Why Is This Country Dancing

Music echoes on every page of this superb portrait of South America's most diverse country, by the author of El Beisbol and Music in Every Room. This remarkable book is both a vivid look at a vast land, where the cult of pleasure lives side by side with grinding poverty, and the first in-depth study of the music and musicians of the most musical country on Earth.

Teaches the national versions of the 22 most popular line dances.

A well thought-out, carefully put together volume on an important part of Americana

Music echoes on every page of this superb portrait of South America's most diverse country, by the author of El Beisbol and Music in Every Room. This remarkable book is both a vivid look at a vast land, where the cult of pleasure lives side by side with grinding poverty, and the first in-depth study of the music and musicians of the most musical country on Earth.

Representing dancers, scholars, admirers, and critics, I See America Dancing is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present. This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance. Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii. Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel. I See America Dancing examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America. Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonjé Mayo's "Naked in America." Covering historical social attitudes toward the dance as well as the performers and their works, I See America Dancing is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform.

After the battle of Orakau in 1864 and the end of the war in the Waikato, Tawhiao, the second Maori King, and his supporters were forced into an armed isolation in the Rohe Potae, the King Country. For the next twenty years, the King Country operated as an independent state – a land governed by the Maori King where settlers and the Crown entered at risk of their lives. Dancing with the King is the story of the King Country when it was the King's country, and of the negotiations between the King and the Queen that finally opened the area to European settlement. For twenty years, the King and the Queen's representatives engaged in a dance of diplomacy involving gamesmanship, conspiracy, pageantry and hard headed politics, with the occasional act of violence or threat of it. While the Crown refused to acknowledge the King's legitimacy, the colonial government and the settlers were forced to treat Tawhiao as a King, to negotiate with him as the ruler and representative of a sovereign state, and to accord him the respect and formality that this involved. Colonial negotiators even made Tawhiao offers of settlement that came very close to recognising his sovereign authority. Dancing with the King is a riveting account of a key moment in New Zealand history as an extraordinary cast of characters – Tawhiao and Rewi Maniapoto, Donald McLean and George Grey – negotiated the role of the King and the Queen, of Maori and Pakeha, in New Zealand.