Jazz Dance from Emancipation to 1970

Crosby, Jill Flanders; Moss, Michele

doi:10.5744/florida/9780813049298.003.0007

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Dances From West Africa—a Corporeal Consumption1

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2020

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“…There are also different opinions concerning the definition of jazz dance. Some relate it to its West African and African-American roots, others point to the influence of ballet and modern dance, including the import of the dance to Europe, and to the context of dance education (Crosby and Moss 2014, 55).…”

Section: Dances From West Africa—a Corporeal Consumptionmentioning

confidence: 99%

A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing

Hammergren¹

2020

Dance Res. J.

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This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different “African” cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.

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Section: Dances From West Africa—a Corporeal Consumptionmentioning

confidence: 99%

A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing

Hammergren¹

2020

Dance Res. J.

View full text Add to dashboard Cite

show abstract

Jazz Dance from Emancipation to 1970

Cited by 1 publication

References 0 publications

A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing

A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing

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