From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as ’bodies of sound’. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.
’This anthology explores a neglected area of popular music studies - popular dance practices - and does so from a fresh perspective. The volume introduces some of the key popular dance scholars, and their latest thinking, to the field of popular music studies. From pioneering dance scholars such as Theresa Buckland to up-and-coming dance theorists such as Clare Parfitt-Brown, the array of perspectives addressed is always reliably grounded in rigorous research. … The impact of this collection of essays is in the originality of its topics and in its engagement with popular dance practices. The volume’s value is in its empirical rigour, where theorising tends to emerge from the practices themselves. Most notably, these projects provide a model for seeing what hasn’t been noticed before. It’s commendable that dance scholars are leading the way here at the intersections of popular music and cultural studies’. Popular Music
Contents: Preface; Introduction: embodying sound/sounding bodies, Sherril Dodds and Susan C. Cook; Part I Constructing the Popular: The problem of popularity: the cancan between the French and digital revolutions, Clare Parfitt-Brown; Bellowhead: re-entering folk through a pop movement aesthetic, Sherril Dodds; Sound understandings: embodied musical knowledge and ’connection’ in a ballroom dance community, Joanna Bosse. Part II Authenticity, Revival and Reinvention: Dancing out of time: the forgotten Boston of Edwardian England, Theresa Jill Buckland; The English folk voice: singing and cultural identity in the English folk revival, 1955-65, Simon Featherstone; Halling as a tool for nationalistic strategies, Anne Margrete Fiskvik. Part III (Re)Framing Value: Rocking the rhythm: dancing identities in drum ’n’ bass club culture, Joanna Hall; Authenticity, uplift, and cultural value in Bahian samba junino, Danielle Robinson and Jeff Packman; Hierarchical reversals: the interplay of dance and music in West Side Story, Rachel Duerden and Bonnie Rowell; Talking machines, dancing bodies: marketing recorded dance music before World War I, Susan C. Cook. Part IV Politics of the Popular: Superficial profundity: performative translation of the dancing body in contemporary Taiwanese popular culture, Chih-Chieh Liu; Keeping the faith: issues of identity, spectacle and embodiment in Northern Soul, Laura Robinson; Jazz, dance and Black British identities, Catherine Tackley; Epilogue: terms of engagement, Sherril Dodds and Susan C. Cook; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.