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

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Trails of Ado: Kokuma’s Cultural Self-Defenceckie Guy called, Trails of Ado. The embodiment of this dance empowered the dancers who, through the creative process, gathered strategies for “cultural self-defense” by affirming pride, admiration, and respect for themselves and their ethnic heritage. Descriptions and perspectives are offered regard

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: An African Holistic Dance as a Vehicle for Personal Development from a Black British Perspectivecan and Caribbean traditional dance forms. She discusses how as a first generation Black British Jamaican she has been strongly influenced by a sense of rediscovery of the ancient wisdom, symbolism, spirituality and history of African and Caribbean cultures—all of which has shaped her embodiment of

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‘Why I Am Not a Fan of the Lion King’: Ethically Informed Approaches to the Teaching and Learning ofates the ethical implications this has on her teaching of South African dance forms in a British university. She discusses implications on pedagogical practices in terms of supporting British dance students in finding meaningful understandings of South African dance styles. She introduces three ethi

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Performativity of Body Painting: Symbolic Ritual as Diasporic Identityhis black diasporic identity as an artist in Britain. Using his experience of moving from Angola to Britain as a refugee, he describes a range of ideas and concepts that inform his art practice today. He discusses the importance of body painting and ritual as creative and aesthetic forms of identity

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Dancehall: A Continuity of Spiritual, Corporeal Practice in Jamaican Dance a phrase he uses to foreground the body’s engagement of history, dance, corporeality (fleshly physicality) and spirituality. The chapter explores reggae/dancehall’s . embodied within Jamaican . Patten presents dancehall discourses relating to dancehall’s role both as a historical phenomenon and a d