Pub Date : 2021-08-01DOI: 10.1017/S0149767721000292
Gianina K.L. Strother
{"title":"HOT FEET AND SOCIAL CHANGE: AFRICAN DANCE AND DIASPORA COMMUNITIES Edited by Kariamu Welsh, Esailama G. A. Diouf, and Yvonne Daniel. 2019. Urbana, Chicago, and Springfield: University of Illinois Press. 309 pp. $30.00 paper. ISBN: 978-0252084775.","authors":"Gianina K.L. Strother","doi":"10.1017/S0149767721000292","DOIUrl":"https://doi.org/10.1017/S0149767721000292","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"182 - 184"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43799343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000267
Luciane Ramos Silva
Abstract This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.
{"title":"Black Brazilians on the Move","authors":"Luciane Ramos Silva","doi":"10.1017/S0149767721000267","DOIUrl":"https://doi.org/10.1017/S0149767721000267","url":null,"abstract":"Abstract This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"124 - 129"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48547756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S014976772100022X
Charmian Wells
Abstract This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black feminist, diasporic desires for a world beyond Black and white nationalist logics, refusing to be “properly” placed in national hierarchies of female objecthood, while affirming the capacity to desire differently by proposing alternative terms for belonging in the world.
{"title":"Pass Fe White and Homestretch: Joan Miller's Satirical “Reads,” Refusals, and Affirmations","authors":"Charmian Wells","doi":"10.1017/S014976772100022X","DOIUrl":"https://doi.org/10.1017/S014976772100022X","url":null,"abstract":"Abstract This article examines Joan Miller's use of choreographic citation in her solos, Pass Fe White (1970) and Homestretch (1973). The solos “read” the desire to embody idealized, feminine whiteness in a critique of institutions for accessing national belonging—celebrity, education, and marriage—satirically exposing the gendered and racialized exclusions of the figure of the abstract “human” as “proper” citizen. Miller's work performs queer, Black feminist, diasporic desires for a world beyond Black and white nationalist logics, refusing to be “properly” placed in national hierarchies of female objecthood, while affirming the capacity to desire differently by proposing alternative terms for belonging in the world.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"98 - 123"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48144404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000255
D. Chapman, Mario LaMothe
Abstract This conversation emerges from the Afro-Feminist Performance Routes's biennial gatherings at Duke University that have taken place since 2016. Hinging on the work of Lēnablou (Guadeloupe), Rujeko Dumbutshena (Zimbabwe, United States), Sephora Germain (Haiti), Yanique Hume (Jamaica, Cuba, Barbados), Jessi Knight (United States), Halifu Osumare (United States), Luciane Ramos-Silva (Brazil), and Jade Power Sotomayor (Puerto Rico, United States), the focused residency has nurtured embodied dialogues centered on African-derived dance practices and gender, femininity, womanhood, femme, and feminisms. What follows is a scripted simulation of conversations generated in roundtables, workshops, performances, and interviews, as well as around dinner tables and during late-night chats. We've woven together the artists’ statements under two umbrella themes—embodied philosophies and contours of diaspora—in order to highlight the relationship between creative practice and lived experience, between singularity and collective, between precarity and the everyday, between AfroFem and becoming.
这一对话来自于2016年以来在杜克大学举行的非洲女权主义表演路线两年一次的聚会。以Lēnablou(瓜德罗普岛)、Rujeko Dumbutshena(津巴布韦，美国)、丝芙兰·杰曼(海地)、Yanique Hume(牙买加、古巴、巴巴多斯)、Jessi Knight(美国)、Halifu Osumare(美国)、Luciane Ramos-Silva(巴西)和Jade Power Sotomayor(波多黎各，美国)的作品为基础，重点培养了以非洲舞蹈实践和性别、女性气质、女性、女性和女权主义为中心的具体对话。接下来是对圆桌会议、研讨会、表演和采访、餐桌周围和深夜聊天中产生的对话的脚本模拟。我们将艺术家们的陈述编织在两个主题之下——体现的哲学和流散的轮廓——以突出创作实践与生活经验之间的关系，奇点与集体之间的关系，不稳定与日常之间的关系，AfroFem与成为之间的关系。
{"title":"Afro-Feminist Performance Routes: Documenting Embodied Dialogue and AfroFem Articulations","authors":"D. Chapman, Mario LaMothe","doi":"10.1017/S0149767721000255","DOIUrl":"https://doi.org/10.1017/S0149767721000255","url":null,"abstract":"Abstract This conversation emerges from the Afro-Feminist Performance Routes's biennial gatherings at Duke University that have taken place since 2016. Hinging on the work of Lēnablou (Guadeloupe), Rujeko Dumbutshena (Zimbabwe, United States), Sephora Germain (Haiti), Yanique Hume (Jamaica, Cuba, Barbados), Jessi Knight (United States), Halifu Osumare (United States), Luciane Ramos-Silva (Brazil), and Jade Power Sotomayor (Puerto Rico, United States), the focused residency has nurtured embodied dialogues centered on African-derived dance practices and gender, femininity, womanhood, femme, and feminisms. What follows is a scripted simulation of conversations generated in roundtables, workshops, performances, and interviews, as well as around dinner tables and during late-night chats. We've woven together the artists’ statements under two umbrella themes—embodied philosophies and contours of diaspora—in order to highlight the relationship between creative practice and lived experience, between singularity and collective, between precarity and the everyday, between AfroFem and becoming.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"8 - 26"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47741734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000206
Layla Zami
ABSTRACT This essay explores the intersection of concert dance, cultural memory, Black womanhood, and non-linear spacetime from an Afro-European perspective. Inspired by Black feminist methodologies, the text interweaves performance analysis, historical context, interdisciplinary theory including my own concept of perforMemory, and auto-ethnographic experience gained through participant observation. My writing moves along three lines of inquiry tuned in the key of C: contextualizing, conjuring and contemplating. The article offers a case study of I Step on Air, a contemporary dance piece created by Nigerian-German dancer-choreographer Oxana Chi (Berlin/New York) and dedicated to Ghanian-German poet and activist May Ayim. By including an interlude with the choreographer's own creative writing about the piece, the article also provides the reader with the precious perspective of Oxana Chi on her process. The article is a reflection on/of the resonances between movement, writing, and activism. Let's celebrate the power of Black women to resistDance, step by step, move by move, breath by breath…
{"title":"Dancing After Life: Flexible Spacetimes of Black Female ResistDance","authors":"Layla Zami","doi":"10.1017/S0149767721000206","DOIUrl":"https://doi.org/10.1017/S0149767721000206","url":null,"abstract":"ABSTRACT This essay explores the intersection of concert dance, cultural memory, Black womanhood, and non-linear spacetime from an Afro-European perspective. Inspired by Black feminist methodologies, the text interweaves performance analysis, historical context, interdisciplinary theory including my own concept of perforMemory, and auto-ethnographic experience gained through participant observation. My writing moves along three lines of inquiry tuned in the key of C: contextualizing, conjuring and contemplating. The article offers a case study of I Step on Air, a contemporary dance piece created by Nigerian-German dancer-choreographer Oxana Chi (Berlin/New York) and dedicated to Ghanian-German poet and activist May Ayim. By including an interlude with the choreographer's own creative writing about the piece, the article also provides the reader with the precious perspective of Oxana Chi on her process. The article is a reflection on/of the resonances between movement, writing, and activism. Let's celebrate the power of Black women to resistDance, step by step, move by move, breath by breath…","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"67 - 87"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46255905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000231
Raquel Monroe
Abstract In this article, I argue that the spectacle of American football, and the performance practices of HBCU dance lines birthed within it and seasoned in queer nightclubs, propelled Black “femme-inintiy” from the sidelines to the center of choreographic and discursive practices of Black liberation. I wed queer Black feminism with Yoruba cosmology to analyze three protests instigated during three NFL events in 2016: Beyoncé's Super Bowl performance, the direct actions of Black Lives Matter activists at the Super Bowl, and Assata's Daughters’ protest at the NFL Draft. Ultimately, I theorize the generative potential of spectacle and uplift the organizing and labor of queer Black femmes and gender nonconforming people in the Movement 4 Black Lives.
{"title":"Beyoncé's Super Bowl Spectacles and Choreographies of Black Power in the Movement 4 Black Lives","authors":"Raquel Monroe","doi":"10.1017/S0149767721000231","DOIUrl":"https://doi.org/10.1017/S0149767721000231","url":null,"abstract":"Abstract In this article, I argue that the spectacle of American football, and the performance practices of HBCU dance lines birthed within it and seasoned in queer nightclubs, propelled Black “femme-inintiy” from the sidelines to the center of choreographic and discursive practices of Black liberation. I wed queer Black feminism with Yoruba cosmology to analyze three protests instigated during three NFL events in 2016: Beyoncé's Super Bowl performance, the direct actions of Black Lives Matter activists at the Super Bowl, and Assata's Daughters’ protest at the NFL Draft. Ultimately, I theorize the generative potential of spectacle and uplift the organizing and labor of queer Black femmes and gender nonconforming people in the Movement 4 Black Lives.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"161 - 176"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43624899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/s0149767721000310
Nadine George-Graves
It has been my honor to work with the scholars, artists, and artist-scholars for this special-topics issue of Dance Research Journal. A number of intellectual, creative, and personal conversations inspired me to propose this intervention at the intersection of dance, race, and gender. It is a continuation of my larger intellectual mission to help us better understand the importance of work by Black women in the arts and in the world through the arts. We must attend to all of the nuanced particulars of these and other negotiations. This curation builds on my participation in conference panels, seminar room discussions, artistic collaborations, and scholarly working groups, where participants dive deeply into this intellectual history. This process is necessarily embodied knowledge— written on, with, and through the body.
{"title":"“Look At My Arms!” – Editor's Note","authors":"Nadine George-Graves","doi":"10.1017/s0149767721000310","DOIUrl":"https://doi.org/10.1017/s0149767721000310","url":null,"abstract":"It has been my honor to work with the scholars, artists, and artist-scholars for this special-topics issue of Dance Research Journal. A number of intellectual, creative, and personal conversations inspired me to propose this intervention at the intersection of dance, race, and gender. It is a continuation of my larger intellectual mission to help us better understand the importance of work by Black women in the arts and in the world through the arts. We must attend to all of the nuanced particulars of these and other negotiations. This curation builds on my participation in conference panels, seminar room discussions, artistic collaborations, and scholarly working groups, where participants dive deeply into this intellectual history. This process is necessarily embodied knowledge— written on, with, and through the body.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"1 - 6"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42458405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000140
Ariel Nereson
Abstract This essay analyzes Bill T. Jones/Arnie Zane Company's 2009 work Fondly Do We Hope…Fervently Do We Pray and its centering of Black women in US American history and contemporary choreographic practices. While the work's revisionist representation of national history could be understood as activist in terms of its desire to activate the spectator, this essay centers what performance might do for Black women performers and their personal practices of artistry and activism over what impulses toward social justice Black women's performances might galvanize in their audiences. Attributing FDWH's transformative potential to its aesthetic combination of postmodernism and sentimentalism and its erotic historiography, I theorize the work as a choreohistory, a mode of cultural production wherein the ordering of movement and the ordering of the past interanimate one another.
{"title":"Myself, Dancing: Choreographies of Black Womanhood in US Dance and History","authors":"Ariel Nereson","doi":"10.1017/S0149767721000140","DOIUrl":"https://doi.org/10.1017/S0149767721000140","url":null,"abstract":"Abstract This essay analyzes Bill T. Jones/Arnie Zane Company's 2009 work Fondly Do We Hope…Fervently Do We Pray and its centering of Black women in US American history and contemporary choreographic practices. While the work's revisionist representation of national history could be understood as activist in terms of its desire to activate the spectator, this essay centers what performance might do for Black women performers and their personal practices of artistry and activism over what impulses toward social justice Black women's performances might galvanize in their audiences. Attributing FDWH's transformative potential to its aesthetic combination of postmodernism and sentimentalism and its erotic historiography, I theorize the work as a choreohistory, a mode of cultural production wherein the ordering of movement and the ordering of the past interanimate one another.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"49 - 66"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43168490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/s0149767721000322
{"title":"DRJ volume 53 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0149767721000322","DOIUrl":"https://doi.org/10.1017/s0149767721000322","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":" ","pages":"f1 - f6"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45754221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1017/S0149767721000280
Preethi Ramaprasad
offering multiple options of what could be. This text is a valuable resource for scholars interested in analyzing pop culture. The in-depth analysis and contemporary conversations are also great for students seeking to understand better the culture they are experiencing. The discussion of pop culture and memorable events make the advanced theoretical conversations relevant and approachable. By writing Black people and their contributions into the written record, this text helps to correct the whitewashed Blackness that fuels popular culture.
{"title":"HEAT AND ALTERITY IN CONTEMPORARY DANCE: SOUTH-SOUTH CHOREOGRAPHIES by Ananya Chatterjea. 2020. London: Palgrave Macmillan. 305 pp. $89.99 hardcover. ISBN: 978-3-030-43912-8. $69.99 e-book. ISBN 978-3-030-43912-5.","authors":"Preethi Ramaprasad","doi":"10.1017/S0149767721000280","DOIUrl":"https://doi.org/10.1017/S0149767721000280","url":null,"abstract":"offering multiple options of what could be. This text is a valuable resource for scholars interested in analyzing pop culture. The in-depth analysis and contemporary conversations are also great for students seeking to understand better the culture they are experiencing. The discussion of pop culture and memorable events make the advanced theoretical conversations relevant and approachable. By writing Black people and their contributions into the written record, this text helps to correct the whitewashed Blackness that fuels popular culture.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"180 - 182"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47850667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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