Susan Leigh Foster
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190933975
- eISBN:
- 9780190934019
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190933975.003.0007
- Subject:
- Music, Dance
Chapter 4 excavates the structures of belief that rationalize and sustain the exchange of dance as either commodity or gift. It considers how the materiality of dance itself along with the ways that ...
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Chapter 4 excavates the structures of belief that rationalize and sustain the exchange of dance as either commodity or gift. It considers how the materiality of dance itself along with the ways that it is transmitted contains values that promise well-being, improvement, or success at the same time that they exclude or repress other sets of values. It looks specifically at categories such as the beautiful, the classical, and the natural as making universalist claims regarding the importance of dance, and it connects these values to notions of hard work, showing how for any given form of dance, any of these concepts can imply profoundly different physical actions. The chapter demonstrates how these sets of values permeate the vocabulary and style of a given form of dance, and how they also inform the way that dance is taught, performed, and viewed. It then probes the values inherent in the choreography of three dance artists, Deborah Hay, William Forsythe, and Savion Glover, whose distinctive forms of dance-making have consistently transformed commodified forms of dance exchange into opportunities for gift exchange.Less
Chapter 4 excavates the structures of belief that rationalize and sustain the exchange of dance as either commodity or gift. It considers how the materiality of dance itself along with the ways that it is transmitted contains values that promise well-being, improvement, or success at the same time that they exclude or repress other sets of values. It looks specifically at categories such as the beautiful, the classical, and the natural as making universalist claims regarding the importance of dance, and it connects these values to notions of hard work, showing how for any given form of dance, any of these concepts can imply profoundly different physical actions. The chapter demonstrates how these sets of values permeate the vocabulary and style of a given form of dance, and how they also inform the way that dance is taught, performed, and viewed. It then probes the values inherent in the choreography of three dance artists, Deborah Hay, William Forsythe, and Savion Glover, whose distinctive forms of dance-making have consistently transformed commodified forms of dance exchange into opportunities for gift exchange.
Ann Clements
- Published in print:
- 2016
- Published Online:
- March 2016
- ISBN:
- 9780199328093
- eISBN:
- 9780190464417
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199328093.003.0016
- Subject:
- Music, Psychology of Music
This chapter addresses secondary general music practices in the digital age. Using the analogy of analog and digital signaling, it provides theoretical arguments for why transmission practices in ...
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This chapter addresses secondary general music practices in the digital age. Using the analogy of analog and digital signaling, it provides theoretical arguments for why transmission practices in traditional schooling do not work adequately in the digital age. Among the arguments provided are traditional schooling’s difficulties overcoming issues of habituation, frozen and prescriptive policy, closed environments, overaccreditation, antiquated administrative models, and inequities at various levels. The dysfunctions of traditional schooling are then compared to the freedoms afforded through modern learning in the digital age, as it commonly occurs outside of schooling. Models presented include the hacking of a musical education through open sources in digital spaces and student empowerment and ownership of their own learning through optimization, customization, and collaboration of both content and approach.Less
This chapter addresses secondary general music practices in the digital age. Using the analogy of analog and digital signaling, it provides theoretical arguments for why transmission practices in traditional schooling do not work adequately in the digital age. Among the arguments provided are traditional schooling’s difficulties overcoming issues of habituation, frozen and prescriptive policy, closed environments, overaccreditation, antiquated administrative models, and inequities at various levels. The dysfunctions of traditional schooling are then compared to the freedoms afforded through modern learning in the digital age, as it commonly occurs outside of schooling. Models presented include the hacking of a musical education through open sources in digital spaces and student empowerment and ownership of their own learning through optimization, customization, and collaboration of both content and approach.
