“I Don’t Do Black-Dance, I Am a Black Dancer”

2018 ◽  
pp. 23-30
Author(s):  
Namron
Keyword(s):  
Black Dance

scholarly journals Dancing the Museum Black: Activist Animations of the Social

2021 ◽  
Author(s):  
Thomas F. DeFrantz
Keyword(s):  
Case Studies ◽  
Social Space ◽  
Black People ◽  
Moving Image ◽  
Black Dance ◽  
Working Through ◽  
The Social ◽  
Black Activist ◽  
Image Object

This chapter considers concepts of activism and Black presence in experiences of dance in museums. Working through concepts of Afropessimism, Afrofuturism, and the theoretical gathering notion of a Black Commons, I will offer four case studies of dance in the museum that render the space towards collective Black possibilities. The choreographic works Dapline! (2016), fastPASTdance (2017), as well as a reconstruction of Instead of Allowing Some Thing to Rise Up to Your Face Dancing Bruce and Dance and Other Things (2000) and the moving-image object APESHIT (2018) offer evidence of a special possibility for Black dance in the museum space; a creation of social space too-often denied to Black people in diaspora.

Reggie Wilson and the Traditions of American Dance

2015 ◽  
Vol 59 (1) ◽  
pp. 12-24
Author(s):  
Susan Manning
Keyword(s):  
Black Dance ◽  
The Way

The significance of Reggie Wilson’s research-to-performance method within the canons of American dance arises from the way his distinctive approach confounds critical categories, blurring the divide between Black Dance and black postmodernism. Is his work too postmodernist for advocates of Black Dance and too Black for advocates of postmodernism?

Dancing in Oakland and Beyond, 1977–1993

2018 ◽  
Author(s):  
Halifu Osumare
Keyword(s):  
San Francisco ◽  
Contemporary Dance ◽  
Non Profit ◽  
Black Dance ◽  
Bay Area ◽  
Dance Company ◽  
The Arts ◽  
National Initiative ◽  
Administrative Experience ◽  
Multicultural Arts

As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in the San Francisco-Oakland Bay Area as a leader in the growing black dance and multicultural arts movements when she founds the non-profit dance institution Everybody’s Creative Arts Center (ECAC). She assess her development as a dancer-choreographer, discussing some of her key dance works as well as the creation of the center’s resident dance company, CitiCentre Dance Theatre, which was an important contemporary dance company that operated from 1983 to 1988. She also explores her simultaneous adjunct dance position at Stanford University and several of her choreographic and directorial commissions. The chapter articulates how, in 1989, her accumulated artistic and administrative experience culminated in her founding a major national initiative in black dance: Black Choreographers Moving Toward the 21st Century. She concludes with how she eventually transitioned from the arts to academia after going to graduate school, and how dance and “writing dancing” are similar.

Introduction

2018 ◽  
Author(s):  
Halifu Osumare
Keyword(s):  
Personality Characteristic ◽  
Black Dance ◽  
The World ◽  
American Racism

The Introduction explores the author’s major personality characteristic of rebelliousness that serves as the platform for the rest of the book. It defines “black dance” and the debate about whether there is even such a thing. The chapter also investigates the problem with American racism as it has been reflected in the world of dance.

Musical Theater Dance Training and Choreography in the 1920–1930s

2021 ◽  
pp. 9-29
Author(s):  
Liza Gennaro
Keyword(s):  
Essential Role ◽  
Musical Theater ◽  
Black Dance ◽  
George Balanchine ◽  
Musical Play ◽  
Radical Innovations ◽  
Dance Teachers ◽  
Dance Training ◽  
The Common ◽  
Historical Basis

This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.

Haunting Gathering: Black Dance and Afro-Pessimism

ASAP/Journal ◽  
2020 ◽  
Vol 5 (2) ◽  
pp. 256-266
Author(s):  
Mlondolozi Zondi
Keyword(s):  
Black Dance

Black Dance in the United States from 1619 to 1970

1973 ◽  
Vol 1 (1) ◽  
pp. 88
Author(s):  
Eileen Southern ◽  
Lynne Fauley Emery
Keyword(s):  
United States ◽  
The United States ◽  
Black Dance

scholarly journals Om Claude Marchant: Ett historiografiskt bidrag till svart danshistoria i Sverige

2021 ◽  
Vol 12 (1) ◽  
pp. 4-21
Author(s):  
Astrid von Rosen
Keyword(s):  
Processes Of Change ◽  
Black Dance ◽  
Black Artists ◽  
The Us ◽  
The 1960S

Abstract In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements both Swedish and international dance research, with an example that problematises history production in relation to black artists such as Marchant. It is argued that a participatory «dance-where-we-dig» method is a useful tool for instigating locally situated historiographical processes of change, and can relate artists such as Marchant to broader, transnational contexts.

scholarly journals BALLET FOLCLÓRICO MERCEDES BAPTISTA: ENTRE BRASILIDADE E NEGRITUDE NO RIO DE JANEIRO DAS DÉCADAS DE 1950 E 1960 / Mercedes Baptista Folk Ballet: between Brazilianess and Blackness in Rio de Janeiro during the 1950’s and 1960’s

2021 ◽  
Vol 27 (41) ◽  
pp. 110-126
Author(s):  
Erika Villeroy
Keyword(s):  
Rio De Janeiro ◽  
Ballet Dancer ◽  
Critical Approach ◽  
Dance History ◽  
Black Dance ◽  
Performance Arts ◽  
Black Aesthetics ◽  
The Creation ◽  
Concert Dance ◽  
Classical Ballet

Abordagem histórico-crítica sobre a emergência de uma dança negra cênica no Rio de Janeiro, nas décadas de 1950 e 1960, consolidada pela bailarina e coreógrafa Mercedes Baptista mediante a articulação das técnicas do balé clássico, das danças modernas e de consistente pesquisa acerca das danças afro-brasileiras e dos pés de dança do candomblé. Levando em conta as possibilidades de abertura e transformação dos códigos próprios do que hoje é uma das vertentes de maior peso do que se entende por danças afro, que permitiram a criação de novas poéticas e metodologias, o texto aponta para a existência de uma estética negra que se construiu no campo das artes cênicas no contexto da diáspora negra.Palavras-chave: Mercedes Baptista; História da dança; Danças negras. AbstractThis text takes a historical and critical approach to the emergence of Black concert dance in Rio de Janeiro between the 1950s and 1960s. This movement found its consolidation through the ballet dancer and choreographer Mercedes Baptista’s articulations between classical ballet, modern dances, as well as her consistent research regarding secular and religious Afro-Brazilian dances. By considering the possibilities of openings and transformations within the codes of Danças Afro that allow for the creation of new poetics and methodologies, the text also seeks to base the existence of a Black aesthetics in the performance arts within the context of the black diaspora.Keywords: Mercedes Baptista; Dance history; Black dance.

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