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20230905054523.0 |
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230508s2023 nyu o 00 0 eng d |
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|z 2023008414
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|a 9781805430643
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|a (OCoLC)1378737535
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|a MdBmJHUP
|c MdBmJHUP
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|a Cimardi, Linda,
|e author.
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|a Performing Arts and Gender in Postcolonial Western Uganda /
|c Linda Cimardi.
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|a Rochester :
|b University of Rochester Press,
|c 2023.
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264 |
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|a Baltimore, Md. :
|b Project MUSE,
|c 2023
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|c ©2023.
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|a 1 online resource (288 pages):
|b illustrations (black and white) ;
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a Eastman/Rochester studies in ethnomusicology,
|x 2161-0290 ;
|v 14
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|a "Traditional dance preserves culture and shows people how to behave": Runyege, MDD, and gender -- Singing marriage, Runyege, and labor -- "Women aren't supposed to": instrument playing in the past and today -- Shaking the hips, stamping the feet. The Runyege dance -- Narrating and representing local culture -- Postlude: gendering culture -- Appendix I. Historical recordings from Bunyoro and Tooro -- Appendix II. Glossary of terms in Runyoro-Rutooro -- Author's interviews.
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|a "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 notion 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. Examining traditional arts as both the manifestation and the building blocks of local culture, the book vibrantly depicts the imbrication of Ugandan performing arts with gender and postcolonialism"--
|c Provided by publisher.
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588 |
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|a Description based on print version record.
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650 |
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7 |
|a Performing arts.
|2 fast
|0 (OCoLC)fst01057887
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650 |
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7 |
|a Gender identity in music.
|2 fast
|0 (OCoLC)fst00939609
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650 |
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7 |
|a Gender identity in dance.
|2 fast
|0 (OCoLC)fst00939605
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650 |
|
7 |
|a Ethnomusicology.
|2 fast
|0 (OCoLC)fst00916186
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650 |
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0 |
|a Gender identity in dance.
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650 |
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0 |
|a Gender identity in music.
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650 |
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0 |
|a Performing arts
|z Uganda.
|
650 |
|
0 |
|a Ethnomusicology
|z Uganda.
|
651 |
|
7 |
|a Uganda.
|2 fast
|0 (OCoLC)fst01210282
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655 |
|
7 |
|a Electronic books.
|2 local
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710 |
2 |
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|a Project Muse.
|e distributor
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830 |
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|a Book collections on Project MUSE.
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856 |
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|z Texto completo
|u https://projectmuse.uam.elogim.com/book/111028/
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945 |
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|a Project MUSE - Custom Collection
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945 |
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|a Project MUSE - 2023 Complete
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945 |
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|a Project MUSE - 2023 Gender Studies
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945 |
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|a Project MUSE - 2023 African Studies
|