Within the wide-ranging and leading edge essays of Cultures in movement, a dozen unusual historians supply new conceptual vocabularies for realizing how cultures have trespassed throughout geography and social area. From the adjustments of the meanings and practices of charity in the course of overdue antiquity and the transit of scientific wisdom among early smooth China and Europe, to the fusion of Irish and African dance varieties in early nineteenth-century long island, those essays stick with a big selection of cultural practices in the course of the lens of movement, translation, itinerancy, and alternate, extending the insights of transnational and translocal history.
Cultures in movement demanding situations the idea of fastened, strong cultural platforms by way of exhibiting that cultural practices have constantly been relocating, crossing borders and destinations with usually awesome influence. The essays supply outstanding examples from early to fashionable occasions of intrusion, translation, resistance, and model. those are histories the place nothing--dance rhythms, alchemical formulation, musical practices, feminist aspirations, stitching machines, streamlined metals, or exertions networks--remains desk bound.
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Additional resources for Cultures in Motion
Shared Traditions It is impossible to know the first time an African captive shuffled to a Celtic tune or an Irish sailor reeled to an African beat, voluntarily or under duress. 12 They flourished throughout the transatlantic world, but most spectacularly in Jacksonian America where dancing was pervasive among all classes. 13 During the financial recession of 1837–43, these informal dance matches proliferated alongside commercial acts financed and promoted by saloon and theater managers. 14 Underlying this cultural exchange was not just the poverty and migration that brought black and Irish groups together but compatibilities in their two dance traditions.
7 But scant attention has been paid to challenge dancing as a popular social practice engaged in by ordinary folk for sociability, sport, entertainment, status, The Challenge Dance • 25 and profit. Promoted professional challenge dancing relied on this practice as a source for dancers and point of access for audiences. What is obscured when the challenge dance is looked at solely through the lens of minstrelsy is the formative intertwining of Irish and African culture that brought Diamond and Juba into competition.
The Challenge Dance • 35 The dances were jigs, reels, and hornpipes. Jigs were considered Irish and danced to tunes in 6/8 time; reels Scottish, danced to 2/2 or 4/4 time; and hornpipes English, danced to 2/4 or reel time. A set combined two or more of these dance tunes, thereby encouraging the dancers to think in both jig and reel time, which share a duple downbeat but have syncopated internal rhythms. 33 They then shared these steps with white dancers, who revised them yet again, and so on, back and forth.
Cultures in Motion