東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Black Power of Hip Hop Dance: On Kin...

Bragin, Naomi Elizabeth.

Linked to FindBook

Google Book

Amazon

博客來

Black Power of Hip Hop Dance: On Kinesthetic Politics.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Black Power of Hip Hop Dance: On Kinesthetic Politics./
Author:	Bragin, Naomi Elizabeth.
Description:	128 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.
Contained By:	Dissertation Abstracts International77-01A(E).
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3720388
ISBN:	9781339013725

Black Power of Hip Hop Dance: On Kinesthetic Politics.
Bragin, Naomi Elizabeth.

Black Power of Hip Hop Dance: On Kinesthetic Politics. - 128 p.

Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2015.

The significance of dance improvisation in the black radical tradition has yet to receive close attention within the fields of performance, black studies and dance---especially as a youth culture based in California. This dissertation contributes to building a new archive of vernacular styles, innovated in the greater Los Angeles and San Francisco Bay Areas between 1965-1985 and foundational to hip hop's widely cited emergence in New York. At the height of black power, funk music and gay liberation movements, these dances were generally prohibited from formal study within the protected institutional space of private dance studios and concert stages, giving rise to the umbrella term "street dance." Street dancers studied street movements, experimenting with dance in non-studio spaces---city streets, neighborhood house parties, playgrounds, parks, school gyms, private and underground social clubs. I argue that street dance draws theoretical force from this informal status that challenges assumptions of where and how the study of dance happens, retaining in its practices and politics an alliance with a discourse of the street. I theorize the relation of aesthetics and politics through kinesthesia, the body's "sixth" sense of motion historically devalued by Cartesian dualism, to argue that key principles of street dance break down conceptual divisions of collective/individual, innovation/tradition, sound/movement, and choreography/improvisation. I use the idea of (kin) aesthetic politics to ask how street dance might imagine alternative modes of relating that define performances of being connected and dislocated, belonging and dispossession, escape and capture. I create a vocabulary for the theoretical study of street dance, using oral history and performance ethnography to draw on the discourse and lived practices of street dancers and informed by my own experiences as a street dancer since the early 1990s.

ISBN: 9781339013725Subjects--Topical Terms:

610547
Dance.

Black Power of Hip Hop Dance: On Kinesthetic Politics.
LDR:02849nmm a2200301 4500 001 2078330
005 20161122122516.5
008 170521s2015 ||||||||||||||||| ||eng d
020 $a 9781339013725
035 $a (MiAaPQ)AAI3720388
035 $a AAI3720388
040 $a MiAaPQ $c MiAaPQ
100 1 $a Bragin, Naomi Elizabeth. $3 3193911
245 1 0 $a Black Power of Hip Hop Dance: On Kinesthetic Politics.
300 $a 128 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.
500 $a Adviser: Brandi Wilkins Catanese.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2015.
520 $a The significance of dance improvisation in the black radical tradition has yet to receive close attention within the fields of performance, black studies and dance---especially as a youth culture based in California. This dissertation contributes to building a new archive of vernacular styles, innovated in the greater Los Angeles and San Francisco Bay Areas between 1965-1985 and foundational to hip hop's widely cited emergence in New York. At the height of black power, funk music and gay liberation movements, these dances were generally prohibited from formal study within the protected institutional space of private dance studios and concert stages, giving rise to the umbrella term "street dance." Street dancers studied street movements, experimenting with dance in non-studio spaces---city streets, neighborhood house parties, playgrounds, parks, school gyms, private and underground social clubs. I argue that street dance draws theoretical force from this informal status that challenges assumptions of where and how the study of dance happens, retaining in its practices and politics an alliance with a discourse of the street. I theorize the relation of aesthetics and politics through kinesthesia, the body's "sixth" sense of motion historically devalued by Cartesian dualism, to argue that key principles of street dance break down conceptual divisions of collective/individual, innovation/tradition, sound/movement, and choreography/improvisation. I use the idea of (kin) aesthetic politics to ask how street dance might imagine alternative modes of relating that define performances of being connected and dislocated, belonging and dispossession, escape and capture. I create a vocabulary for the theoretical study of street dance, using oral history and performance ethnography to draw on the discourse and lived practices of street dancers and informed by my own experiences as a street dancer since the early 1990s.
590 $a School code: 0028.
650 4 $a Dance. $3 610547
650 4 $a Black studies. $3 2122689
650 4 $a Gender studies. $3 2122708
650 4 $a Kinesiology. $3 517627
690 $a 0378
690 $a 0325
690 $a 0733
690 $a 0575
710 2 $a University of California, Berkeley. $b Performance Studies. $3 3193427
773 0 $t Dissertation Abstracts International $g 77-01A(E).
790 $a 0028
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3720388