2020
DOI: 10.1080/14788810.2019.1708159
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Circum-Atlantic connections and their global kinetoscapes: African-heritage partner dances

Abstract: This introduction to a curated volume of original essays on Africanheritage partner dances presents their shared kinetic features as performative social practices arising from creolising processes in the Atlantic world. The expressive dimension of these creolised dances, particularly their dependence on the connection between two dancers, enables them to function as the embodied memory of and resistance to the racialized and gendered violence of the plantation, which, as the essays demonstrate through a range … Show more

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Cited by 4 publications
(4 citation statements)
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References 25 publications
(12 reference statements)
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“…To dance in a shine team is to share a deeply felt kinesthetic, affective, and energetic connection with one another in spite of such different appearances, social positionalities, and cultural complexions off the dance floor. This intense rhythmicity is not about cultural appropriation and individual capitulation, but about coming together in our differences to express “new vocabularies of self-fashioning” ( Kabir, 2020 , p. 8) that work outward to potentially reshape perceptions of, and relations with, others otherwise viewed quite differently.…”
Section: Discussionmentioning
confidence: 99%
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“…To dance in a shine team is to share a deeply felt kinesthetic, affective, and energetic connection with one another in spite of such different appearances, social positionalities, and cultural complexions off the dance floor. This intense rhythmicity is not about cultural appropriation and individual capitulation, but about coming together in our differences to express “new vocabularies of self-fashioning” ( Kabir, 2020 , p. 8) that work outward to potentially reshape perceptions of, and relations with, others otherwise viewed quite differently.…”
Section: Discussionmentioning
confidence: 99%
“…Made famous in the 1950s by singers such as Tito Puente, the King of Latin jazz, the Afro-Cuban and Caribbean sounds, with roots in the candombe form that draws upon West African rhythms, morphed into the generic term Salsa in the 1970s to 1990s, yet its history cannot be forgotten. As Kabir (2020) acknowledges, salsa and other “African-heritage partner dances” enact “the traumatic processes of enslavement, colonialism, and extractive capitalism” while at the same time they may be understood as “embodied and mobile archives: kinetoscapes of newness and expressivity that arise in response and resistance to cultural deracination” (p. 2). Within such call and response dynamics, we sense the soul, not only of the musicians but of the dancers who resisted the colonizers’ dehumanizing perspective that Africans they encountered did not have souls ( Bordas, 2012 ; Du Bois & Marable, 2015 ).…”
Section: Relational Consciousnessmentioning
confidence: 99%
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