Thomas F. DeFrantz – författare

In the early 1960s, the Alvin Ailey American Dance Theater was a small, multi-racial company of dancers that performed the works of its founding choreographer and other emerging artists. By the late 1960s, the company had become a well-known African American artistic group closely tied to the Civil Rights struggle. In Dancing Revelations, Thomas DeFrantz chronicles the troupe's journey from a small modern dance company to one of the premier institutions of African American culture. He not only charts this rise to national and international renown, but also contextualizes this progress within the civil rights, women's rights, and gay rights struggles of the late 20th century. DeFrantz examines the most celebrated Ailey dances, including Revelations, drawing on video recordings of Ailey's dances, published interviews, oral histories, and his own interviews with former Ailey company dancers. Through vivid descriptions and beautiful illustrations, DeFrantz reveals the relationship between Ailey's works and African American culture as a whole. He illuminates the dual achievement of Ailey as an artist and as an arts activist committed to developing an African American presence in dance. He also addresses concerns about how dance performance is documented, including issues around spectatorship and the display of sexuality, the relationship of Ailey's dances to civil rights activism, and the establishment and maintenance of a successful, large-scale Black Arts institution. Throughout Dancing Revelations, DeFrantz illustrates how Ailey combined elements of African dance with motifs adapted from blues, jazz, and Broadway to choreograph his dances. By re-interpreting these tropes of black culture in his original and well-received dances, DeFrantz argues that Ailey played a significant role in defining the African American cultural canon in the twentieth century. As the first book to examine the cultural sources and cultural impact of Ailey's work, Dancing Revelations is an important contribution to modern dance history and criticism as well as African-American studies.

The Oxford Handbook of Black Dance Studies encompasses the thinking that considers how people in motion craft worlds beyond worlds of imagination, culture, desire, intellect, and practice. Black Dance Studies, which brings together thinking and moving, is foundational to any manner of Black expression and political action. This handbook offers a broad look into it as a form of intellectual inquiry. The twinned dynamic of dance as a practice replete with reflection as well as elaboration offers a prismatic assessment of how Black Life emerges and moves, and how our lives expand in multiple directions through gesture. Encouraging well-being within the activity of embodied wondering, Black dance constructs counterbalances to everyday worlds of disavowal and disconnection; under-appreciation and material lack. Black Dance Studies takes on the task of narrating how dancing matters as a technology of feeling and participation in a political process of embodied Black Life. The volume includes forty-two chapters of original scholarship that cultivate an awareness of dizzying abundance in Black dance practice. They stretch through many genres of analysis and intellectual methods. With unflappable confidence, each chapter tells of differential relations to an African diaspora in motion. There might be few areas of endeavor that Black Dance never touches. The rising connectivities of Black Dance Studies offer moments to savor the source codes of activities that emerge in expressive gestures cast in relation to the ever-presentness of Black Life.

Few will dispute the profound influence that African American music and movement has had in American and world culture. ""Dancing Many Drums"" explores that influence through a groundbreaking collection of essays on African American dance history, theory and practice. In so doing, it reevalautes ""black"" and ""African American"" as both racial and dance categories. Abundantly illustrated, the volume includes images of a wide variety of dance forms and performers, from ring shouts, vaudeville and social dances to professional dance companies and Hollywood movie dancing. Bringing together issues of race, gender, politics, history and dance, ""Dancing Many Drums"" ranges widely, including discussions of dance instruction songs, the blues aesthetic, and Katherine Dunham's controversial ballet about lynching, ""Southland"". In addition, there are two photo essays: the first on African dance in New York by noted dance photographer Mansa Mussa, and another on 1934 ""African opera"" ""Kykunkor, or the Witch Woman"".

A landmark examination of the art and artists inspired by American dance from 1830 to 1960As an enduring wellspring of creativity for many artists throughout history, dance has provided a visual language to express such themes as the bonds of community, the allure of the exotic, and the pleasures of the body.  This book is the first major investigation of the visual arts related to American dance, offering an unprecedented, interdisciplinary overview of dance-inspired works from 1830 to 1960.   Fourteen essays by renowned historians of art and dance analyze the ways dance influenced many of America’s most prominent artists, including George Caleb Bingham, William Sidney Mount, Winslow Homer, John Singer Sargent, Cecilia Beaux, Isamu Noguchi, Aaron Douglas, Malvina Hoffman, Edward Steichen, Arthur Davies, William Johnson, and Joseph Cornell.  The artists did not merely represent dance, they were inspired to think about how Americans move, present themselves to one another, and experience time. Their artwork, in turn, affords insights into the cultural, social, and political moments in which it was created. For some artists, dance informed even the way they applied paint to canvas, carved a sculpture, or framed a photograph.  Richly illustrated, the book includes depictions of Irish-American jigs, African-American cakewalkers, and Spanish-American fandangos, among others, and demonstrates how dance offers a means for communicating through an aesthetic, static form.  Distributed for the Detroit Institute of ArtsExhibition Schedule:Detroit Institute of Arts(03/20/16–06/12/16)Denver Art Museum(07/10/16-10/02/16)Crystal Bridges Museum of American Art(10/22/16-01/16/17)

Black performance theory is a rich interdisciplinary area of study and critical method. This collection of new essays by some of its pioneering thinkers-many of whom are performers-demonstrates the breadth, depth, innovation, and critical value of black performance theory. Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance. They examine the work of contemporary choreographers Ronald K. Brown and Reggie Wilson, the ways that African American playwrights translated the theatricality of lynching to the stage, the ecstatic music of Little Richard, and Michael Jackson's performance in the documentary This Is It. The collection includes several essays that exemplify the performative capacity of writing, as well as discussion of a project that re-creates seminal hip-hop album covers through tableaux vivants. Whether deliberating on the tragic mulatta, the trickster figure Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy, the essays in this collection signal the vast untapped critical and creative resources of black performance theory.Contributors. Melissa Blanco Borelli, Daphne A. Brooks, Soyica Diggs Colbert, Thomas F. DeFrantz, Nadine George-Graves, Anita Gonzalez, Rickerby Hinds, Jason King, D. Soyini Madison, Koritha Mitchell, Tavia Nyong'o, Carl Paris, Anna B. Scott, Wendy S. Walters, Hershini Bhana Young

Black performance theory is a rich interdisciplinary area of study and critical method. This collection of new essays by some of its pioneering thinkers-many of whom are performers-demonstrates the breadth, depth, innovation, and critical value of black performance theory. Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance. They examine the work of contemporary choreographers Ronald K. Brown and Reggie Wilson, the ways that African American playwrights translated the theatricality of lynching to the stage, the ecstatic music of Little Richard, and Michael Jackson's performance in the documentary This Is It. The collection includes several essays that exemplify the performative capacity of writing, as well as discussion of a project that re-creates seminal hip-hop album covers through tableaux vivants. Whether deliberating on the tragic mulatta, the trickster figure Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy, the essays in this collection signal the vast untapped critical and creative resources of black performance theory.Contributors. Melissa Blanco Borelli, Daphne A. Brooks, Soyica Diggs Colbert, Thomas F. DeFrantz, Nadine George-Graves, Anita Gonzalez, Rickerby Hinds, Jason King, D. Soyini Madison, Koritha Mitchell, Tavia Nyong'o, Carl Paris, Anna B. Scott, Wendy S. Walters, Hershini Bhana Young

This book renews thinking about the moving body by drawing on dance practice and performance from across the world.

This book renews thinking about the moving body by drawing on dance practice and performance from across the world.

This is the first book in English exploring the quadrille as danced among the Skolt Saami, one of the indigenous Saami peoples in Northern Europe.The Skolt quadrille - the focus of this book - offers a fascinating case of transnational movement of dance forms, as well as insights on a living dance tradition in a specific indigenous culture. Today, the Skolts’ quadrille is a social dance with six figures, and it is most often danced by four couples. The dance resembles quadrilles in northern Russia, but its historical roots are in the imperial French quadrille. This book traces the history of the Skolt Saami through the lens of their dance and what is known of the Skolt quadrilles from historical sources. This is contrasted with contemporary narratives and practices, including interview materials with practitioners. The Skolt quadrille is examined as embodied action and as performance, taking place amid changing historical, social and cultural discourses. The book considers how the dance represents issues attached to the Skolt people's identity as a religious minority, both among the Finnish majority and the Saami; an evacuated community, living amid other Saami groups and Finns; and as Finnish citizens, most speaking Finnish as their first language.

The first book in English exploring the quadrille as danced among the Skolt Saami, one of the indigenous Saami peoples in Northern Europe.The Skolt quadrille - the focus of this book - offers a fascinating case of transnational movement of dance forms, as well as insights on a living dance tradition in a specific indigenous culture. Today, the Skolts’ quadrille is a social dance with six figures, and it is most often danced by four couples. The dance resembles quadrilles in northern Russia, but its historical roots are in the imperial French quadrille. This book traces the history of the Skolt Saami through the lens of their dance and what is known of the Skolt quadrilles from historical sources. This is contrasted with contemporary narratives and practices, including interview materials with practitioners. The Skolt quadrille is examined as embodied action and as performance, taking place amid changing historical, social and cultural discourses. The book considers how the dance represents issues attached to the Skolt people's identity as a religious minority, both among the Finnish majority and the Saami; an evacuated community, living amid other Saami groups and Finns; and as Finnish citizens, most speaking Finnish as their first language.

The first comprehensive work in English on the three major regional styles of Uzbek women’s dance – Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore rootsto contemporary stage dance.The book surveys the remarkable development from the earliest manifestations in ancient civilizationsto a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women’s dance.