe, to the fusion of Irish and African dance varieties in early nineteenth-century manhattan, those essays stick to a wide range of cultural practices in the course of the lens of movement, translation, itinerancy, and trade, extending the insights of transnational and translocal history.
Cultures in Motion demanding situations the idea of mounted, sturdy cultural structures by means of displaying that cultural practices have continually been relocating, crossing borders and destinations with frequently dazzling impression. The essays supply notable examples from early to trendy occasions of intrusion, translation, resistance, and variation. those are histories the place nothing--dance rhythms, alchemical formulation, musical practices, feminist aspirations, stitching machines, streamlined metals, or hard work networks--remains stationary.
In addition to the editors, the members are Celia Applegate, Peter Brown, Harold prepare dinner, April Masten, Mae Ngai, Jocelyn Olcott, Mimi Sheller, Pamela Smith, and Nira Wickramasinghe.
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Extra resources for Cultures in motion
63 Diamond’s bill reflected his spectators. Most early-nineteenth-century theaters, North and South, catered to all ages, colors, and classes. Not until the Astor Place Riot in 1849 did New York’s elite break away from popular fare and defend a separate theatrical culture. 13) had pit, box, and second tier seats for middle-class white patrons, a third tier for prostitutes, and a gallery for the motley crew of working-class citizens. 13: View of seats, tiers, gallery, and stage at New York’s Chatham Theatre from the parquet.
Dancers preferred musicians who knew how to dance, and musicians liked dancers who could play. From J. W. Sweeny, “Jenny Get Your Hoe Cake Done” [New York, 1840], Sheet Music—Negro Minstrels. Courtesy of American Antiquarian Society. 32 • Chapter 1 “A friendly rivalry existed between all dancing masters,” observed historian Brendán Breathnach. ” and held their place until beaten. 26 Competitiveness was an attitude instilled in young dancers by African and Irish teachers. Many African dances incorporated martial skills appropriate to age and sex, such as the control and discipline young men needed in warfare.
Stand to me! 28 This prowess was evident in their every step and encouraged bragging and teasing, which often led to fighting among male dancers. The challenge element in dance represented self-assertion and communal identity to both groups. In Ireland it was “not unusual for crack- dancers from opposite parishes, or from distant parts of the same parish, to meet and dance against each other for the victory,” affirmed Carleton. . ” Young Irish men danced and fought to impress each other and attract the girls.