DANC 043: African Diasporic Traditions (SC)

2024 by Ofosuwa M. Abiola. "This book provides scholars and non-specialists alike with a roadmap for effectively conducting culturally aware, historically relevant research on African dance and on any dance style that contains African elements. This book explains why Western research paradigms are inadequate for research on Africana dance. It exposes the value of utilizing an appropriate research paradigm that offers researchers a broader perspective and a transparent, unfettered process for analysis in under-researched topics such as African and African diaspora dance styles. Researchers are introduced to the African dance aesthetic, characteristically African body movements, definitions of steps, understandings within African culture, and a host of other jewels that facilitate a deeper grasp on the subject and refine the quality of the scholar's research, its findings, and its proficiency. This book will be of great interest to scholars of African dance studies."

2022, Ofosuwa M. Abiola, editor. "Fire Under My Feet seeks to expose the diverse, significant, and often under-researched historical and developmental phenomena revealed by studies in the dance systems of the African Diaspora. In the book, written documentation and diverse methodologies are buttressed by the experiences of those whose lives are built around the practice of African diaspora dance. Replete with original perspectives, this book makes a significant contribution to dance and African diaspora scholarship simultaneously. Most important, it highlights the work of researchers from Ecuador, India, Puerto Rico, the United States, and the United Kingdom, and it exposes under-researched and omitted voices of the African diaspora dance world of the aforesaid locations and Puerto Rico, Columbia, and Trinidad as well. This study showcases a blend of scholars, dance practitioners, and interdisciplinarity, and engages the relationship between African diaspora dance and the fields of history, performance studies, critical race theory, religion, identity, and black agency"

2019, Welsh-Asante, Kariamu, editor.; Diouf, Esailama G.A., editor.; Daniel, Yvonne, 1940- editor. "The popularity and profile of African dance have exploded across the African diaspora in the last fifty years. Hot Feet and Social Change presents traditionalists, neo-traditionalists, and contemporary artists, teachers, and scholars telling some of the thousands of stories lived and learned by people in the field. Concentrating on eight major cities in the United States, the essays challenges myths about African dance while demonstrating its power to awaken identity, self-worth, and community respect. These voices of experience share personal accounts of living African traditions, their first encounters with and ultimate embrace of dance, and what teaching African-based dance has meant to them and their communities. Throughout, the editors alert readers to established and ongoing research, and provide links to critical contributions by African and Caribbean dance experts."

2017, from The Organization of Umfundalai Teachers, edited by Kariamu Welsh and C. Kemal Nance. "Umfundalai Teachers' Handbook Umfundalai's progenitor, Kariamu Welsh, along with ateam of selected certified teachers and master teachers have developed this wonderful resource guide to assist African dance artists in sharing Umfundalai with new dance communities. The Iwe Illanan is a handbook that unpacks the scholarship that support Umfundalai's Pan-African movment system on a basic level."

2014, by George Worlasi Kwasi Dor. "More than twenty universities and twenty other colleges in North America (USA and Canada) offer performance courses on West African ethnic dance drumming. Since its inception in 1964 at both UCLA and Columbia, West African drumming and dance has gradually developed into a vibrant campus subculture in North America. The dances most practiced in the American academy come from the ethnic groups Ewe, Akan, Ga, Dagbamba, Mande, and Wolof, thereby privileging dances mostly from Ghana, Togo, Benin, Senegal, Mali, Guinea, and Burkina Faso. This strong presence and practice of a world music ensemble in the diaspora has captured and engaged the interest of scholars, musicians, dancers, and audiences. In the first-ever ethnographic study of West African drumming and dance in North American universities, the author documents and acknowledges ethnomusicologists, ensemble directors, students, administrators, and academic institutions for their key roles in the histories of their respective ensembles. Dor collates and shares perspectives including debates on pedagogical approaches that may be instructive as models for both current and future ensemble directors and reveals the multiple impacts that participation in an ensemble or class offers students. He also examines the interplay among historically situated structures and systems, discourse, and practice, and explores the multiple meanings that individuals and various groups of people construct from this campus activity. The study will be of value to students, directors, and scholars as an ethnographic study and as a text for teaching relevant courses in African music, African studies, ethnomusicology/world music, African diaspora studies, and other related disciplines."

2013, Benita Brown; Dannabang Kuwabong; Christopher Olsen. "Diaspora studies continue to expand in range and scope and remain fertile terrain for investigating multiple techniques of myth creation in dance performance, history as performance, dramatic narrative, and staged rituals in the field. Similarly, research in postcoloniality, gender/sexuality, intercultural, and literary studies, among others, all engage and feature core components of performance and myth in articulating and understanding their fields. This sharing of similar components also demonstrates the interrelatedness of these fields. In Myth Performance in the African Diasporas: Ritual, Theatre, and Dance, the authors contend that performance traditions across artistic disciplines reveal a shared--if sometimes varied--journey among diasporic artists to reconnect with their African ancestors. The volume begins with a historical and aesthetic overview of how dramatists, choreographers, and performance artists have approached the task of interpreting African myth. The individual chapters reveal how specific artists, dramatists, and choreographers have interpreted African myth and what performative approaches and traditions they have used. Focusing on theatre practitioners from the nineteenth century through the present, the authors examine performative traditions from Canada, the United States, the Caribbean, and Latin America. Drawing upon research in theatre, dance, and literary texts, Myth Performance in the African Diasporas will be crucial to academics interested in African performance viewed through the prism of myth making and spiritual/ritualistic stagings. Besides those interested in diasporic studies, this book will also be useful to scholars and students of history, drama, theatre, and dance."

2011, by Modesto Amegago. "This book discusses African music and dance curriculum development and implementation procedures, including the criteria for selecting the African music and dance curriculum content, a curriculum framework, as well as aesthetics and criticism of Ewe-African music and dance. An African Music and Dance Curriculum Model will broaden readers¿ understanding of the theories of curriculum, arts education, creativity, creative processes, and music and dance; develop their analytical, appreciative, and evaluative skills relating to cross cultural performing arts/education, enable them to implement this curriculum model, develop new and alternative models, as well as inspire further creativity and research. The book will be useful for various artists, music and dance educators, and students at the university and college levels; philosophers, anthropologists, cultural theorists, social scientists and other interdisciplinary scholars, and researchers interested in the arts. An African Music and Dance Curriculum Model is organized into six main sections. The introduction reviews the literature on African music and dance, culture, and education. Section Two reviews the relevant theories on the curriculum, education, human nature, human development, family, society, epistemology and ethics, as well as creativity, creative processes, and ownership of African music and dance. Section Three examines the criteria for selecting African music and dance curriculum content, while Section Four provides a framework for the African music and dance curriculum. Section Five discusses the structural elements of the African music and dance curriculum. Finally, Section Six provides discussion of the ethical and aesthetic values, criticism of African music and dance and an African music and dance curriculum model and its implementation procedures."

2010, 2nd edition, by Kariamu Welsh-Asante. "The ancient tradition of African dance has influenced dance styles all over the world. It is used to commemorate many annual ceremonies and activities, such as rites of passage and the harvest, and it is also an important form of recreation, religious expression, and storytelling. In African Dance, Second Edition, the varied cultures of Africa and their respective dances are explored, along with the effects that colonialism had on the art form."

1996, photos by Michel Huet ; text by Claude Savary ; translated from the French Danses d'Afrique by Dorothy Blair. "Dance is the central theme of this remarkable book, which features one hundred sixty photographs taken by French photographer Michel Huet. Spanning a period of more than forty years, from 1945 to 1985, the photographs depict the dances and ceremonial rituals of fifty African tribes, among them the Yoruba, Tutsi, Dogon, Mbuti, and Masai - the result of Huet's extensive travels from Senegal to the Congo Basin, from the Ivory Coast to Rwanda, in his quest to record every aspect of African life. Each picture is a masterpiece, capturing the harmony of movement, the spontaneity, the gestures, the expressions, as well as the colors and details of the extraordinary costumes, and jewelry. The earlier black-and-white images, spectacularly reproduced in tritone, are set against the brilliant color of those taken during the '70s and '8Os: in some cases, Huet returned to the places he visited in the '40s and '5Os to photograph the same rituals and ceremonies. Accompanying this exceptional collection of images is a highly informative text by Claude Savary, Curator at the Museum of Ethnography in Geneva, Switzerland. In the introduction he outlines the political history of Africa over the past fifty years and presents an overview of the traditions that form the basis of African ritual life. His intriguing commentary on the photographs explains the various ceremonies pictured and gives a brief ethnographic description of each of the peoples covered in the book."

1985, edited by Molefi Kete Asante and Kariamu Welsh Asante. "Africa, according to the contributors to this anthology, is one cultural river with numerous tributaries articulated by their specific responses to history and the environment. They concentrate on the similarities in behavior, perceptions, and technologies of African culture that tie those tributaries together. The fourteen original essays by leading scholars of African studies are organized in four general divisions which consider the ethno-cultural motif, the artistic tradition, concepts of cultural value, and cultural continua."

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