Ethnomusicology

is one of the foremost anthropologists working on the Middle East today. In her latest book she brings her formidable skills as historical anthropologist and archival sleuth, theoretician and ethnographer, storyteller and writer of crystalline prose to the analysis of Egyptian rule over Gaza from 1948 to 1967. She focuses on policing and security as "a field of both governance and action" (3) in which Egyptian officials and Palestinians tried to influence each other through spying, rumormongering, moralizing, and snitching. Feldman builds on Partha Chatterjee's "politics of the

Notions of cultural revival and the representation of cultural identity are powerful engines driving the current practice of dance in Transylvania.  In particular the interplay of these two shaping ideologies on the well known couple dance cycles of central Transylvania are examined using excerpts of video recordings made at dance events emphasizing Hungarian, Romanian, and Gypsy identity formations.  Different attitudes toward revival and representation have an important impact on the configuration of these identities in dance within the shared tradition characteristic of the region.

The study, from which this material comes, as a whole, investigates instances of folklore performance profoundly implicated in the constitution of national and ethnic identities. This essay focuses the role of Romanian and, more briefly, Hungarian dance scholarship in such processes.

The Torocko farsangtemetes--the carnival funeral--is an important outlet for relatively uninhibited uncensored commentary on the post-socialist progress of life in the village. It makes explicit the mood of challenge to authority that is performed in the processional parody of authority figures and the social order. The text addresses social tensions both directly and indirectly, with wry humor and self-deprecating irony that make its harsh judgements more palatable.

Dance ethnology has been developed as a field primarily by North American researchers interested in understanding the cultural diversity of dancing. This approach is situated within scholarly institutions, including university departments, professional associations, and journals. Dance ethnologists also contribute to other domains of activity in interactions with performers, presenters, audiences, and other dance enthusiasts. In the United States, dance ethnology has tended, like ethnomusicology, to study non-Western dance genres abroad or among immigrant groups, and, like folkloristics, to examine the dances of the traditional rural and new urban folk groups. In Europe the parallel discipline of ethnochoreology developed much earlier from roots in folklore and musicology; its scholars have focused primarily on the study of their own national traditions, although this agenda has broadened in recent years to include the traditions of immigrant groups and urban contemporary dance.

COLIN QUIGLEY UNIVERSITY OF CALIFORNIA, LOS ANGELES iddling is one of the most pervasive genres of traditional instrumental music in North America. 1 With a history dating to the earliest colonial settlement, North American fiddling demonstrates both continuities with old world sources and a variety of new world manifestations. Widely represented in commercial recording, as well as subject to an intensive" revival" with its attendent collections, instructional materials, and the like, 2 North American fiddling is also the ...

" Dance in its socio-political aspects," one theme of the ICTM Ethnochoreology Sub-Group Symposium at which this paper was presented1, was a timely one immediately following, as it did, the Los Angeles riots of spring 1992. At that time, one could open the arts section of a newspaper or magazine to find debate raging over such concepts as multiculturalism and diversity. Such controversy within the arts community might have seemed merely a sideshow to the profound inter-racial,-ethnic, and-class conflicts that erupted then in Los Angles into ...

Step dancing is a general term used to describe a genre of often percussive footwork dance which is widespread in North America. Step dancing may be performed by individuals alone or in groups, as a dance itself or in the conte2rt of a group figure dance. The stylistic variants of step dancing in North America share manyif not most of their kinetic and even kinemic elements, andthereis a similar range of structural patterns in most regions. It is sometimes improvised, sometimes choreographed, sometimes codified and formally structured and ...

This chapter discusses the history of the Hungarian dance house movement as a music revival characterized by its close connection with dance, its entanglement with Hungarian national and ethnic identity, its institutionalization both before and after the major political and cultural changes of 1989, and the important role played by ethnochoreologists in influencing particularly the teaching methods that were developed within it. It concludes that a sustained commitment to the core socialaesthetic experience that motivated its founders and their success in creating a durable globalized social institution for its practice have contributed substantially to the continued viability of a participatory aesthetic in the performance of its music among both urban-based musicians and those whose musical life remains rooted in the music's source areas.

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Abstract: Apart from a few key works on dance structure, improvisation and Central European traditional dance, the breadth and depth of Martin’s work remains inaccessible to the English reading audience and little known in dance studies. One such unacknowledged area of significant contribution is his important work in applied ethnochoreology through key interventions in Hungarian presentational stage choreography and participatory social dance revival. In both spheres Martin made a significant contribution at key moments in their development. At least two fundamental concepts drawn from his theoretical work informed his activist interventions. First, that folk dancing needs to be conceptualized, and studied, as process (táncfolyam). Second, that this process cannot be excised from its complete con- textualization in the lives and history of its practitioners if it is to be fully understood. This theorization of dance is relevant far beyond the village dance idiom that so absorbed him. It should be more widely known, acknowledged and, indeed, applied specifically within ethnochoreology as well as dance stud- ies in general today. As work in the application of scholarly knowledge outside the walls of academia becomes ever more important in our field, it is worth remembering that this is not an activity without precedent. Martin’s theoretically informed interventions in both participatory and presentational dance practices in Hungary provide an excellent model for such work.
Keywords: traditional dance, applied ethnomusicology, applied ethnochoreology, participatory dance revival, presentational choreographic representation, applied ethnochoreology, György Martin, Ernő Pesovár, theory and practice

Ethnic-national discourse in traditional music and dance practice and theory in Central Transylvania is pervasive and persistent. Scholarship in the field has been deeply implicated in the elaboration and imposition of national ideologies by cultural elites and, while ethnicity is a naturalized category, the local practice of music and dance in social life need not be primarily so marked. The identification of traditional music and dance in this region as Romanian, Hungarian or Romani as established by 20th century scholarship and as institutionalized in practice is examined and critiqued. A theoretical perspective that moves away from the re-iteration of these categoies is suggested and the possibility of escaping from them in practice is considered.