Identity and Choreographic Practice


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The fifth instalment of a series of publication produced by Serendipity. Identity and Choreographic Practice examines how culture and training influence choreographic vocabulary, and also touch upon how identity is revealed in practice. Leading practitioners and researchers explore topics ranging from the challenges and triumphs faced by Black dancers when attempting to break the glass ceiling of classical ballet, a reflection on colonial pasts and new aesthetics, and a discussion of how the rich, diverse and complex heritage of the African and African Caribbean Diaspora has influenced contemporary dance.

Preface – Pawlet Brookes

One Day my Chance will Come – Joan Myers Brown

Black Dancers did Come Up – Delia Barker

Looking through the Keyhole: Black dancers in British ballet and the influence of the Dance Theatre of Harlem – Sandie Bourne

Moving, Breathing and Being: A Reflection – Francis Angol

Embodiology ® Neo-African Knowledge Production – Sheron Wray

Nuanced Contemporary Ghanaian Identity – Negotiating New Choreographic Barriers and Multifaceted Aesthetics – Terry Bright Kweku Ofosu

Freestyle – Kenrick ‘H20’ Sandy

The Roots and Routes of African/neo-African Dance Practice and Training – ‘H’ Patten

Dance exploration through Reggae Moves – David Hamilton

I found Dance through Flamenco – Yinki Esi Graves

Art Dance: An Un-Winnable Battle – nora chipaumire

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Weight 0.252 kg