Black Movements

Colbert, Soyica Diggs

doi:10.36019/9780813588544

2019

DOI: 10.36019/9780813588544

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Black Movements

Soyica Diggs Colbert¹

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Cited by 55 publications

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Myself, Dancing: Choreographies of Black Womanhood in US Dance and History

Nereson¹

2021

Dance Res. J.

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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.

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Myself, Dancing: Choreographies of Black Womanhood in US Dance and History

Nereson¹

2021

Dance Res. J.

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Finding Florence Mills: The Voice of the Harlem Jazz Queen in the Compositions of William Grant Still and Edmund Thornton Jenkins

Doktor¹

2020

J Soc American Mus

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After her performances in Shuffle Along (1921) on Broadway and in Dover Street to Dixie (1923) in London, Florence Mills became one of the most famous jazz and vaudeville singers. Known as the Harlem Jazz Queen, Mills was revered by Black Americans for her international breakthrough and because she used her commercial success as a platform to speak out against racial inequality. Extensive descriptions of her performance style and voice exist in writing, but there are no recordings of her singing. I respond to this archival loss by considering the sound of Mills's voice in two compositions written for her: William Grant Still's Levee Land (1925) and Edmund Thornton Jenkins's Afram (1924). In my analysis, I show that Still and Jenkins imagined a much more musically complicated and politically powerful voice than that found in the racialized and gendered stereotypes permeating both her vaudeville and Broadway repertory and the language of her reception. While scholars have written about how Mills's outspokenness regarding issues of race and omission of sexually explicit roles made her central to 1920s Black political and artistic life, I consider how the sonic properties of her voice positioned her as a leading figure in the New Negro Renaissance.

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Staging the Not-Past Past

Welch

2021

Performance Research

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Black Movements

Cited by 55 publications

References 0 publications

Myself, Dancing: Choreographies of Black Womanhood in US Dance and History

Myself, Dancing: Choreographies of Black Womanhood in US Dance and History

Finding Florence Mills: The Voice of the Harlem Jazz Queen in the Compositions of William Grant Still and Edmund Thornton Jenkins

Staging the Not-Past Past

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