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/s0149767721000243
D. McIntyre, Marlies Yearby, Grace Jun, Shamell Bell, MiRi Park
Abstract Global Dance Meditation for Black Liberation began with Dr. Shamell Bell's dream, a clear vision of people around the world heeding a call, at the same time, to the same rhythm, in a collective resonance. It has grown into a conversation, a community, a journey, and a call to action. This Radical Embodied Dialogue was created to honor Black dance artists and their legacies. As part of the Street Dance Activism Global Dance Meditation for Black Liberation twenty-eight-day collective healing project, we invited Marlies Yearby and Dianne McIntyre to share their stories and their shared histories. The pandemic, coupled with use of technology, opened up and provided alternative methods to host a gathering and listen to their experiences that have too often been excluded from dance history texts. This resulting documentation of some of the work of these artists restores the significance of their work to American dance history.
{"title":"Street Dance Activism Global Dance Meditation for Black Liberation Radical Embodied Dialogue August 19, 2020 Recorded over Zoom","authors":"D. McIntyre, Marlies Yearby, Grace Jun, Shamell Bell, MiRi Park","doi":"10.1017/s0149767721000243","DOIUrl":"https://doi.org/10.1017/s0149767721000243","url":null,"abstract":"Abstract Global Dance Meditation for Black Liberation began with Dr. Shamell Bell's dream, a clear vision of people around the world heeding a call, at the same time, to the same rhythm, in a collective resonance. It has grown into a conversation, a community, a journey, and a call to action. This Radical Embodied Dialogue was created to honor Black dance artists and their legacies. As part of the Street Dance Activism Global Dance Meditation for Black Liberation twenty-eight-day collective healing project, we invited Marlies Yearby and Dianne McIntyre to share their stories and their shared histories. The pandemic, coupled with use of technology, opened up and provided alternative methods to host a gathering and listen to their experiences that have too often been excluded from dance history texts. This resulting documentation of some of the work of these artists restores the significance of their work to American dance history.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"143 - 160"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47607238","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}
Pub Date : 2021-08-01DOI: 10.1017/S014976772100019X
Maya J. Berry
Abstract Rumba guaguancó, a sub-genre of Afro-Cuban popular dance, has been widely defined as a dance of courtship, characterized as a male pursuit of a woman's sex. The article analyzes alternative meanings of the sub-genre articulated in the pedagogical practices of black women rumba dancers. Insights were gleaned from the author's own dance training in Havana while conducting original ethnographic research between 2009 and 2018. What the author terms “a black feminist choreographic aptitude” taught by rumberas (women rumba dancers) speaks to the pointedly gendered valances of worsening racialized class inequality in contemporary Cuba. Building on Blanco Borelli's theory of “hip(g)nosis,” the article interrogates the racialized and gendered discourses historically reproduced through dominant definitions of rumba, limiting women of African descent to sexual objects. The study argues for increased critical attention to pedagogy as a hermeneutical tool, centering those subjects historically marginalized from the production of knowledge about their bodies.
{"title":"Black Feminist Rumba Pedagogies","authors":"Maya J. Berry","doi":"10.1017/S014976772100019X","DOIUrl":"https://doi.org/10.1017/S014976772100019X","url":null,"abstract":"Abstract Rumba guaguancó, a sub-genre of Afro-Cuban popular dance, has been widely defined as a dance of courtship, characterized as a male pursuit of a woman's sex. The article analyzes alternative meanings of the sub-genre articulated in the pedagogical practices of black women rumba dancers. Insights were gleaned from the author's own dance training in Havana while conducting original ethnographic research between 2009 and 2018. What the author terms “a black feminist choreographic aptitude” taught by rumberas (women rumba dancers) speaks to the pointedly gendered valances of worsening racialized class inequality in contemporary Cuba. Building on Blanco Borelli's theory of “hip(g)nosis,” the article interrogates the racialized and gendered discourses historically reproduced through dominant definitions of rumba, limiting women of African descent to sexual objects. The study argues for increased critical attention to pedagogy as a hermeneutical tool, centering those subjects historically marginalized from the production of knowledge about their bodies.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"27 - 48"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45558922","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/S0149767721000218
Halifu Osumare
Abstract This autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmodern dance movement. The result is a consideration of how being Black, female, and a dancer provides a particular sociohistorical lens.
{"title":"Choreographing Social Change: Reflections on Dancing in Blackness","authors":"Halifu Osumare","doi":"10.1017/S0149767721000218","DOIUrl":"https://doi.org/10.1017/S0149767721000218","url":null,"abstract":"Abstract This autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmodern dance movement. The result is a consideration of how being Black, female, and a dancer provides a particular sociohistorical lens.","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"130 - 142"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44709979","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/s0149767721000334
{"title":"DRJ volume 53 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0149767721000334","DOIUrl":"https://doi.org/10.1017/s0149767721000334","url":null,"abstract":"","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"53 1","pages":"b1 - b4"},"PeriodicalIF":0.6,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46245287","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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