More New and Used
from Private Sellers
Questions About This Book?
Why should I rent this book?
Renting is easy, fast, and cheap! Renting from eCampus.com can save you hundreds of dollars compared to the cost of new or used books each semester. At the end of the semester, simply ship the book back to us with a free UPS shipping label! No need to worry about selling it back.
How do rental returns work?
Returning books is as easy as possible. As your rental due date approaches, we will email you several courtesy reminders. When you are ready to return, you can print a free UPS shipping label from our website at any time. Then, just return the book to your UPS driver or any staffed UPS location. You can even use the same box we shipped it in!
What version or edition is this?
This is the edition with a publication date of 5/30/2013.
What is included with this book?
- The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any CDs, lab manuals, study guides, etc.
For more than two decades,le hip hophas shown France's "other" face: danced by minorities associated with immigration and the suburbs, it has channeled rage against racism and unequal opportunity and offered a movement vocabulary for the expression of the multicultural difference that challenges the universalist discourse of the Republic. French hip-hoppers subscribe to black U.S. culture to articulate their own difference but theirmouv'developed differently, championed by a Socialist cultural policy as part of thepatrimoine culturel, instituted as a pedagogy and supported as an art of thebanlieue. In the multicultural mix of "Arabic" North African, African and Asian forms circulating with classical and contemporary dance performance in France, if hip hop is positioned as a civic discourse, and hip hop dancer as legitimate employment, it is because beyond this political recuperation, it is a figural language in which dancers express themselves differently, figure themselves as something or someone else. French hip hop develops into concert dance not through the familiar model of a culture industry, but within a Republic of Culture; it nuances an "Anglo-Saxon" model of identity politics with a "francophone" post-colonial identity poetics and grants its dancers thestatut civilof artists, technicians who develop and transmit body-based knowledge. This book-- the first in English to introduce readers to the Frenchmouv'--analyzes the choreographic development of hip hop intola danse urbaine, touring on national and international stages, aship hoppeursmove beyond thebanlieue, figuring new forms within the mobility brought by new media and global migration.
Felicia McCarren is Professor of French and Italian at Tulane University and author of Dance Pathologies; Performance, Poetics, Medicine (1998) and Dancing Machines; Choreographies of the Age of Mechanical Reproduction (2003)