By Thomas F. Defrantz

Few will dispute the profound impression that African American track and stream has had in American and international tradition. "Dancing Many Drums" explores that impact via a groundbreaking number of essays on African American dance background, conception and perform. In so doing, it reevalautes "black" and "African American" as either racial and dance different types. Abundantly illustrated, the amount contains photographs of a wide selection of dance types and performers, from ring shouts, vaudeville and social dances to specialist dance businesses and Hollywood motion picture dancing. Bringing jointly problems with race, gender, politics, historical past and dance, "Dancing Many Drums" levels greatly, together with discussions of dance guideline songs, the blues aesthetic, and Katherine Dunham's debatable ballet approximately lynching, "Southland". moreover, there are picture essays: the 1st on African dance in long island by means of famous dance photographer Mansa Mussa, and one other on 1934 "African opera" "Kykunkor, or the Witch Woman".

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58. For an overview of the historical sites of dance festivals, see Emery, Black Dance in the United States; and Roger D. Abrahams, Singing the Master: The Emergence of African American Culture in the Plantation South (New York: Penguin Books, 1992). 59. ’’ 60. The First National Congress on Blacks in Dance was held 26 June–1 July 1973 at Indiana University, Bloomington, Indiana. 61. For example, at the 1997 conference, held in Dallas, Texas, and hosted by Dallas Black Dance Theatre, master classes were taught by Chuck Davis and Ronald K.

These works number among those deemed successful by contemporary critics. 16. , New York: Da Capo Press, 1994). 17. : Princeton Book Company, 1988). 18. Emery, Black Dance in the United States, ix. 19. A second edition, published in 1988 by Princeton Book Company, featured an ill-advised additional chapter, ‘‘Popular Dance in the Twentieth Century,’’ by Brenda Dixon-Stowell. Burdened by an excess of source material and theoretical approaches, the addition underscored the impossibility of chronicling centuries of dance practice in a single volume.

Jones have received sustained biographical inquiry. D. dissertation is the sole extant monograph devoted to Primus. D. dissertation, Florida State University, 1984). 50. This listing, of course, is in no way exhaustive. 51. See fig. on pp. 24–25 (‘‘Booty Control’’) for an attempt at criticism that acknowledges cultural underpinnings of work by Jawole Willa Jo Zollar and the Urban Bush Women. 52. Allen, ‘‘The Great American ‘Black Dance’ Mystery,’’ 287. 53. Banes and Szwed’s article originally appeared in Performance Matters, no.

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