A Contested Corporeality: Solidarity, Self-Fulfillment, and Transformation through African-Derived Dancing

This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different “African” cultures within a Swedish context. This pe...

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Bibliographic Details
Published in:Dance research journal 2020-04, Vol.52 (1), p.7-19
Main Author: Hammergren, Lena
Format: Article
Language:English
Subjects:
affective inquiry
African Americans
African dances
African-American theatrical jazz dance
appropriation
corporeal consumption
Cultural factors
Culture
Dance studios
Dancers & choreographers
Demonstrations & protests
Education
embodiment
Fear & phobias
History
Jazz
Learning
Migration
Modern dance
pedagogy
Students
Teachers
Teaching
teatervetenskap
Theatre Studies
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Summary:This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different “African” cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.
ISSN:0149-7677
1940-509X
1940-509X
DOI:10.1017/S0149767720000029