Dancing in the World

This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field.

How can we create more inclusive spaces in the field of dance?

This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what the authors refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field.

This book will be of great interest to students, scholars, and arts administrators in dance.

Autorentext

Sinclair Ogaga Emoghene, M.F.A., is a choreographer, dancer, researcher, and assistant professor at Virginia Commonwealth University, Richmond, VA, USA.

Kathleen A. Spanos, Ph.D., is a dancer, educator, and scholar who is a co-founder of the arts non-profit EducArte and assistant director of communications for the University of Maryland Honors College.

Klappentext

How can we create more inclusive spaces in the field of dance? This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what the authors refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field. This book will be of great interest to students, scholars, and arts administrators in dance.

Inhalt

Acknowledgments

Introduction: Revealing cultural confluences

Chapter 1: Language, value, and branding in confluent dance spaces

Chapter 2: Critical engagement with aesthetic systems in dance

Chapter 3: Navigating cultural confluences and envisioning new spaces

Chapter 4: Choreography, improvisation, and "just steps"

Chapter 5: Cultural knowledge production in dance academia

Index