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This book argues that contemporary dance, imagined to have a global
belonging, is vitiated by euro-white constructions of risk and
currency that remain at its core. Differently, the book reimagines
contemporary dance along a "South-South" axis, as a poly-centric,
justice-oriented, aesthetic-temporal category, with intersectional
understandings of difference as a central organizing principle.
Placing alterity and heat, generated via multiple pathways, at its
center, it foregrounds the work of South-South artists, who push
against constructions of "tradition" and white-centered aesthetic
imperatives, to reinvent their choreographic toolkit and respond to
urgent questions of their times. In recasting the grounds for a
different "global stage," the argument widens its scope to indicate
how dance-making both indexes current contextual inequities and
broader relations of social, economic, political, and cultural
power, and inaugurates future dimensions of justice. Winner of the
2022 Oscar G. Brockett Prize for Dance Research
Through empowered movement that centers the lives, stories, and
dreams of marginalized women, Ananya Dance Theatre has revealed how
the practice of and commitment to artistic excellence can catalyze
social justice. With each performance, this professional dance
company of Black, Brown, and Indigenous gender non-conforming women
and femmes of color challenges heteronormative patriarchies, white
supremacist paradigms, and predatory global capitalism. Their
creative artistic processes and vital interventions have
transformed the spaces of contemporary concert dance into sites of
empowerment, resistance, and knowledge production. Drawing from
more than fifteen years of collaborative dance-making and sustained
dialogues based on deep alliances across communities of color,
Dancing Transnational Feminisms offers a multigenre exploration of
how dance can be intersectionally reimagined as practice,
methodology, and metaphor for feminist solidarity. Blending essays
with stories, interviews, and poems, this collection explores
timely questions surrounding race and performance, gender and
sexuality, art and politics, global and local inequities, and the
responsibilities of artists toward their communities.
Founder of the Philadelphia Dance Company (Philadanco) and the
Philadelphia School of Dance Arts, Joan Myers Brown's personal and
professional histories reflect the hardships as well as the
advances of African Americans in the artistic and social
developments of the twentieth century and into the new millennium.
Dixon Gottschild uses Brown's career as the fulcrum to leverage an
exploration of the connection between performance, society, and
race, beginning with Brown's predecessors in the 1920s and a
concert dance tradition that had no previous voice to tell its
story from the inside out. Brown's background and richly contoured
biography are object lessons in survival--a true American
narrative.
Founder of the Philadelphia Dance Company (PHILADANCO) and the
Philadelphia School of Dance Arts, Joan Myers Brown's personal and
professional histories reflect both the hardships and the
accomplishments of African Americans in the artistic and social
developments through the twentieth century and into the new
millennium. Dixon Gottschild deftly uses Brown's career as the
fulcrum to leverage an exploration of the connection between
performance, society, and race-beginning with Brown's predecessors
in the 1920s-and a concert dance tradition that has had no previous
voice to tell its story from the inside out. Augmented by
interviews with a score of dance professionals, including Billy
Wilson, Gene Hill Sagan, Rennie Harris, Milton Myers, Jawole Willa
Jo Zollar, and Ronald K. Brown, Joan Myers Brown's background and
richly contoured biography are object lessons in survival-a true
American narrative.
Through empowered movement that centers the lives, stories, and
dreams of marginalized women, Ananya Dance Theatre has revealed how
the practice of and commitment to artistic excellence can catalyze
social justice. With each performance, this professional dance
company of Black, Brown, and Indigenous gender non-conforming women
and femmes of color challenges heteronormative patriarchies, white
supremacist paradigms, and predatory global capitalism. Their
creative artistic processes and vital interventions have
transformed the spaces of contemporary concert dance into sites of
empowerment, resistance, and knowledge production. Drawing from
more than fifteen years of collaborative dance-making and sustained
dialogues based on deep alliances across communities of color,
Dancing Transnational Feminisms offers a multigenre exploration of
how dance can be intersectionally reimagined as practice,
methodology, and metaphor for feminist solidarity. Blending essays
with stories, interviews, and poems, this collection explores
timely questions surrounding race and performance, gender and
sexuality, art and politics, global and local inequities, and the
responsibilities of artists toward their communities.
This book argues that contemporary dance, imagined to have a global
belonging, is vitiated by euro-white constructions of risk and
currency that remain at its core. Differently, the book reimagines
contemporary dance along a "South-South" axis, as a poly-centric,
justice-oriented, aesthetic-temporal category, with intersectional
understandings of difference as a central organizing principle.
Placing alterity and heat, generated via multiple pathways, at its
center, it foregrounds the work of South-South artists, who push
against constructions of "tradition" and white-centered aesthetic
imperatives, to reinvent their choreographic toolkit and respond to
urgent questions of their times. In recasting the grounds for a
different "global stage," the argument widens its scope to indicate
how dance-making both indexes current contextual inequities and
broader relations of social, economic, political, and cultural
power, and inaugurates future dimensions of justice. Winner of the
2022 Oscar G. Brockett Prize for Dance Research
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