標(biāo)題: Titlebook: Narratives in Black British Dance; Embodied Practices Adesola Akinleye Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Postc [打印本頁] 作者: informed 時(shí)間: 2025-3-21 16:20
書目名稱Narratives in Black British Dance影響因子(影響力)
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書目名稱Narratives in Black British Dance網(wǎng)絡(luò)公開度
書目名稱Narratives in Black British Dance網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Narratives in Black British Dance被引頻次
書目名稱Narratives in Black British Dance被引頻次學(xué)科排名
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書目名稱Narratives in Black British Dance年度引用學(xué)科排名
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書目名稱Narratives in Black British Dance讀者反饋學(xué)科排名
作者: canvass 時(shí)間: 2025-3-22 00:01
https://doi.org/10.1007/978-3-319-70314-5Postcolonial; Black British Dance; Race; Ethnicity; Identity; Performance作者: 錯事 時(shí)間: 2025-3-22 01:20
Adesola AkinleyeRemedies the distinct lack of publication on Dance of the African Diaspora from a post--colonial British perspective.Includes work from scholars and artists from across the field of dance.Explores the作者: Cytokines 時(shí)間: 2025-3-22 07:28
978-3-319-70313-8The Editor(s) (if applicable) and The Author(s) 2018作者: 安撫 時(shí)間: 2025-3-22 10:49 作者: 變色龍 時(shí)間: 2025-3-22 14:41 作者: APEX 時(shí)間: 2025-3-22 19:51 作者: morale 時(shí)間: 2025-3-22 23:15
Narratives in Black British Dance: An Introduction,lack, British, dance stories in the past. Akinleye draws attention to the context of the historical legacy of abuse to the ‘Black body’ and the effects that this has on how Black dance and black dancers are audienced today. She offers a (re)articulation of the physical and cultural mapping of the richness of British dance.作者: AIL 時(shí)間: 2025-3-23 02:51
Dance Britannia: The Impact of Global Shifts on Dance in Britainaribbean and Asian artists who migrated to Britain. These historical and cultural contexts form the basis of our argument for new approaches to frameworks for analysis of the work of Black British dance artists.作者: 嗎啡 時(shí)間: 2025-3-23 08:05
Tracing the Evolution of Black Representation in Ballet and the Impact on Black British Dancers Todaereotypes associated with black African people have limited their inclusion in British ballet. The chapter also highlights the role that key individuals have played in promoting the inclusion of black dancers and black dance forms in classical ballet.作者: 成份 時(shí)間: 2025-3-23 12:22 作者: 合適 時(shí)間: 2025-3-23 15:08
Dancehall: A Continuity of Spiritual, Corporeal Practice in Jamaican Danceiscrete music and dance genre. Foregrounding dancehall’s multiple participants, the chapter explores the . illuminate the . and symbolic communication taking place in the dance. The . is thus shown to create a countercultural, subversive and transformative aesthetic, providing a coping and survival mechanism for many marginalised individuals.作者: Perigee 時(shí)間: 2025-3-23 18:47 作者: 消耗 時(shí)間: 2025-3-23 23:27
Caribfunk Technique: A New Feminist/Womanist Futuristic Technology in Black Dance Studies in Higher ge, illuminating the transformative performances of the pelvis. She discusses the exclusion of Afro-Diasporic movements and aesthetics in dance curriculum and the future of dance studies using a Black feminist lens.作者: Reverie 時(shí)間: 2025-3-24 03:51
Book 2018ree are living networks created by rich histories, diverse faces and infinite future possibilities. Through a variety of critical and creative essays, this book suggests a widening of our conceptions of what British dance looks like, where it appears, and who is involved in its creation..作者: 施舍 時(shí)間: 2025-3-24 09:58 作者: LAST 時(shí)間: 2025-3-24 11:24 作者: Ingrained 時(shí)間: 2025-3-24 15:02
: An African Holistic Dance as a Vehicle for Personal Development from a Black British Perspectiveof rediscovery of the ancient wisdom, symbolism, spirituality and history of African and Caribbean cultures—all of which has shaped her embodiment of dance, and has been consolidated through her undertaking of an academic study of Somatic Movement Education.作者: 沒血色 時(shí)間: 2025-3-24 19:30
‘Why I Am Not a Fan of the Lion King’: Ethically Informed Approaches to the Teaching and Learning of practices in terms of supporting British dance students in finding meaningful understandings of South African dance styles. She introduces three ethically informed approaches that she draws on within her own teaching practice to address this.作者: 詞根詞綴法 時(shí)間: 2025-3-25 02:27
Performativity of Body Painting: Symbolic Ritual as Diasporic Identitys and concepts that inform his art practice today. He discusses the importance of body painting and ritual as creative and aesthetic forms of identity. The chapter discusses a mental and physical connection with his roots in the “motherland” of Africa (Angola) and the imperative of the practices he was introduced to growing up there.作者: Coeval 時(shí)間: 2025-3-25 06:15
Reflections: Snapshots of Dancing Home, 1985, 2010 and 2012as well as the places where she has left the dance studio to return to in order to sleep. The choices she made to travel out of UK (her birth home) for her career have meant that . is often the place she has left behind as she rooted-down somewhere temporarily only to uproot again.作者: 走路左晃右晃 時(shí)間: 2025-3-25 09:21 作者: 星星 時(shí)間: 2025-3-25 14:28 作者: 委托 時(shí)間: 2025-3-25 17:48
verm?gen des einzelnen. Daher kann ihm Rationalit?t nicht ohne weiteres zugemutet werden, wenn man unter Rationalit?t richtiges Entscheiden versteht. Richtiges Verhalten ist für den einzelnen nur m?glich, wenn ihm die Entscheidung im wesentlichen abgenommen wird.“作者: 新義 時(shí)間: 2025-3-25 21:28
Adesola Akinleyeverm?gen des einzelnen. Daher kann ihm Rationalit?t nicht ohne weiteres zugemutet werden, wenn man unter Rationalit?t richtiges Entscheiden versteht. Richtiges Verhalten ist für den einzelnen nur m?glich, wenn ihm die Entscheidung im wesentlichen abgenommen wird.“作者: GIBE 時(shí)間: 2025-3-26 03:07 作者: 障礙 時(shí)間: 2025-3-26 04:45 作者: cringe 時(shí)間: 2025-3-26 11:41 作者: 捏造 時(shí)間: 2025-3-26 13:33
Tia-Monique Uzors Beispiel zeigt, da? verschiedene Differenzierungsformen einander keineswegs ausschlie?en. Es obliegt dann der jeweils dominanten Form von Ungleichheit, zu regulieren, wo und wieviel andere Differenzierungsformen n?tig und zugelassen sind […]. Von diesen Vorgaben ausgehend fragen wir nach den Forme作者: inspiration 時(shí)間: 2025-3-26 18:30
Sandie Bournes Beispiel zeigt, da? verschiedene Differenzierungsformen einander keineswegs ausschlie?en. Es obliegt dann der jeweils dominanten Form von Ungleichheit, zu regulieren, wo und wieviel andere Differenzierungsformen n?tig und zugelassen sind […]. Von diesen Vorgaben ausgehend fragen wir nach den Forme作者: JADED 時(shí)間: 2025-3-26 21:30 作者: Itinerant 時(shí)間: 2025-3-27 04:47 作者: Intuitive 時(shí)間: 2025-3-27 07:51 作者: ETHER 時(shí)間: 2025-3-27 11:16 作者: 反感 時(shí)間: 2025-3-27 13:51 作者: 嬰兒 時(shí)間: 2025-3-27 21:20 作者: Licentious 時(shí)間: 2025-3-27 22:33
ltnis der Teilsysteme eingeschr?nkt ist durch Ordnungsvorgaben für System-zu-System-Beziehungen. Und diese k?nnen unterschiedliche Freiheitsgrade, also unterschiedliche Integrationsdichte vorsehen je nach der Komplexit?t, die in der Evolution des Gesamtsystems erreicht und zu bew?ltigen ist. Nur ein作者: Needlework 時(shí)間: 2025-3-28 04:21
Namronltnis der Teilsysteme eingeschr?nkt ist durch Ordnungsvorgaben für System-zu-System-Beziehungen. Und diese k?nnen unterschiedliche Freiheitsgrade, also unterschiedliche Integrationsdichte vorsehen je nach der Komplexit?t, die in der Evolution des Gesamtsystems erreicht und zu bew?ltigen ist. Nur ein作者: ESO 時(shí)間: 2025-3-28 07:30
Christy Adair,Ramsay Burtltnis der Teilsysteme eingeschr?nkt ist durch Ordnungsvorgaben für System-zu-System-Beziehungen. Und diese k?nnen unterschiedliche Freiheitsgrade, also unterschiedliche Integrationsdichte vorsehen je nach der Komplexit?t, die in der Evolution des Gesamtsystems erreicht und zu bew?ltigen ist. Nur ein作者: cutlery 時(shí)間: 2025-3-28 13:02 作者: 元音 時(shí)間: 2025-3-28 14:54
Sandie Bourneltnis der Teilsysteme eingeschr?nkt ist durch Ordnungsvorgaben für System-zu-System-Beziehungen. Und diese k?nnen unterschiedliche Freiheitsgrade, also unterschiedliche Integrationsdichte vorsehen je nach der Komplexit?t, die in der Evolution des Gesamtsystems erreicht und zu bew?ltigen ist. Nur ein作者: Irascible 時(shí)間: 2025-3-28 22:45 作者: 記憶 時(shí)間: 2025-3-29 01:37
Hopal Romanslters verursachte . von der andern Seite, sein? — Hierdurch wird jedes Individuum gleichsam isoliert — alle edleren geselligen Empfindungen unterdrückt — Vaterlandsliebe, Menschenliebe, Mitleid — Liederlichkeit bef?rdert, besonders Verschwendung, weil es der Hauptzweck eines jeden werden mu?, nur au作者: 無表情 時(shí)間: 2025-3-29 05:32 作者: 向外供接觸 時(shí)間: 2025-3-29 09:39 作者: 聯(lián)想記憶 時(shí)間: 2025-3-29 14:47 作者: PLIC 時(shí)間: 2025-3-29 19:05 作者: configuration 時(shí)間: 2025-3-29 19:56
Negotiating African Diasporic Identity in Dance: Brown Bodies Creating and Existing in the British D make it difficult to define what it means to be Black within the African Diaspora. This chapter explores how these complexities can be problematic to artists working in the British dance industry, through artistic expression of Vicki Igbokwe, Alesandra Seutin, Freddie Opoku-Addaie, Jamila Johnson-S作者: APEX 時(shí)間: 2025-3-30 03:36 作者: Hirsutism 時(shí)間: 2025-3-30 05:55
In-the-Between-ness: Decolonising and Re-inhabiting Our Dancingey use to discuss, describe and facilitate dance. The chapter explores their attempts to extract their ‘dancing bodies’ and choreographic processes from the Imperialist language of Western binaries. Despite their creative processes being informed by their multicultural, trans-national life experienc作者: 咯咯笑 時(shí)間: 2025-3-30 11:09
Trails of Ado: Kokuma’s Cultural Self-Defenceckie Guy called, Trails of Ado. The embodiment of this dance empowered the dancers who, through the creative process, gathered strategies for “cultural self-defense” by affirming pride, admiration, and respect for themselves and their ethnic heritage. Descriptions and perspectives are offered regard作者: 一窩小鳥 時(shí)間: 2025-3-30 14:34
: An African Holistic Dance as a Vehicle for Personal Development from a Black British Perspectivecan and Caribbean traditional dance forms. She discusses how as a first generation Black British Jamaican she has been strongly influenced by a sense of rediscovery of the ancient wisdom, symbolism, spirituality and history of African and Caribbean cultures—all of which has shaped her embodiment of 作者: 顛簸下上 時(shí)間: 2025-3-30 17:47
‘Why I Am Not a Fan of the Lion King’: Ethically Informed Approaches to the Teaching and Learning ofates the ethical implications this has on her teaching of South African dance forms in a British university. She discusses implications on pedagogical practices in terms of supporting British dance students in finding meaningful understandings of South African dance styles. She introduces three ethi作者: 暗語 時(shí)間: 2025-3-30 23:27
Performativity of Body Painting: Symbolic Ritual as Diasporic Identityhis black diasporic identity as an artist in Britain. Using his experience of moving from Angola to Britain as a refugee, he describes a range of ideas and concepts that inform his art practice today. He discusses the importance of body painting and ritual as creative and aesthetic forms of identity作者: 安定 時(shí)間: 2025-3-31 02:18
Dancehall: A Continuity of Spiritual, Corporeal Practice in Jamaican Dance a phrase he uses to foreground the body’s engagement of history, dance, corporeality (fleshly?physicality) and spirituality. The chapter explores reggae/dancehall’s . embodied within Jamaican . Patten presents dancehall discourses relating to dancehall’s role both as a historical phenomenon and a d
