scholarly journals EL placer del movimiento – Cuerpos y danzas populares amefricanas en Argentina

Esferas ◽  
2021 ◽  
pp. 128
Author(s):  
Grit Kirstin Koeltzsch ◽  
Enrique Normando Cruz
Keyword(s):  
Katherine Dunham

Esta pesquisa enfatiza a articulação da dança, elementos culturais ameríndios e africanos que marcam a dinâmica “Amefricana” na sociedade atual. O objetivo é conectar a perspectiva teórico-prática de Katherine Dunham com as expressões da dança na Argentina, a fim de mostrar que os bailarinos populares entendem a dança como uma articulação da alegria, sensualidade, sexualidade e dramatização da vida social.

Dent, Nancy Lima (1919–2013)

2018 ◽  
Author(s):  
Carolyne Clare
Keyword(s):  
Modern Dance ◽  
The Political ◽  
Martha Graham ◽  
Dance Teacher ◽  
Dance Company ◽  
Katherine Dunham ◽  
Jose Limon ◽  
Critical Reviews

Nancy Lima Dent helped to establish modern dance in Toronto. She initially studied with Rita Warne and Boris Volkoff, and later was a student of modern dance luminaries Doris Humphrey, José Limon, Martha Graham, Charles Weidman, Pearl Primus, and Katherine Dunham. Starting in 1946, Dent worked as a performer and choreographer with the Toronto-based Neo Dance Theatre (renamed the New Dance Theatre in 1949). In 1960, Dent established her own dance company, the Nancy Lima Dent Dance Theatre. The company received positive critical reviews for their performances in prominent Toronto theaters including Hart House Theatre and the Centre Stage Theatre. Dent participated in three Canadian Ballet Festivals and she helped to found the Festival Evening of Modern Dance Festival in 1960. The festivals were well attended and critics noted that Dent’s choreography was especially engaging. In general, her choreographies highlighted personal expression, drew upon several modern dance techniques, and grappled with the political and ethical questions of her day. Dent was also a highly appreciated dance teacher who taught in various Ontarian cities for diverse types of students. She presented dance on television, and while recovering from an injury, she served as an effective administrator in various industries.

Igniting Diaspora Citizenship

2017 ◽  
Author(s):  
Yvonne Daniel
Keyword(s):  
Field Research ◽  
Communication Technologies ◽  
Social Meaning ◽  
The Social ◽  
The World ◽  
Transnational Connections ◽  
Katherine Dunham ◽  
Response To Change

This book concludes by discussing the transcendence, resilience, and citizenship that have come to define Diaspora dance. It first explains the transcendent tendencies of Diaspora dance, emphasizing how its several genres have spread through migration, transnational connections, and communication technologies to Caribbean niches in other parts of the world. It then considers the resilience of both Diaspora dance and Diaspora dancers in response to change, able to recover spirit and energy in a quick but cool fashion as they deal with a variety of challenges. It also examines how citizenzhip is invoked in the social meaning of Diaspora dance amidst recreational or theatrical display, noting how historical drum/dances, quadrilles, and contredanses have signaled not only entertainment and diversion but also agency. Finally, the author reflects on her experiences and field research in Spanish, French/Kreyol, English/Creole, Dutch, former Danish and Portuguese Circum-Caribbean dances, as well as the contributions of Katherine Dunham in the field of Diaspora dance.

Josephine Baker and Katherine Dunham

2019 ◽  
Author(s):  
Hannah Durkin
Keyword(s):  
African American ◽  
Black Women ◽  
African American Women ◽  
Cultural Significance ◽  
American Women ◽  
Cultural Boundaries ◽  
Challenges And Opportunities ◽  
Katherine Dunham ◽  
Visual Impact ◽  
Josephine Baker

This book investigates African American dancers Josephine Baker and Katherine Dunham’s self-inventions on screen and in writing to map the intellectual underpinnings and visual impact of their art. Baker was the first Black woman to enjoy a starring role in mainstream cinema and Dunham was the first Black choreographer to be credited for her screen work. Equally, they were the first well-known African American women to produce multivolume accounts of their lives, and their writings serve as valuable firsthand documents of Black women’s interwar experiences. Why did Baker and Dunham enjoy such groundbreaking literary and cinematic careers? What do such careers tell us about the challenges and opportunities that they encountered as African American women seeking to navigate midcentury geographical and cultural boundaries? Why did they turn to life writing and the screen and on what terms were they able to engage with these mediums as Black women? How did contemporary Black screen audiences receive their work? Where do Baker and Dunham’s films and writings fit into African American literary and cinematic histories and why are they largely absent from these histories? This book investigates these questions. In so doing, it uncovers the cultural significance of Baker and Dunham’s films and writings and interrogates their performances within them to recover their authorship.

scholarly journals : Island Possessed . Katherine Dunham.

1970 ◽  
Vol 72 (5) ◽  
pp. 1132-1133
Author(s):  
Erika Bourguignon
Keyword(s):  
Katherine Dunham

Katherine Dunham and Peronism: An Analysis of Dunham'sTango(1954)

2018 ◽  
Vol 50 (3) ◽  
pp. 38-54
Author(s):  
Eugenia Cadús
Keyword(s):  
Social Context ◽  
Source Material ◽  
The Political ◽  
Secondary Source ◽  
Political Movement ◽  
Cultural Policies ◽  
Close Analysis ◽  
Katherine Dunham

Through close analysis of primary and secondary source material related to Katherine Dunham'sTango(1954), this article examines the protest message of this dance work within the political and social context of the time. The article focuses first on Dunham's understanding of the Argentine populist political movement known as Peronism, and secondly on the Argentine reception of the piece's protest against Juan Domingo Perón's government. The article argues that, contrary to existing interpretations of the work,Tangoarticulated with the cultural policies promoted by Perón's government, rather than working as a protest performance against it.

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