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- W756855008 abstract "The Dancing Goddesses: Folklore, Archaeology, and the Origins of European Dance. By Elizabeth Wayland Barber. (New York: W.W. Norton & Company, 2013. Pp. xiii + 439, dedication, acknowledgments, introduction, photographs, illustrations, maps, appendix, notes, bibliography, index. $35.00 hardcover.)Elizabeth Wayland Barber writes about dancing as a means of influencing the progress of life-of assuring that families and land are fertile and that communities draw together in mutual purpose. She begins The Dancing Goddesses with an exploration of female forest and water spirits prominent in the folklore and folkways of Eastern and Central Europe. These ruslaki, willis, and mermaids are the spirits of young women who died before having children and whose unused fertility might be tapped by others. Barber traces the presence of these female spirits through stories, courting and marriage customs, images, and dances. Having called them forth, she moves back in time, from the medieval period to the beginnings of agriculture, in a quest to understand and explain pre-Christian belief systems according to which dance, the act of moving together in time, produced change.In writing about dance, Barber merges two life-long passions. She uses her intellectual skills to explain what she experiences as a dancer, including ecstatic states and the sense of expansiveness that comes with united physical effort. Barber's work charges the air around dance, calling attention to experiential affect and material detail. Describing the role of dance in pre-industrial Europe, Barber states, In that conservative, nonurban, and often precarious way of life, dance formed and still forms a sort of glue holding people and together[.... It] marked off ritual time and space, served to anesthetize fatigue and heal sickness, and even sought to produce life (2). This is a compelling way to think about dance in contemporary urban settings as well. Randy Martin begins an essay on choreographer Bill T. Jones in this way: [Dance] legibly affirms, even if ephemerally, fleetingly, that some immediate difference has been made when the outcome of movement in might still be in doubt. As a means for registering what movement can be, dance shows us how we pass from one state to another. It does this literally, as bodies configure their realms of space and time, and allegorically, as a touchstone to what it means to be passing through this world (74). Enduringly, the many outcomes of dancing include affirmation of belief and the possibility of change and personal transformation. …" @default.
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- W756855008 date "2014-04-01" @default.
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- W756855008 title "The Dancing Goddesses: Folklore, Archaeology, and the Origins of European Dance" @default.
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