Suchergebnisse

Paper Tangos. Julie Taylor. Durham, NC: Duke University Press, 1998. 121pp.The Mystery of Samba: Popular Music and National Identity in Brazil. Hermano Vianna. John Charles Chasteen, ed. and trans. Chapel Hill: University of North Carolina Press, 1999. 147 pp.

Rapid market transition in post-reform China has created various socioeconomic spaces that fall beyond the Leninist mode of control by the Chinese Communist Party (CCP), and thus constitutes a formidable challenge to its ruling capacity. This article examines the evolving adaptations of the CCP and the rise of a new form of Party-society nexus in urban China. We found that Party organisers have been fostering a spatial strategy in the context of 'disorganised urban socialism'. By spanning institutional and sectoral gaps, engaging so-called 'floating party members', and developing community-based service networks, the Party has deliberately combined a specific social mechanism with the Leninist logic of organising. We conclude with a broader discussion of the possible scenario and political implication of CCP's organisational consolidation from below.

This research investigates Taiwanese dancers' practice of international folk dancing through interviews and participant-observation. International folk dancing is a specific dance genre, in which its practitioners explore various regional folk dances around the world, regardless of their ethnicities. I define this practice as a transnational embodiment, because it not only covers folk dances from different countries, but also was a government-sanctioned exercise during the Taiwanese Martial Law Period (1945-1987). Furthermore, many Taiwanese immigrants in California are still practicing this dance for the purpose of connecting with people with similar backgrounds. In this regard, international folk dancing is a historical product from Taiwan's Martial Law Period, and it also functions as an instrument to scrutinize some Taiwanese immigrants' conceptions of national and cultural identity in California.My dissertation starts from post-World War II Taiwan, when international folk dancing was introduced from the United States and became a mass exercise of the Taiwanese people during Martial Law. For the National Government at this time, international folk dancing was a means of presenting Taiwan's political alignment with the United States. For the Taiwanese people, however, this dance form was a way to understand the outside world under extreme limitations on information access outside Taiwan during Martial Law. My investigation then shifts to Taiwanese immigrants' current practice of international folk dancing in California. Though these immigrants do not limit their practice to Taiwan-specific dances and are embodying cultures of others, international folk dancing is a strong transnational embodiment that enables these Taiwanese immigrants to reconstruct their idea of home in the United States and to present a new definition of Taiwanese identity through practicing others' nationalisms. Furthermore, I demonstrate that Taiwanese dancers of different generations in both regions are constantly constructing the notions of "folk" and "international" through their diverse living and dancing experiences. I argue that international folk dancing challenges these concepts when compared to previous scholars' examinations. Additionally, this dance form demonstrates its practitioners' cultural awareness that even though the practice seems to be inclusive, its dancers are much aware of issues of authenticity, appropriation, and cross-cultural politics. Finally, this sub-genre of self-choreographed dancing indicates a Taiwanized international folk dancing practice. Self-choreographed dancing was developed by the Taiwanese international folk dancing community during the Martial Law Period, and in California, it is practiced more in the Taiwanese international folk dancing groups but is missing in Western dancers' community. As this sub-genre stretches the ideas of "folk," "international," and the sense of cultural awareness, the dissertation also explores this difference between Taiwanese and Western international folk dancing communities to emphasize the notion of Taiwanese-ness.International folk dancing serves to scrutinize relationships between Taiwan and the United States after World War II. Meanwhile, California-based Taiwanese immigrants apply their past dancing memories to their current practice of international folk dancing, suggesting new definitions to existing conceptions of Taiwanese identity. Moreover, the unstableness in the dance form's translations in Mandarin Chinese—tu-feng-wu or shi-jie min-su wu-dao—indicates that there is no consistent understanding of "folk," "international," and even "international folk dancing" itself. The lack of coherent translation furthermore signals varied interpretations of Taiwanese-ness by Taiwanese people from different places and of different generations.

This is the final version. Available on open access from Berghahn via the DOI in this record ; Taxation is central to the financing of most states, and monitoring that taxpayers comply with laws and regulations is a correspondingly important government activity. Governments have many ways to design tax systems, and no two national tax systems are the same. Hence, compliance strategies differ and so do outcomes. Complying with tax laws, beyond the fiscal aim of contributing revenue to a state, is multifaceted in a globalized world. Tax administrations struggle to control large multinational enterprises' (MNEs) tax planning, avoidance and general evasion, whereas MNEs grapple with the problem of having to comply with widely divergent national tax systems. As a response, tax administrations, through membership organisations such as the OECD, invent forms of collaboration between tax administrations and MNEs—all with the goal of increasing tax compliance. One way they do this is through the co-operative compliance model. Here, we compare two compliance projects, based on this model, in Norway and Sweden to shed more light on what tax compliance is in practice. We elaborate on Valerie Braithwaite's seminal concept of tax compliance as a 'dance' between tax administrations and taxpayers. In so doing we underline the significance of paying attention to conceptions of time and space as critical elements of creating compliance in practice between tax administrations and MNEs. ; European Union Horizon 2020

Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- Introduction: Dancing with Memory -- Embodied Memory: Interdisciplinary Movements Between Memory and Popular Dance -- Mapping the Terrain -- References -- Part I: Pedagogic Invocations of Afro-Diasporic Memory -- Tap Dance and Cultural Memory: Shuffling with My Dancestors -- Defining Dancestry as a Facet of Cultural Memory -- Tap Dancestry: Respecting the Past, Revising in the Present -- Classic Choreographies as Dancestral Inheritance -- Maintaining Dancestral Inheritance: Embodying Named and Unnamed Dancestors -- Bibliography -- "Salsa con Afro": Remembering and Reenacting Afro-Cuban Roots in the Global Cuban and Latin Dance Communities -- "A Que Le Llaman 'Salsa' Si Esto Es Son?"1 -- "Une Vraie Sauce" -- Rumba: "The Forbidden Black Dance" -- Orishas: "And What Do You Want Them to Give You?" -- "But Where Is the (Rueda de) Casino?" -- "Ya Es Muy Rico" -- "Una Onda Gozadera" -- Bibliography -- Between Creolisation and Kinaesthetic Transnationalism: Zumba Fitness as Mimetic Parody and Ritual Re-enactment -- Introduction -- Situating Zumba: Between Popular Dance and Cultural Memory -- Mimesis and Alterity -- Parody and the Carnivalesque -- Incorporated Practices and Commemorative Ceremonies -- Conclusion -- Bibliography -- Part II: Manipulated Memory and Reclamation -- Parading the Past, Taming the New: From Ragtime to Rock and Roll -- Cultural Memory and Remembering the Past -- Irene and Vernon Castle -- Arthur and Kathryn Murray -- References -- Queer Tango-Bent History? The Late-Modern Uses and Abuses of Historical Imagery Showing Men Dancing Tango with Each Other -- Tango and 'Men Dancing with Men': A Contested History -- Representations of Men Dancing Tango with Other Men -- Queer Tango: Historical and Theoretical Contexts.