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Narratives in Black British Dance: Embodied Practices 1st Edition Adesola Akinleye (Eds.) full chapter instant download
Narratives in Black British Dance: Embodied Practices 1st Edition Adesola Akinleye (Eds.) full chapter instant download
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Narr
ative
s in
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b o d i e d P ractices AK IN
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I T ED
ED
Narratives in Black British Dance
“This informative book is not just for scholarly research, but highlights the impor-
tance of artist discovery, journey development, and the understanding and practice
of dance-art forms in Britain. Journeys we have witnessed in each other.”
—Jackie Guy, MBE, CD, Teacher and Choreographer
“An urgent offering to the expanding field of Dance Studies! Exploring a range of
artistic practices from a variety of research perspectives, this volume affirms the
deep histories of the embodied arts in Black Britain. These potent essays demon-
strate that the moving body makes meaning through experience. A vibrant anima-
tion of the narrative turn of dance scholarship, this book is required reading for
everyone in dance and cultural studies.”
—Thomas F. DeFrantz, Founding Director of the Collegium
for African Diaspora Dance
Adesola Akinleye
Editor
Narratives in Black
British Dance
Embodied Practices
Editor
Adesola Akinleye
Middlesex University
London, UK
vii
viii FOREWORDS
Ballet. Black British dance deserves explication on its own terms, not as
the leftovers from a historical recounting of White trends in dance-
making. The essays in this volume demonstrate that Europe and its com-
plex colonial histories will always be present, to some extent, in any
articulation of life in Britain, and yet Black British lives demand their own
tellings and imaginings according to terms that centre their own experi-
ences in the world.
Black British Dance does not arrive with the same concerns as Black
American dance. There are overlaps, of course: aesthetic devices and the
importance of rhythm as a foundational organising tool; the need to con-
nect across geography and time through embodied practices of Black dia-
sporas; the excitement at the usefulness of dance as a weapon of community
actualization and self-definition. However, the differences matter as well.
Black USA produces all manner of music, movement, and glossy com-
mercial products for mass consumption alongside the private, experimen-
tal, spiritual, and resistant modes of dance. Black British Dance reveals
itself within the context of a neoliberal economy driven by the overexpo-
sure of Black American forms. In this volume, authors affirm that the
stories told by Black British artists reveal particular histories of dance
unlike any other. Reading along, we are invited to wonder: “What was it
like to imagine professional dance in 1960s Great Britain?”; “What have
been the problems in recognising Black British dance?”; “What do danc-
ers do in classes that are part of a matrix of Black British dance?”; “How
do we make art?”
Scholarship in dance necessarily takes on these difficult queries, as it
tries to align unpredictable, always-changing practice with the stability of
narrative and language. Researching Black British dance adds layers of
concern: “What is this scholarship for?”; “Whose philosophical traditions
do you stand in?”; “What sorts of movements matter most to you, and
why?”; “How do you feel dance?” And then there is more, of course: the
shifting paradigms of race and culture; questions of funding and access to
venues; the constructions of social time and community support through
forms of dance and their memory. The authors in this volume emphatically
tell stories of Black British dance so that others can learn their truths and
their ways of understanding how dance means.
In all of this, we raise as many questions as we might answer along the
way. Some ideas do become clear. It matters who creates the scholarship,
x FOREWORDS
and who they intend to encounter it. It matters who is talking, and to
whom. These stories of dance, and its emergences, and its affects intend to
construct a paradigm of discovery, one that places Black British experience
at the centre of research in dance. In all, this volume pushes us all, dancing
itself toward a series of “what if” propositions that I imagine as I read this
remarkable book:
“What if I tell you what I think about the dances I’ve done?
What if I tell you who I think I am when I dance?
What if I tell you my story in my own way?
And what if I shift the ways that these stories might be narrated?
Sometimes I write in theoretical academic writing, but sometimes in
anecdotal truth-telling. Will you be able to hear me?”
“What I write here is only part of the story. Come closer, I will dance the rest …”
coding and labelling, which may have inhibited their identity as African
and Diaspora artists. This book I hope will spur the continued dialogue
that will empower the artists and educate the non-appreciation, assess-
ment, and judgement of ignorance of a privileged few who have for too
long classified dance expressions from African and Diaspora artists in many
unsuitable terms.
xiii
xiv PREFACE: DANCING THROUGH THIS BOOK
References
Anderson, K. (2000). A Recognition of Being: Reconstructing Native Womanhood.
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Bochner, A. (2001). Narrative’s Virtues. Qualitative Inquiry, 7(2), 131–157.
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London/Thousand Oaks, Calif.: Sage Publications.
Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity.
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Butler, J. (1993). Bodies That Matter: On the Discursive Limits of “Sex”. New York:
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Clandinin, D. J., & Connelly, F. M. (2000). Narrative Inquiry: Experience and
Story in Qualitative Research (1st ed.). San Francisco, Calif.: Jossey-Bass.
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California Press.
Desmond, J. (1997). Meaning in Motion: New Cultural Studies of Dance. Durham,
NC./London: Duke University Press.
Hatavara, M., Hyden, L.-C., & Hyvarinen, M. (2013). The Travelling Concepts of
Narrative. Amsterdam: John Benjamins Publishing Company.
hooks, B. (1992). Black Looks: Race and Representation. Boston, MA: South End
Press.
Lakoff, G., & Johnson, M. (1980). Metaphors We Live By. Chicago: University of
Chicago Press.
Riessman, C. K. (2008). Narrative Methods for the Human Sciences. London:
SAGE.
Schiff, B., McKim, A. E., & Patron, S. (2017). Life and Narrative: The Risks and
Responsibilities of Storying Experience. New York: Oxford University Press.
Smith, L. T. (1999). Decolonizing Methodologies: Research and Indigenous Peoples.
London/New York/Dunedin, N.Z., New York: Zed Books, University of
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Whitehead, M. (2010). Physical Literacy: Throughout the Lifecourse (1st ed.).
London: Routledge
Contents
Part I Paradigms 19
xix
xx Contents
Part II Processes 79
8
Moving Tu Balance: An African Holistic Dance as a
Vehicle for Personal Development from a Black
British Perspective 101
Sandra Golding
Index285
Notes on Contributors
xxiii
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