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Race in motion : = Reconstructing the practice, profession, and politics of social dancing, New York City, 1900-1930.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Race in motion :/
Reminder of title:	Reconstructing the practice, profession, and politics of social dancing, New York City, 1900-1930.
Author:	Robinson, Danielle Anne.
Description:	1 online resource (332 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 66-09, Section: A.
Contained By:	Dissertations Abstracts International66-09A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3151727click for full text (PQDT)
ISBN:	9780496119097

Race in motion : = Reconstructing the practice, profession, and politics of social dancing, New York City, 1900-1930.
Robinson, Danielle Anne.

Race in motion :Reconstructing the practice, profession, and politics of social dancing, New York City, 1900-1930. - 1 online resource (332 pages)

Source: Dissertations Abstracts International, Volume: 66-09, Section: A.

Thesis (Ph.D.)--University of California, Riverside, 2004.

Includes bibliographical references

This dissertation asks how and why dancing "black" became a widespread recreational social practice in America during the opening decades of the twentieth century with the advent of ragtime and jazz dancing. It also examines how dance professionals were able to build careers teaching "black" dancing to the American public. It suggests that, although focused upon selling and practicing "black" dances, the 1910s and 1920s crazes for dancing reinforced whiteness as the ideal racial status in America as a result of their embodied and rhetorical engagements with period black stereotypes. At the same time, however, these very practices provided an important space for those seeking social mobility, such as new immigrants and African American professional dancers, to claim greater empowerment. This project pursues this broad topic through four very specific and overlapping case studies within New York City that cross race, class, and genre lines: the ragtime dancing of European immigrant youth between 1900 and 1920, the marketing of ragtime dancing as "refined" modern dancing by European-American dance professionals during the 1910s, the nineteenth-century round dancing of African-American elites between 1900 and 1930, and the selling of jazz dancing by African-American dance teachers to white Broadway dancers during the late 1920s. These topics are approached through methodological strategies and theoretical concerns that merge dance reconstruction with dance cultural studies and dance anthropology. In short, instead of drawing upon predominating reconstruction methodologies that tend to re-animate dances of the past for the purpose of performance, this project extends Mark Franko's radical reconstruction model that emphasizes bodily and creative engagement on the part of the researcher. Towards this end, fictional-ethnographic vignettes are inserted throughout the text that offer detailed descriptions of movement in a format that does not codify the dancing nor extricate it from its social context. The chapters that follow stress dancing's role in identity formation processes, and thus in social relations more generally, especially with regard to the construction, testing, and policing of race and class divides.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780496119097Subjects--Topical Terms:

610547
Dance.
Subjects--Index Terms:

New York CityIndex Terms--Genre/Form:

542853
Electronic books.

Race in motion : = Reconstructing the practice, profession, and politics of social dancing, New York City, 1900-1930.
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502 $a Thesis (Ph.D.)--University of California, Riverside, 2004.
504 $a Includes bibliographical references
520 $a This dissertation asks how and why dancing "black" became a widespread recreational social practice in America during the opening decades of the twentieth century with the advent of ragtime and jazz dancing. It also examines how dance professionals were able to build careers teaching "black" dancing to the American public. It suggests that, although focused upon selling and practicing "black" dances, the 1910s and 1920s crazes for dancing reinforced whiteness as the ideal racial status in America as a result of their embodied and rhetorical engagements with period black stereotypes. At the same time, however, these very practices provided an important space for those seeking social mobility, such as new immigrants and African American professional dancers, to claim greater empowerment. This project pursues this broad topic through four very specific and overlapping case studies within New York City that cross race, class, and genre lines: the ragtime dancing of European immigrant youth between 1900 and 1920, the marketing of ragtime dancing as "refined" modern dancing by European-American dance professionals during the 1910s, the nineteenth-century round dancing of African-American elites between 1900 and 1930, and the selling of jazz dancing by African-American dance teachers to white Broadway dancers during the late 1920s. These topics are approached through methodological strategies and theoretical concerns that merge dance reconstruction with dance cultural studies and dance anthropology. In short, instead of drawing upon predominating reconstruction methodologies that tend to re-animate dances of the past for the purpose of performance, this project extends Mark Franko's radical reconstruction model that emphasizes bodily and creative engagement on the part of the researcher. Towards this end, fictional-ethnographic vignettes are inserted throughout the text that offer detailed descriptions of movement in a format that does not codify the dancing nor extricate it from its social context. The chapters that follow stress dancing's role in identity formation processes, and thus in social relations more generally, especially with regard to the construction, testing, and policing of race and class divides.
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