The Vanity of Imagination

Show simple item record Rowe, Nicholas en
dc.contributor.editor Forrest, D en 2015-07-16T23:31:05Z en 2012 en
dc.identifier.citation In The Doctoral Journey in Dance and Drama Education: Reflections on Doctoral Studies by Australian and New Zealand Art Educators. Editors: Forrest D. 50-60. Australian Scholarly Publishing, Melbourne 2012 en
dc.identifier.isbn 1921875992 en
dc.identifier.isbn 9781921875991 en
dc.identifier.uri en
dc.description.abstract The thesis examines how nineteenth century social dance practices in Palestine have been transformed into twenty-first century presentations of dance as a performed art in the Central West Bank. An extensive ethnographic history of the local dance culture is collated from various perspectives and (in acknowledging the ongoing collective trauma experienced by the indigenous population during this period) analysed in terms of pre-salvage, salvage and post-savage phases. This involves and examination of the impact of dominant socio-political paradigms on local dance practices, including European Imperialism, political Zionism. Islamic Reformism, Pan-Arabism and Palestinian nationalism. Whilst the experienced community of the Central West Bank is acknowleged as continuously negotiating with various manifestations of an imagined community, this analysis considers how local dance products have not necessarily been limited by such definitions of identity. As the research aims to support (what has been identified here as) post-salvage dance production in the region through cultural interventions, the aesthetic principles and evolutionary processes of post-salvagism are examined and defined here as anti-hegemonic. This examination involves reflections on the author's own approaches to local dance interventions, conducted with dance groups in Ramallah and Al-Bireh from 2000-2006. It also posits a theory of cultural evolution that contrasts with more ethnocentric notions of unilinear progress and development. This proposition includes an algorithm for the evolution of dance that suggests how the processes oflearning, creating and evaluating dance can be seen as analogous to the Darwinian evolutionary processes of reproduction, adaptation and selection. In this sense, it considers how post-colonial (and particularly post-development) studies may benefit from applications of Richard Dawkins' (1976) meme theory. en
dc.description.uri en
dc.publisher Australian Scholarly Publishing en
dc.relation.ispartof The Doctoral Journey in Dance and Drama Education: Reflections on Doctoral Studies by Australian and New Zealand Art Educators en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri en
dc.title The Vanity of Imagination en
dc.type Book Item en
pubs.begin-page 50 en
dc.rights.holder Copyright: Australian Scholarly Publishing en en
pubs.end-page 60 en Melbourne en
dc.rights.accessrights en
pubs.elements-id 463631 en Creative Arts and Industries en Dance Studies Programme en
pubs.record-created-at-source-date 2014-11-26 en

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