Chronicling the History of Traditional Mandinka Dance
The field of history is founded on the interrogation of written documents from the past. However, culture is the center of life in Africa. As a result, in the past – and to a degree in the present – the process for documenting events in Africa was not written, it was performed. History Dances: Chronicling the History of Traditional Mandinka Dance argues that a wealth of information is housed within traditional Mandinka dance and, consequently, the dances can be used as an African-derived primary source for writing African history. Ofosuwa M. Abiola highlights the overall value of studying Mandinka dance history specifically, and African dance history generally, as well as addressing the issue of scarcity with regard to primary sources for writing African history.
History Dances proves to be a vital read for both undergraduate students and scholars in the fields of dance history, African history, performance studies, and cultural anthropology.
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Historical Perspectives on Dance in Africa
The market is saturated with dance history books solely representing European narratives. Those dance history books that do include representations of Black dance-making, primarily only discuss a few popularly known historic Black dance artists. More alarming, African dance history is often not discussed at all. Historical Perspectives on Dance in Africa, seeks to introduce undergraduate dance history students to the history of locations in North, West, South, and Central Africa, and to the dances that influence and are impacted on by that history.
Historical Perspectives on Dance in Africa proves to be a vital introductory text for undergraduate students with little to no experience or prior knowledge of African dance history. Obtain your copy here.
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.
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.
Obtain your copy of Fire Under My Feet here.
Fire Under My Feet:
History, Race and Agency in African Diaspora Dance