Evangelos Chrysagis initially trained in History and Archaeology at the University of Ioannina, Greece, before embarking on postgraduate studies in Social Anthropology, earning an M.Sc. and a Ph.D. from the University of Edinburgh, where he was also a guest lecturer until 2015. His doctoral research explored the intersection of do-it-yourself (DiY) music-making and ethics in Glasgow. He has published on the themes of publicity and invisibility in DiY practice, and is currently completing an ethnographic monograph based on his Ph.D. thesis.Panas Karampampas is a post-doctoral researcher at the Institut interdisciplinaire d'anthropologie du contemporain (IIAC), École des hautes études en sciences sociales (EHESS). He currently works on Intangible Cultural Heritage policies and global governance. Previously he was a guest lecturer in the Department of Social Anthropology at the University of St Andrews, where he also completed his Ph.D. His doctoral research focused on the goth scene, digital anthropology, dance and cosmopolitanism. He has also conducted ethnographic research on Roma education as a scientific associate in the Centre for Intercultural Studies at the University of Athens.

“Collaborative Intimacies in Music and Dance is an innovative collection of sound and movement anthropologies. These interdisciplinary texts employ the timely and sharp lens of critical studies while engaging with post-colonial cultural studies. A vital, exemplary collection of ethnographic writing.” Dena Davida, Université du Québec à Montréal

• PrefaceIntroduction: Collaborative IntimaciesEvangelos Chrysagis and Panas KarampampasPART I: SOUND, MEANING AND SELF-AWARENESSChapter 1. Being in Sound: Reflections on Recording while Practicing Aikido and ShakuhachiTamara Kohn and Richard ChenhallChapter 2. Performing and Narrating Selves in and through Classical Music: Being ‘Japanese’ and Being a Professional Musician in LondonYuki ImotoPART II: PEDAGOGIES OF BODILY MOVEMENTChapter 3. Kinaesthetic Intimacy in a Choreographic PracticeBrenda Farnell and Robert N. WoodChapter 4. The Presentation of Self in Participatory Dance Settings: Data Collecting with Erving GoffmanBethany WhitesidePART III: MUSIC PRACTICES AND ETHICAL SELFHOODChapter 5. The Animador as Ethical Mediator: Stage Talk and Subject Formation at Peruvian Huayno Music SpectaclesJames ButterworthChapter 6. A Sense of Togetherness: Music Promotion and Ethics in GlasgowEvangelos ChrysagisPART IV: BODIES DANCING IN TIME AND ACROSS SPACEChapter 7. Rumba: Heritage, Tourism and the ‘Authentic’ Afro-Cuban ExperienceRuxandra AnaChapter 8. Cinematic Dance as a Local Critical Commentary on the ‘Economic Crisis’: Exploring Dance in Korydallos, Attica, GreeceMimina PaterakiPART V: MOTION, IRONY AND THE MAKING OF LIFEWORLDSChapter 9. Performing Irony on the Dance Floor: The Many Faces of Goth Irony in the Athenian Goth ScenePanas KarampampasChapter 10. The Intoxicating Intimacy of Drum Strokes, Sung Verses and Dancing Steps in the All-Night Ceremonies of Ambonwari (Papua New Guinea)Borut TelbanIndex