This book locates the philosophy of Ubuntu as the undergirding framework for indigenous dance pedagogies in local communities in Uganda. Through critical examination of the reflections and practices of selected local dance teachers, the volume reveals how issues of inclusion, belonging, and agency are negotiated through a creatively complex interplay between individuality and communality. The analysis frames pedagogies as sites where reflective thought and kinaesthetic practice converge to facilitate ever-evolving individual imagination and community innovations.

This pivot offers an innovative approach to dance education, bringing a creative and inclusive dance education pedagogy into Chinese dance classrooms. Associate Professor Ralph Buck’s experiences of teaching dance at the Beijing Dance Academy and the possible implications for dance education in China lie at the heart of this text. Through a critical examination of personal teaching practice, pedagogical issues, trends and rationales for dance education in the curriculum are highlighted. Informed by constructivist ideals that recognise dialogue and interaction, this pivot suggests that dance can be re-positioned and valued within educational contexts when pedagogical strategies and objectives are framed in terms of teaching and learning in, about and through dance education.

Dance Research Methodologies: Ethics, Orientations, and Practices captures the breadth of methodological approaches to research in dance in the fine arts, the humanities, the social sciences, and the natural sciences by bringing together researchers from around the world writing about a variety of dance forms and practices. This book makes explicit the implicit skills and experiences at work in the research processes by detailing the ethics, orientations, and practices fundamental to being a researcher across the disciplines of dance. Collating together approaches from key subdisciplines, this book brings together perspectives on dance practice, dance studies, dance education, dance science, as well as dance research in cross-, multi-, and interdisciplinary fields. Practice-based chapters cover methodological approaches that provide rich examples of how research design and implementation are navigated by practicing scholars. Dance Research Methodologies also includes a practical workbook that helps readers to decide upon, refine, and enact their research, as well as develop ways in which to communicate their process and outcomes. This vital textbook is a valuable resource for research faculty interested in interdisciplinary conversation and practice, emerging scholars honing their methodological approaches, graduate students engaged in research-based coursework and projects, and advanced undergraduates.

Focusing on runyege, the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender. Audio and video recordings presented in the book can be accessed on the book's companion website, http: //hdl.handle.net/1802/37373.

Dancing Across Borders presents formal and non-formal settings of dance education where initiatives in different countries transcend borders: cultural and national borders, subject borders, professional borders and socio-economic borders. It includes chapters featuring different theoretical perspectives on dance and cultural diversity, alongside case narratives that show these perspectives in a specific cultural setting. In this way, each section charts the processes, change and transformation in the lives of young people through dance. Key themes include how student learning is enhanced by cultural diversity, experiential teaching and learning involving social, cross-cultural and personal dimensions. This conceptually aligns with the current UNESCO protocols that accent empathy, creativity, cooperation, collaboration alongside skills- and knowledge-based learning in an endeavour to create civic mindedness and a more harmonious world. This volume is an invaluable resource for teachers, policy makers, artists and scholars interested in pedagogy, choreography, community dance practice, social and cultural studies, aesthetics and interdisciplinary arts. By understanding the impact of these cross-border collaborative initiatives, readers can better understand, promote and create new ways of thinking and working in the field of dance education for the benefit of new generations.

The Routledge Companion to Literature and Social Justice is a comprehensive and multi- purpose collection on this important topic. With contributors working in various fields, the Companion provides in- depth analyses of both the cumulative and emergent issues, obstacles, praxes, propositions, and theories of social justice. The first section offers a historical overview of major developments and debates in the field, while the following sections look in more detail at the key traditions and show how literature and theory can be applied as analytical tools to real- world inequalities and the impact of doing so. The contributors provide reviews of major theoretical traditions, including Marxism, feminism, Critical Race Theory, disability studies, and queer studies. They also share literary analyses of influential authors including W. E. B. Du Bois, Yang Kui, Edwidge Danticat, Octavia Butler, and Rivers Solomon amongst others. The final section considers future possibilities for theory and action of justice, drawing specifically from theories and knowledges in decolonial, Indigenous, environmental, and posthumanist studies. This authoritative volume draws on the intersections between literary studies and social movements in order to provide scholars, students, and activists alike with a complete collection of the most up- to- date information on both canonical and emerging texts and case studies globally.

The book brings together media scholars and practitioners to deliberate on the role and influence of radio broadcasting in South Africa over the past 100 years. The publication will add to the existing body of knowledge on radio in this context by being among one of the few to consider radio broadcasting in South Africa. Essentially, the book will make a distinct contribution focusing on a critique of the medium’s role in community-building and culture making among others. While the book will provide relevant theoretical frameworks, it also aims to include the voices of media practitioners who can reflect on the importance of this medium from a more realistic perspective. Volume 2 focuses on the impact of digitization on radio in South Africa, and considers the future of radio in South Africa.