By Daniel T. Rodgers, Bhavani Raman, Helmut Reimitz (eds.)

Within the wide-ranging and leading edge essays of Cultures in movement, a dozen individual historians supply new conceptual vocabularies for realizing how cultures have trespassed throughout geography and social area. From the adjustments of the meanings and practices of charity in the course of overdue antiquity and the transit of scientific wisdom among early smooth China and Europe, to the fusion of Irish and African dance kinds in early nineteenth-century long island, those essays stick with a big selection of cultural practices throughout the lens of movement, translation, itinerancy, and alternate, extending the insights of transnational and translocal history.

Cultures in movement demanding situations the idea of fastened, sturdy cultural structures through displaying that cultural practices have continuously been relocating, crossing borders and destinations with usually miraculous impact. The essays provide remarkable examples from early to fashionable occasions of intrusion, translation, resistance, and edition. those are histories the place nothing--dance rhythms, alchemical formulation, musical practices, feminist aspirations, stitching machines, streamlined metals, or exertions networks--remains stationary.

In addition to the editors, the members are Celia Applegate, Peter Brown, Harold prepare dinner, April Masten, Mae Ngai, Jocelyn Olcott, Mimi Sheller, Pamela Smith, and Nira Wickramasinghe.

Daniel T. Rodgers is the Henry Charles Lea Professor Emeritus of historical past at Princeton collage. Bhavani Raman is an affiliate professor and the David Rike college Preceptor within the division of background at Princeton collage. Helmut Reimitz is an assistant professor and the Harold Willis Dodds Presidential college Preceptor within the division of heritage at Princeton college.

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2 It is not surprising that Carleton recorded Bob’s screw-­pin dance in his volume since the love of dancing was considered a typical Irish trait, but his speculation that it had African roots was exceptional. Carleton was unable to pinpoint a site of exchange—­that time or place where African and Irish dancers shared steps, yet his details suggest multiple possibilities. 3 Bob might have made it up himself, but the name “screw-­pin dance” suggests he learned it in a waterfront parish. Screw-­pins were wooden spindles with which sailors and dockworkers tightened the bales of cotton they stowed in the holds of ships.

We conclude with two brief afterwords, opening out the themes of the volume. Bhavani Raman reminds us that the metaphors of reciprocal exchange that energize histories of the itinerant and the peripatetic must not keep the historian from recognizing the violence that also haunts encounters of culture. Helmut Reimitz, drawing on the work of the German sociologist Niklas Luhmann, reflects on the culture concept itself and the ways in which it, too, needs to be implicated in the moving practices that this volume explores.

The collections of Ulster Folk and Transport Museum, Northern Ireland, © National Museums Northern Ireland. Reproduced with permission of National Museums Northern Ireland. the observer did not recognize the dancers’ “irregular fantastical” movements as the formal steps of a dance, but Irish jig dancers did. 2). ” The footwork was lively, and the woman held up her skirts to facilitate the steps. ” Like the juba, Irish jigs required stamina, as one factor was tiring out or “dancing down” one’s partner or fellow couples.

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