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This book is a compilation of essays by distinguished writers,
critics and artists in the field of Dance and African American
Studies who address several areas and disciplines of African dance
both on the continent and in the diaspora. Sir Rex Nettleford, the
distinguished Jamaican choreographer, professor and writer,
stresses in the foreword to the book, the continuity between all
dances that derive from Africa and the significance of this book.
African dance, he argues, is a dominant, pervasive and empowering
force in African communities.
The four themes covered are tradition, tradition and continuity,
tradition transformed, and tradition contextualized. African,
Brazilian, Caribbean and African American scholars each focus on
some aspect of African dance that provide the connecting patterns.
Besides Sir Rex Nettleford, other contributors to this book include
Pearl Primus, Maware Opoku, Katrina Hazzard-Gordon, Myriam Evelyse
Mariani, Cynthia S'thembile West and Omofolabo Soyinka Ajayi.
The popularity and profile of African dance have exploded across
the African diaspora in the last fifty years. Hot Feet and Social
Change presents traditionalists, neo-traditionalists, and
contemporary artists, teachers, and scholars telling some of the
thousands of stories lived and learned by people in the field.
Concentrating on eight major cities in the United States, the
essays challenges myths about African dance while demonstrating its
power to awaken identity, self-worth, and community respect. These
voices of experience share personal accounts of living African
traditions, their first encounters with and ultimate embrace of
dance, and what teaching African-based dance has meant to them and
their communities. Throughout, the editors alert readers to
established and ongoing research, and provide links to critical
contributions by African and Caribbean dance experts. Contributors:
Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne
Daniel, Charles "Chuck" Davis, Esailama G. A. Diouf, Indira
Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu
Osumare, Amaniyea Payne, William Serrano-Franklin, and Kariamu
Welsh
The popularity and profile of African dance have exploded across
the African diaspora in the last fifty years. Hot Feet and Social
Change presents traditionalists, neo-traditionalists, and
contemporary artists, teachers, and scholars telling some of the
thousands of stories lived and learned by people in the field.
Concentrating on eight major cities in the United States, the
essays challenges myths about African dance while demonstrating its
power to awaken identity, self-worth, and community respect. These
voices of experience share personal accounts of living African
traditions, their first encounters with and ultimate embrace of
dance, and what teaching African-based dance has meant to them and
their communities. Throughout, the editors alert readers to
established and ongoing research, and provide links to critical
contributions by African and Caribbean dance experts. Contributors:
Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne
Daniel, Charles "Chuck" Davis, Esailama G. A. Diouf, Indira
Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu
Osumare, Amaniyea Payne, William Serrano-Franklin, and Kariamu
Welsh
While the field of aesthetics has long been dominated by European
philosophy, recent inquiries have expanded the arena to accommodate
different cultures as well as different definitions and meanings.
Aesthetics often establishes the pattern that connects culture
functions in a society. In African and African American societies
it functions as the "keeper of the traditions." The African
aesthetic is visible from popular culture to the classical
cultures. In all art forms, including body adornment arts, there
emerge symbols, colors, rhythms, styles, and forms that function as
artistic instruments and cultural histories. While acknowledging
African cultural diversity, the focus here is on the commonalities
in the aesthetic that make an Ibo recognize a Kikuyu and a Jamaican
recognize a Chewa and an African American recognize a Sotho. The
deep structure manifest in African cultures in the diaspora is
proof of the aesthetic continuity. The debate continues over the
exact nature of African aesthetics, and in this volume scholars and
teachers in the fields of African and African American studies
approach the subject from a broad range of disciplines. Dance,
music, art, theatre, and literature are examined in order fully to
appreciate and delineate what the specific qualities and aspects of
an African aesthetic might be. Additionally, theoretical concepts
and issues are discussed in order to define more clearly what is
meant by an "African aesthetic." The term "African" here applies to
all Africans, both continental and diasporan, and encompasses
historically used terms such as "Negro," "Black," and
"Afro-American." This thoughtful and thought-provoking volume will
be a valuable addition to thereadings of scholars and students in
fields ranging from African studies to general philosophy and
cultural studies.
While the field of aesthetics has long been dominated by European
philosophy, recent inquiries have expanded the arena to accommodate
different cultures as well as different definitions and meanings.
Aesthetics often establishes the pattern that connects culture
functions in a society. In African and African American societies
it functions as the keeper of the traditions. The African aesthetic
is visible from popular culture to the classical cultures. In all
art forms, including body adornment arts, there emerge symbols,
colors, rhythms, styles, and forms that function as artistic
instruments and cultural histories. While acknowledging African
cultural diversity, the focus here is on the commonalities in the
aesthetic that make an Ibo recognize a Kikuyu and a Jamaican
recognize a Chewa and an African American recognize a Sotho. The
deep structure manifest in African cultures in the diaspora is
proof of the aesthetic continuity. The debate continues over the
exact nature of African aesthetics, and in this volume scholars and
teachers in the fields of African and African American studies
approach the subject from a broad range of disciplines. Dance,
music, art, theatre, and literature are examined in order fully to
appreciate and delineate what the specific qualities and aspects of
an African aesthetic might be. Additionally, theoretical concepts
and issues are discussed in order to define more clearly what is
meant by an African aesthetic. The term African here applies to all
Africans, both continental and diasporan, and encompasses
historically used terms such as Negro, Black, and Afro-American.
This thoughtful and thought-provoking volume will be a valuable
addition to the readings of scholars and students in fields ranging
from African studies to general philosophy and cultural studies.
Africa, according to the contributors to this anthology, is "one
cultural river with numerous tributaries articulated by their
specific responses to history and the environment." They
concentrate on the similarities in behavior, perceptions, and
technologies of African culture that tie those tributaries
together. The fourteen original essays by leading scholars of
African studies are organized in four general divisions which
consider the ethno-cultural motif, the artistic tradition, concepts
of cultural value, and cultural continua.
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