The idea for this special issue emerged from a panel at the 2006 American Folklore Society meeting entitled “Diasporic Moves in Latin American Dance,” which was sponsored by the Chicano and Chicana Section and the Folklore Latino, Latinoamericano, y Caribeno Section of the AFS. For that panel, three of the authors in this issue explored Latin American dance practices that crisscross national borders. I was a participant in this panel, and reading each others’ work, we each came to an increased appreciation for the importance that dance, as an embodied form of expressive culture, has in identity formation, group maintenance, and pleasure. In our presentations, we were interested in examining how dances associated with one community or group are affected by the ongoing movement of people and goods to new social and cultural locations. The papers investigated relations of power that facilitate, hinder, or impinge upon the transfer/transformation of cultural practices of dancing. We began to develop our work into a larger project, and with the addition of a fourth participant, we noted that all of the dances we document have thrived over the past fifty years. However, the patterns of adaptation to a globalizing environment were as different as the dances and dance scenes themselves. For example, the Dance of the Curpites, a ritual courtship dance examined by Joyce M. Bishop, powerfully ties individuals to their local Mexican community, despite massive and continuing out-migration from a relocated indigenous homeland. Participants in Aztec dance, the Mexican spiritual movement discussed by Sandra Garner, are only partially successful in developing relations of reciprocity through shared ritual with indigenous groups outside the country. Argentines, Ana C. Cara found, market a version of tango for external consumption precisely to safeguard their very different homegrown tradition. And in my work on the salsa scene of multicultural New Jersey, I observed dance instructors self-consciously constructing socially and racially diverse spaces of interaction within North American popular culture, inviting everyone to learn the dance. In the ensuing months of research and writing, each author developed her argument in productive new directions, considerably broadening the themes of this issue. Moreover, I was delighted to welcome Latin American dance scholar and ethnomusicologist Sydney Hutchinson as co-editor of the issue. Her introduction provides a welcome and overdue assessment of the history and current promise of dance ethnography within the fields of folklore and ethnomusicology.
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