David Kaminsky
Datos Biográficos
| ID | 185268 |
|---|---|
| NOMBRE | David Kaminsky |
| NOMBRES | David |
| APELLIDO | Kaminsky |
| FIRMA | KAMINSKY D |
| AFILIACIONES | University of California, Merced |
| VERIFICADO | No |
| TOTAL DE OBRAS | 9 |
| TOTAL DE CITAS | 4 |
| TOTAL COMO AUTOR | 9 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2007 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 1 |
Waltzing
This article offers a hypothesis about the provenance of progressive rotation in social partner dancing and an argument about its sociohistorical significance. In seventeenth-century Europe, a widespread practice was attaching aristocratic processional “fore-dances” to energetic peasant-like “after-dances,” some of which involved couples turning in place around a shared center of gravity. In the eighteenth century, these two formats started mergi…
Lady and the Wolf
This article offers an account of the earliest known evidence of a lead/follow system in social partner dancing. Images in fifteenth-century manuscripts depict men leading women in aristocratic paired processionals. Sixteenth-century instructional literature framed these lead/follow dynamics in terms of the man’s duty to protect the woman from her surroundings, a principle that indexes social status and persists in couple dancing today. I hypothe…
Leading the Other
In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, s…
Postwar Europe and the Eurovision Song Contest
Dean Vuletic's Postwar Europe and the Eurovision Song Contest represents the culmination of a comprehensive research project on the world's longest-running international song contest, an event held (as of the pre-COVID-19 time of his writing) once every year since its inception in 1956. Vuletic describes an institution whose basic elements have remained consistent throughout its existence. Each participating nation sends a single musical act to r…
Geographies of Gender
The typical partner dance venue will have a standardised layout conducive to the space's function as a marketplace in which attendees can display their own bodies as commodities. Dancers in the venue will have invested time and money in training, clothing, and grooming to demonstrate the value of their bodies according to the dance's typically heteronormative standards. The reward for successful marketing is physical access to other similarly wel…
Social Partner Dance
Social Partner Dance: Body, Sound, and Space is an ethnographic theory of social partner dancing built on participant observation and interviews with instructors of tango, lindy hop, salsa, blues, and various other forms. The work establishes a general analytical language for the study of these dances, based on the premise that a thorough understanding of any lead/follow form must consider in depth how it manages the four-part relationship betwee…
Total Rhythm in Three Dimensions
In this article I present an ethnotheory of the music/dance relationship in Swedish polska, based on dance fieldwork and interviews I have conducted with polska dance musicians. I discuss three mechanisms that these musicians use to communicate movement patterns to dancers: iteration (entrainment via repetition), metaphor (timbral weight conveying motional weight), and sympathy (musicians' movements mapping dance movements). I then discuss how mu…
Just Exotic Enough
Here I examine the music and discourse of two Swedish non-Jewish chamber klezmer bands, and their strategies for claiming klezmer and distancing it from Jews. One band claims that klezmer, having always been subject to travel and outside influence, was never really Jewish. The other suggests that klezmer was inherited by European non-Jews after the Holocaust. Both arguments are predicated on the Herderian nationalist denial of cultural ownership …
The Zorn Trials and the Jante Law
Danish-Norwegian author Aksel Sandemose called these commandments "the Jante' Law," so-named for his protagonist's fictional Danish home-town in the semi-autobiographical novelA Fugitive Crosses His Tracks(orig. pub. 1933; English trans., 1936:77-78). Over the years this ironic credo of elder-dominated communal living has expanded and acquired a special resonance with respect to Swedish cultural self-image. Today in Sweden, the Jante Law occupies…
Just Exotic Enough
Here I examine the music and discourse of two Swedish non-Jewish chamber klezmer bands, and their strategies for claiming klezmer and distancing it from Jews. One band claims that klezmer, having always been subject to travel and outside influence, was never really Jewish. The other suggests that klezmer was inherited by European non-Jews after the Holocaust. Both arguments are predicated on the Herderian nationalist denial of cultural ownership …
The Zorn Trials and the Jante Law
Danish-Norwegian author Aksel Sandemose called these commandments "the Jante' Law," so-named for his protagonist's fictional Danish home-town in the semi-autobiographical novelA Fugitive Crosses His Tracks(orig. pub. 1933; English trans., 1936:77-78). Over the years this ironic credo of elder-dominated communal living has expanded and acquired a special resonance with respect to Swedish cultural self-image. Today in Sweden, the Jante Law occupies…
The Zorn Trials and the Jante Law
Danish-Norwegian author Aksel Sandemose called these commandments "the Jante' Law," so-named for his protagonist's fictional Danish home-town in the semi-autobiographical novelA Fugitive Crosses His Tracks(orig. pub. 1933; English trans., 1936:77-78). Over the years this ironic credo of elder-dominated communal living has expanded and acquired a special resonance with respect to Swedish cultural self-image. Today in Sweden, the Jante Law occupies…
Total Rhythm in Three Dimensions
In this article I present an ethnotheory of the music/dance relationship in Swedish polska, based on dance fieldwork and interviews I have conducted with polska dance musicians. I discuss three mechanisms that these musicians use to communicate movement patterns to dancers: iteration (entrainment via repetition), metaphor (timbral weight conveying motional weight), and sympathy (musicians' movements mapping dance movements). I then discuss how mu…
Just Exotic Enough
Here I examine the music and discourse of two Swedish non-Jewish chamber klezmer bands, and their strategies for claiming klezmer and distancing it from Jews. One band claims that klezmer, having always been subject to travel and outside influence, was never really Jewish. The other suggests that klezmer was inherited by European non-Jews after the Holocaust. Both arguments are predicated on the Herderian nationalist denial of cultural ownership …
Geographies of Gender
The typical partner dance venue will have a standardised layout conducive to the space's function as a marketplace in which attendees can display their own bodies as commodities. Dancers in the venue will have invested time and money in training, clothing, and grooming to demonstrate the value of their bodies according to the dance's typically heteronormative standards. The reward for successful marketing is physical access to other similarly wel…
Social Partner Dance
Social Partner Dance: Body, Sound, and Space is an ethnographic theory of social partner dancing built on participant observation and interviews with instructors of tango, lindy hop, salsa, blues, and various other forms. The work establishes a general analytical language for the study of these dances, based on the premise that a thorough understanding of any lead/follow form must consider in depth how it manages the four-part relationship betwee…
Leading the Other
In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, s…
Postwar Europe and the Eurovision Song Contest
Dean Vuletic's Postwar Europe and the Eurovision Song Contest represents the culmination of a comprehensive research project on the world's longest-running international song contest, an event held (as of the pre-COVID-19 time of his writing) once every year since its inception in 1956. Vuletic describes an institution whose basic elements have remained consistent throughout its existence. Each participating nation sends a single musical act to r…
Lady and the Wolf
This article offers an account of the earliest known evidence of a lead/follow system in social partner dancing. Images in fifteenth-century manuscripts depict men leading women in aristocratic paired processionals. Sixteenth-century instructional literature framed these lead/follow dynamics in terms of the man’s duty to protect the woman from her surroundings, a principle that indexes social status and persists in couple dancing today. I hypothe…
Waltzing
This article offers a hypothesis about the provenance of progressive rotation in social partner dancing and an argument about its sociohistorical significance. In seventeenth-century Europe, a widespread practice was attaching aristocratic processional “fore-dances” to energetic peasant-like “after-dances,” some of which involved couples turning in place around a shared center of gravity. In the eighteenth century, these two formats started mergi…
Art (6 obras) · Diversity and Impact of Dance (5 obras) · Aesthetics (4 obras) · Law (4 obras) · Political science (4 obras) · Sociology (4 obras) · Visual arts (4 obras) · Dance (3 obras) · Psychology (3 obras) · Asian Culture and Media Studies (2 obras)