1988
DOI: 10.2307/1478814
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The Afro-American Transformation of European Set Dances and Dance Suites

Abstract: It is well acknowledged that the court dances which developed in Europe from the seventeenth century onward spread to the rural areas of Europe and to the new world. What has not been properly recognized is that these dances — the quadrille, the cotillion, the contradance and the like — were taken up by Afro-Americans in North and South America and the West Indies and were modified and adapted to local cultural circumstances. In many cases — especially in the West Indies — they continue to be found today. Yet … Show more

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Cited by 40 publications
(8 citation statements)
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“…NOTES 1. Other reviews of the literature on Caribbean dance are Szwed andMarks 1988 andThompson 1979. In this paper, I use a broad definition of "the Caribbean," including Caribbean immigrant communities and African-American communities in parts of the southern U.S. Due to space and language constraints, I have not included the tremendous scholarship in both Spanish and English on dance in the Hispanic Caribbean.…”
Section: Resultsmentioning
confidence: 99%
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“…NOTES 1. Other reviews of the literature on Caribbean dance are Szwed andMarks 1988 andThompson 1979. In this paper, I use a broad definition of "the Caribbean," including Caribbean immigrant communities and African-American communities in parts of the southern U.S. Due to space and language constraints, I have not included the tremendous scholarship in both Spanish and English on dance in the Hispanic Caribbean.…”
Section: Resultsmentioning
confidence: 99%
“…The discourse of "Africanism" invoked here is intimately connected to the discourse of "Orientalism" (Said 1978, especially 46-8 where he notes Henry Kissinger's conflation of "Africa" and the "Orient"). Finally, even very recent scholarship on Caribbean dance falls into colonial ways of thinking about "African-ness" (Gallo 1978, Szwed andMarks 1988). Szwed and Marks's (1988) article on "the Afro-American transformation of European set dances and dance suites" provides a useful review of some of the more recent literature on Caribbean dance and recordings of Caribbean music.…”
mentioning
confidence: 99%
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“…For instance, in most cases, it is used by the ruling class as a means of enforcement or manipulation (Allen, 1997;Austerlitz,1997;Breathnach, 1983;Cyrille, 2006;Danforth, 1995;Degh, 1999;Edmondson, 2007;Hazzard-Gordon, 1990;Kamenetsky, 1972;Lixfeld, 1994;Meduri, 1996;Meyer, 1995;Mohd, 1993;Moutzali, 2004;O'Shea, 2006;Poole, 1990;Puchner, 1982;Ramsey, 1997;Reed, 1998;Rodriguez,1996;Szwed, & Marks, 1988;Udall, 1992;Xygalatas, 2011), whereas by the people, it is used as a means to resist or express In the 19 th century, in the context of ideological romanticism, nation states were created. Many historians (Anderson, 2006(Anderson, [1983; Herzfeld, 2002) claim that the idea of nation is "imaginary".…”
mentioning
confidence: 99%
“…The quadrille was imported all over the Caribbean, and has been observed in many variations in all of the islands (Daniel 2010;Szwed and Morton 1988). Even if at the end of the eighteenth century Louisiana was under Spanish control, the quadrille made its way to the colony where it was played at both White and Creole balls (Szwed and Morton 1988, 33;Collier 1978, 61;Kmen 1966, 12-13).…”
Section: The Quadrille In Louisiana and The Caribbeanmentioning
confidence: 99%