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Well into the 21st century, it is difficult to deny the contribution that Mayan culture has made to the history of the world, and not only because of its contribution to universal culture with its architecture, astronomy and mathematics. Understanding the management practices of a Mayan dance (the dance of the Pochó) that has transcended over the years can give us an idea of the management practices carried out by an ancestral culture such as the Maya. The purpose of this article is to establish an initial conceptual relationship between the management process proposed by Henry Fayol (1916) and the management of a Mayan dance that has survived to the present day.

A specific ethnographic study was carried out in the municipality of Tenosique, Tabasco (Mexico) for two consecutive years. Research methods such as direct observation, researcher diaries, in-depth interviews and photographs were utilized that allowed a study of management practices.

Thanks to the cross-checking of the data obtained, it was possible to determine a theoretical-conceptual relationship between Fayol's management process and the Mayan dance studied. In fact, 12 specific management practices found in the four phases of the process were identified. In addition, with the ethnographic study it was possible to determine the levels of intensity and impact regarding the satisfaction of those attending and performing the dance.

Research limitations are due to result from the fact that the analysis corresponds to a single Mayan dance in a specific place (Tenosique) in the state of Tabasco, Mexico.

To understand the management practices of the Mayan culture through the study of a dance that has remained alive until our days; this might be useful for the management practices of today's companies.

It is a pioneering study that analyzes a Mayan dance through the optics of management sciences.

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 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.

Systematic organization of domain knowledge has many advantages in archiving, sharing and retrieval of information. Ontologies provide a cushion for such practices in the semantic Web environment. This study aims to develop an ontology that can preserve the knowledge base of traditional dance practices.

It is hypothesized that an ontology-based approach for the chosen domain might boost collaborative research prospects in the domain. A systematic methodology was developed for modeling the ontology based on the analytico-synthetic rule of library classification. Protégé 5.2 was used as an editor for the ontology using the Web ontology language combined with description logic axioms. Ontology was later implemented in a local GraphDB repository to run queries over it.

The developed ontology on traditional dances (OTD) was tested using the dances of the Rabha tribes of North East India. Rabha tribes are from an indigenous mongoloid community and have a robust presence in Southeast Asian countries, such as Myanmar, Thailand, Bangladesh, Bhutan and Nepal. The result from HermiT reasoner found the presence of no logical inconsistency in the ontology, while the OOPS! pitfall checker tool reported no major internal inconsistency. The induced knowledge base of traditional dances of the Rabha’s in the developed OTD was further validated based on some competency questions.

In the growing trend of globalization, preservation of the cultural knowledge base of human societies is an important issue. Traditional dances reflect a strong base of the cultural heritage of human societies as they are closely related to the lifestyle, habitat, religious practices and festivals of a specific community.

The current study is exclusively designed, keeping in mind the variables of traditional dance domain based on a survey of the user- and domain-specific needs. The ontology finds probable uses in traditional knowledge information systems, lifestyle-based e-commerce sites and e-learning platforms.

To critically analyse how Latin American migrant women entrepreneurs living in Ireland and the UK negotiate their entrepreneurial and motherhood identities in transnational settings. The paper explores (1) how motherhood influences the choices of becoming entrepreneurs; (2) how women reconcile the social imaginaries of motherhood from their country of origin in the new contexts of settlement; and (3) the impact of these transformations on their businesses.

This paper draws on six biographical case studies (three in Ireland and three in the UK) and employs the theoretical lens of translocational positionality to analyse entrepreneurship as context-specific and relational processes that bring together a multiplicity of social and geographical locales.

Latin American women entrepreneurs navigate their roles as “good mothers” and “good businesswomen” by simultaneously (1) complying with core values of marianismo that confine them to traditional gender roles and (2) renegotiating these values in ways that empower them through entrepreneurship. Finally, juxtaposing these two contexts (Ireland and the UK), this study (3) illuminates the similarities of the ever-continuing gender power struggles of egalitarianism for Latin American migrant women in both contexts.

Despite the agreed need for exploring motherhood as one of the critical aspects shaping family and business cycles, this area needs to be sufficiently analysed in its intersection with ethnicity or migratory status, particularly with participants from the global South. This article aims at bridging that gap.

The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province.

This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera.

Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other.

The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.

Social studies is the combined study of several disciplines including cultural anthropology where expressive culture is defined and described. Expressive culture is the processes, emotions, and ideas bound within the social production of aesthetic forms and performances in everyday life. It is a way to embody culture and to express culture through sensory experiences such as dance, music, literature, visual media, and theater. By integrating the arts into social studies, students are introduced to cultural ideals, traditions, and norms inherent in their own lives. This article describes the use of cultural anthropology as a vehicle to teach social studies concepts with visual and performing arts. Two examples of coequal social studies and arts units are examined in second and sixth grades.

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.