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008			071026s2007 mnua b s001 0 eng d
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020			_a0816647755 _qhc _qalk. paper
020			_a9780816647750 _qhc _qalk. paper
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020			_a9780816647767 _qpbk. (alk. paper)
035			_a(ATU)b11392204
035			_a(OCoLC)137246016
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043			_an-us---
050	0	0	_aGV1783 _b.S46 2007
082	0	0	_a792.8 _222
100	1		_aShea Murphy, Jacqueline, _d1964- _9247091
245	1	4	_aThe people have never stopped dancing : _bNative American modern dance histories / _cJacqueline Shea Murphy.
246	3	0	_aNative American modern dance histories
264		1	_aMinneapolis : _bUniversity of Minnesota Press, _c[2007]
264		4	_c©2007
300			_a320 pages : _billustrations ; _c26 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 269-308) and index.
505	0	0	_tHave they a right? : nineteenth-century Indian dance practices and federal policy -- _tTheatricalizing dancing and policing authenticity -- _tAntidance rhetoric and American Indian arts in the 1920s -- _tAuthentic themes : modern dancers and American Indians in the 1920s and 1930s -- _tHer point of view : Martha Graham and absent Indians -- _tHeld in reserve : José Limón, Tom Two Arrows, and American Indian dance in the 1950s -- _tThe emergence of a visible Native American stage dance -- _tAboriginal land claims and aboriginal dance at the end of the twentieth century -- _tWe're dancing : indigenous stage dance in the twenty-first century.
520			_a"During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill's Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada's Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance."--Publisher description.
588			_aMachine converted from AACR2 source record.
650		0	_aModern dance _zUnited States _xHistory _y20th century.
650		0	_aIndian dance _zUnited States _xHistory _y20th century.
907			_a.b11392204 _b26-03-18 _c27-10-15
998			_ab _ac _b06-04-16 _cm _da _feng _gmnu _h4
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999			_c1189248 _d1189248