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Librarians find the search for information on dance topics time‐consuming and difficult. There are few reference works devoted specifically to dance, and a number of those that do exist are outdated and need revision. Further, because the field is so diverse, a search for dance information will frequently lead the investigator into a variety of related subject areas, each with its own complicated access problems. Reference librarians faced with dance inquiries may in the course of an hour find it necessary to consult sources in music, education, aesthetics, theatre, or physiology. On a more specific level, questions may call for information on such subtopics as ballet, folk dance, dance therapy, choreography, tap dance, and movement technique. College students may need information on famous dancers of the past; theatergoers may want an up‐to‐date evaluation of a performance of a specific ballet company; and dancers may often need information on technique and conditioning.

This chapter focuses on creating a Torres Strait Island perspective on the research ethics and cultural protocols of Islander dance. Previous research into Torres Strait Islander cultural dance has traditionally focussed on the music and songs and rarely on the movements themselves or the cultural protocols of dance. Specifically, we explore how Islander dance from the Island of Mer (Meriam Kab) is not only created and practised but also how that information is communicated. This chapter asks the questions – how should Meriam Kab be researched? What are the protocols and processes that need to be followed? What is the role of Elders and how important is their place in the practice of dance? These questions will be explored through the cultural dances performed by the Gerib Sik Torres Strait Islander Corporation as an inroad into the significance of Meriam Kab as expressions of Meriam identity. Gerib Sik has a long tradition of cultural consultation in the development of their dances, and this chapter is co-authored by the directors. Through this writing, we hope to shine a spotlight on Meriam Kab research by illustrating the importance of the specificity of Islander identity.

In February 2015, Jørgen Vig Knudstorp, CEO of the LEGO Group, invited the national and international press to a financial briefing at the company's headquarters in Billund (Denmark). 2014 had been an exceptional year of growth for the LEGO group. Nevertheless, most of the journalists present in the room were surprised when the Danish CEO suddenly began to dance in front of the audience while singing ‘Everything is awesome’ from the LEGO Movie. Why did he do it? Was it out of spontaneous joy? Or was there a strategy behind his actions? And what were the reactions of the media and LEGO employees? What can a CEO who is dancing and singing for a few seconds or minutes in front of a group of journalists tell us about leadership roles and leadership communication? The aim of this chapter is to provide plausible answers to these questions. We combine theory of dancing with three different approaches to the study of leadership: (1) a strategic approach: the CEO as a Performer, (2) a positive organizational scholarship approach: the CEO as a Chief Happiness Officer and (3) a critical approach: the CEO as a Seducer. At the end of the chapter, we discuss how this small case study can contribute to a broader understanding of strategic communication that includes a dramaturgical and multimodal perspective.

Our research identifies political explicitness as a variable property among free spaces and its implications for the role that such spaces can potentially play vis-à-vis social movement mobilization. Specifically, spaces where politics are implicit (i.e., where political goals and values are not an explicit part of associative principles) can serve as sites where identities with affinities to social movements are cultivated while remaining open to those who do not already hold sympathetic views – representing free and open spaces. Our research draws on previously unexplored links between social movement research and leisure activity research, which explains processes of socialization across participant levels as a central dynamic in shaping collective values and individual participant identities. We illustrate our argument by exploring those processes within American belly dance as an example of a gendered leisure activity, and their influence on participants’ gender identity and related political attitudes. Findings are based on survey research of 103 dancers in the Salt Lake City, Utah, region. Data indicate wide acceptance of gender norm challenges, and affirm expectations of leisure activity research regarding community dynamics that promote such challenges.

This chapter discusses the differences between face-to-face and online ethnographies of Scottish Country Dancing. It draws on fieldwork conducted firstly in Lyon in 2017 and subsequently in Edinburgh in 2017–2018, with further fieldwork in Edinburgh, due to the global pandemic, now taking place online. Online Scottish Country Dancing is challenging, especially given that this social dancing requires a partner and space. Due to the pandemic, how and why individuals do online dancing has shifted because people can now link in and across different locations. As a researcher as well as a dancer, my current project utilises blended ethnography, including textual analysis, fieldnotes, participant observations, interviews and surveys. Conducting online ethnographic practices raises specific ethical considerations and challenges, most notably concerning who is being observed and whether the participants are aware of being observed. This chapter addresses how the research aims to adapt ethnography from face-to-face fieldwork to online situations, in response to the impact of COVID-19 and associated ethical challenges.

In this essay, two purposes are of importance. One is to frame anti consumption as a social marketing issue on micro and macro levels. The second is to set forth dance as a persuasive element in anti consumption social marketing strategy, which heretofore has been under utilized and under theorized.

This essay draws from relevant existing literature in social marketing and builds and extends dance theory in television ads to conceptualize dance as a viable consumer culture aesthetic in anti consumption social marketing campaigns.

Effectively employing dance images in anti consumption social marketing campaigns may contribute to redesigning of the self-image and identity of consumers. Moreover, through linkages of positive behaviors to dance celebrations and rituals, aligned with an overall social marketing campaign, dance may facilitate reduction of negative consumption behaviors.

Social marketers’ strategic success in high involvement behavior change depends in part on the target audience’s favorable response to message processing. The social marketing field encompasses a variety of such behaviors that if changed, improves both society as a whole, and the lives of individuals.

There are three aspects of value and originality in this contribution. They include forwarding anti consumption as a social marketing issue in consumer culture; theorizing dance as a somato-visceral and kinesthetic approach to anti consumption social marketing behavior change; and demonstrating dance as a positive persuasive element that can reside within the boundaries of social marketing ethics.

This ethnographic study explores how local and global forces influence a unique set of self-employed people in Havana’s tourism industry – dance instructors – and how these circumstances drive the strategies and rationalities they use to navigate socioeconomic transformations. Cuba’s recent history of economic crises, the decline in welfare assistance, and an array of market-driven economic reforms have driven many Cubans to search for incomes in Havana’s lucrative tourism industry. Global circulations of people, wealth, and ideas shape the opportunities Cubans find in this type of work. Furthermore, strict state policies and regulations, in conjunction with underlying systems of oppression, hinder and constrain Cubans who work in tourism-based ventures. Building on theories of neoliberalism and tourism, we discuss how Cuban dance instructors develop professional skills, standardize their activities, and address global consumer desires/demands while simultaneously drawing from collectivized social norms cultivated under Cuban socialism. These hybridized formal/informal business tactics reveal how self-employed Cubans are positioned between socialist configurations and the capital-driven tourism industry. These innovative socioeconomic logics are also critical in understanding how people living in centrally planned economies, some of which are socially marginalized because of patterns of inequality, gain access to and participate with contemporary modalities of the global economy.

Export grouping schemes are a commonly used vehicle for promoting international competitiveness, but their success rate is patchy. A perennial problem is the value of continuing the formal group structure itself. In this paper we examine the nature and role of export groups using the results from two in‐depth Australian case studies. The focus of analysis is on export groups as structuring devices rather than structures. They are viewed as action learning exercises in which knowledge and resource creating and self‐organizing processes are nurtured, these processes in turn shaping the evolution of interfirm relations and networks. Building on earlier work by Wilkinson and Young the dance metaphor is extended to depict and analyze export groups as dance parties. Dance themes are used to illustrate and dramatize issues arising in the design, development and evaluation of export grouping schemes and are related to the real experience of the two case studies examined.