Titlebook: Narratives in Black British Dance; Embodied Practices Adesola Akinleye Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Postc

成份

合适

Dancehall: A Continuity of Spiritual, Corporeal Practice in Jamaican Danceiscrete music and dance genre. Foregrounding dancehall’s multiple participants, the chapter explores the . illuminate the . and symbolic communication taking place in the dance. The . is thus shown to create a countercultural, subversive and transformative aesthetic, providing a coping and survival mechanism for many marginalised individuals.

Perigee

消耗

Caribfunk Technique: A New Feminist/Womanist Futuristic Technology in Black Dance Studies in Higher ge, illuminating the transformative performances of the pelvis. She discusses the exclusion of Afro-Diasporic movements and aesthetics in dance curriculum and the future of dance studies using a Black feminist lens.

Reverie

Book 2018ree are living networks created by rich histories, diverse faces and infinite future possibilities. Through a variety of critical and creative essays, this book suggests a widening of our conceptions of what British dance looks like, where it appears, and who is involved in its creation..

施舍

LAST

Ingrained

: An African Holistic Dance as a Vehicle for Personal Development from a Black British Perspectiveof rediscovery of the ancient wisdom, symbolism, spirituality and history of African and Caribbean cultures—all of which has shaped her embodiment of dance, and has been consolidated through her undertaking of an academic study of Somatic Movement Education.

没血色

‘Why I Am Not a Fan of the Lion King’: Ethically Informed Approaches to the Teaching and Learning of practices in terms of supporting British dance students in finding meaningful understandings of South African dance styles. She introduces three ethically informed approaches that she draws on within her own teaching practice to address this.

词根词缀法

Performativity of Body Painting: Symbolic Ritual as Diasporic Identitys and concepts that inform his art practice today. He discusses the importance of body painting and ritual as creative and aesthetic forms of identity. The chapter discusses a mental and physical connection with his roots in the “motherland” of Africa (Angola) and the imperative of the practices he was introduced to growing up there.