Digging the Africanist Presence in American Performance: Dance and Other Contexts / Edition 1

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Overview

This ground-breaking work brings dance into current discussions of the African presence in American culture. Dixon Gottschild argues that the Africanist aesthetic has been invisibilized by the pervasive force of racism. This book provides evidence to correct and balance the record, investigating the Africanist presence as a conditioning factor in shaping American performance, onstage and in everyday life. She examines the Africanist presence in American dance forms particularly in George Balanchine's Americanized style of ballet, (post)modern dance, and blackface minstrelsy. Hip hop culture and rap are related to contemporary performance, showing how a disenfranchised culture affects the culture in power.

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Editorial Reviews

Booknews
An exuberant excavation of Africanist influences on European American popular culture, performance, and dance, providing the kind of contemporary analysis that revitalizes history and also speaks deeply to issues of power and politics. Dixon Gottschild (dance, Temple U.) defines the Africanist Aesthetic and trails it through the minstrel stage to modern and postmodern dance (particularly George Balanchine), and on to the emergence of hip hop in the theater. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

Meet the Author

BRENDA DIXON GOTTSCHILD is Professor Emerita of Dance at Temple University.

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Table of Contents

Illustrations
Acknwoledgments
Introduction
1 Up from Under: The Africanist Presence 1
2 First Premises of an Africanist Aesthetic 11
3 Don't Take Away My Picasso: Cultural Borrowing and the Afro-Euro-American Triangle 21
4 Barefoot and Hot, Sneakered and Cool: Africanist Subtexts in Modern and Postmodern Dance 47
5 Stripping the Emperor: George Balanchine and the Americanization of Ballet 59
6 Past Imperfect: Performance, Power, and Politics on the Minstrel Stage 81
7 Dance and Theater in a Multicultural Context: Who Stole the Soul, Who Takes the "Rap," or Free to Be You and Me? 129
Bibliography 171
Index 179
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