Dancing in the World
Revealing Cultural Confluences
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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 sha...
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 collaborativemodel 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.
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 collaborativemodel 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.
