Titlebook: Choreography and Corporeality; Relay in Motion Thomas F. DeFrantz,Philipa Rothfield Book 2016 The Editor(s) (if applicable) and The Author(

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Dancing the Downward Slide: Spaces of Affective Adjacency in , and , ,f an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s . (2011) and Fabulous Beast Dance Theatre’s . (2011), it shows how the work required to build an alternative affective space can become

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Afrofuturist Remains: A Speculative Rendering of Social Dance Futures v2.0, that might align the applied science of the physical within the social, as a doing enlivened by a being? If African American social dancing situates as a local present that animates memories of deep compassion, where are its unknowable future circumstances most likely to produce a social ., of som

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Corporeal Memories: A Historian’s Practicerly age, which means that practitioners often create a sense of the past of the art form from an ‘oral history’, comprising narratives told by teachers and colleagues as well as events and encounters. As a historian, I suggest that obligatory history classes should integrate the practical interests

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Book 2016ed scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the plac

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Renate Möller,Wilhelm Heitmeyerout postcolonial discourse, the group . brings together German producers, Ivory Coast performers, high-culture recognition, and ‘Africa is the Future’ innuendos. In the group’s work, movement and meaning step beside the disenchanted modes of presentation of ‘Otherness’ often found in European arts circuits.

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Afrofuturist Remains: A Speculative Rendering of Social Dance Futures v2.0ancipated dance of communion that can be entirely mediated and digitally exchanged. The essay argues for afrofuturist remains that are pre-, pure-, and post-human iterations of corporeal connectivity: dance born of a belief in the social essence of creativity.