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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.
This unique study focuses on the social, racial, and artistic climate for African American performers working during the swing era—roughly the late 1920s through the 1940s. The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as a tour guide and barometer of the times on this excursion through the worlds of African American vaudeville, separate black and white Americas, the European touring circuit, and pre-Civil Rights era racial etiquette.
The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.
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.
Dancing in Blackness is a professional dancer's personal journey
over four decades, across three continents and 23 countries, and
through defining moments in the story of black dance in America. In
this memoir, Halifu Osumare reflects on what blackness and dance
have meant to her life and international career. Osumare's story
begins in 1960s San Francisco amid the Black Arts Movement, black
militancy, and hippie counterculture. It was there, she says, that
she chose dance as her own revolutionary statement. Osumare
describes her experiences as a young black dancer in Europe
teaching ""jazz ballet"" and establishing her own dance company in
Copenhagen. Moving to New York City, she danced with the Rod
Rodgers Dance Company and took part in integrating the programs at
the Lincoln Center. After doing dance fieldwork in Ghana, Osumare
returned to California and helped develop Oakland's black dance
scene. Osumare introduces readers to some of the major artistic
movers and shakers she collaborated with throughout her career,
including Katherine Dunham, Pearl Primus, Jean-Leon Destine, Alvin
Ailey, and Donald McKayle. Now a black studies scholar, Osumare
uses her extraordinary experiences to reveal the overlooked ways
that dance has been a vital tool in the black struggle for
recognition, justice, and self-empowerment. Her memoir is the
inspiring story of an accomplished dance artist who has boldly
developed and proclaimed her identity as a black woman.
Africans and their descendants constituted the majority of the
population of the Americas for most of the first three hundred
years. Yet their fundamental roles in the creation and definition
of the new societies of the Onew world, O and their significance in
the development of the Atlantic world, have not been acknowledged.
This multidisciplinary volume highlights the African presence
throughout the Americas, and African and African Diasporan
contributions to the material and cultural life of all of the
Americas, and of all Americans. It includes articles from leading
scholars, and from cultural leaders from both well-known and
little-known African Diasporan communities. Privileging African
Diasporan voices, it offers new perspectives, data, and
interpretations that challenge prevailing understandings of the
Americas. Its fundamental premise is that the story of the Americas
can only be accurately told by including the story of the
foundational roles played by Africans and their descendants in the
Americas
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