Topic
Jazz dance
About: Jazz dance is a research topic. Over the lifetime, 879 publications have been published within this topic receiving 9899 citations.
Papers published on a yearly basis
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Papers
Book•
1 Jan 1998
TL;DR: What is Jazz? Introduction Jazz-the Word, by Alan P. Merriam and Fradley H. Garner Forward Motion: An Interview with Benny Golson, by Benny and Jim Merod James A. Snead Black Music as an Art Form, by Olly Wilson Remembering Thelonious Monk: When the Music Was Happening Then He'd Get Up and Do His Little Dance, by Quincy Troupe and Ben Riley Improvisation and the Creative Process, by Albert Murray One Nation Under a Groove or, the United States of Jazzocracy Introduction What's American About
Abstract: What Is Jazz? Introduction Jazz-the Word, by Alan P. Merriam and Fradley H. Garner Forward Motion: An Interview with Benny Golson, by Benny Golson and Jim Merod James A. Snead Black Music as an Art Form, by Olly Wilson Remembering Thelonious Monk: When the Music Was Happening Then He'd Get Up and Do His Little Dance, by Quincy Troupe and Ben Riley Improvisation and the Creative Process, by Albert Murray One Nation Under a Groove or, the United States of Jazzocracy Introduction What's American About America, by John Kouwenhoven Jazz and the White Critic, by Amiri Baraka Duke Ellington Music Like a Big Hot Pot of Good Gumbo, by Wynton Marsalis and Robert G. O'Meally Blues to Be Constitutional: A Long Look at the Wild Wherefores of Our Democratic Lives as Symbolized in the Making of Rhythm and Tune, by Stanley Crouch The Ellington Programme, by Barry Ulanov Jazz Lines and Colors: The Sound I Saw Introduction Art History and Black Memory: Toward a Blues Aesthetic, by Richard J. Powell Skyscrapers, Airplanes, and Airmindedness: The Necessary Angel, by Ann Douglas Calvin Tomkins Celebration, by Sherry Turner DeCarava Black Visual Intonation, by Arthur Jafa Improvisation in Jazz, by Bill Evans Jazz is a Dance: Jazz art in Motion Introduction Jazz Music in Motion: Dancers and Big Bands, by Jacqui Malone Characteristics of Negro Expression, by Zora Neale Hurston African Art and Motion, by Robert Farris Thompson Be Like Mike? Michael Jordan and the Pedagogy of Desire, by Michael Eric Dyson Noise Taps a Historic Route to Joy, by Margo Jefferson Tell the Story: Jazz, History, Memory Introduction Pulp and Circumstance: The Story of Jazz in High Places, by Gerald Early Jazz and American Culture, by Lawrence W. Levine The Golden Age, Time Past, by Ralph Ellison Double V, Double-Time: Bebop's Politics of Style, by Eric Lott It Jus Be's Dat Way Sometime: The Sexual Politics of Women's Blues, by Hazel V. Carby Other: From Noun to Verb, by Nathaniel Mackey Writing the Blues, Writing Jazz Introduction The Blues as Folk Poetry, by Sterling A. Brown Richard Wright's Blues, by Ralph Ellison Preface to Three Plays, by August Wilson The Function of the Heroic Image, by Albert Murray The Seemingly Eclipsed Window of Form: James Weldon Johnson's Prefaces, by Brent Edwards Sound and Sentiment, Sound and Symbol, by Nathaniel Mackey
334 citations
1 Jun 2012
TL;DR: The Meaning in Motion as discussed by the authors is a survey of dance and cultural studies, focusing on the ideological, theoretical, and social meanings of dance practices, performances, and institutions, as well as how these meanings change as dance styles cross borders of race, nationality or class.
Abstract: Dance, whether considered as an art form or embodied social practice, as product or process, is a prime subject for cultural analysis. Yet only recently have studies of dance become concerned with the ideological, theoretical, and social meanings of dance practices, performances, and institutions. In Meaning in Motion , Jane C. Desmond brings together the work of critics who have ventured into the boundaries between dance and cultural studies, and thus maps a little-known and rarely explored critical site.
Writing from a broad range of perspectives, contributors from disciplines as varied as art history and anthropology, dance history and political science, philosophy and women’s studies chart the questions and challenges that mark this site. How does dance enact or rework social categories of identity? How do meanings change as dance styles cross borders of race, nationality, or class? How do we talk about materiality and motion, sensation and expressivity, kinesthetics and ideology? The authors engage these issues in a variety of contexts: from popular social dances to the experimentation of the avant-garde; from nineteenth-century ballet and contemporary Afro-Brazilian Carnival dance to hip hop, the dance hall, and film; from the nationalist politics of folk dances to the feminist philosophies of modern dance. Giving definition to a new field of study, Meaning in Motion broadens the scope of dance analysis and extends to cultural studies new ways of approaching matters of embodiment, identity, and representation.
Contributors. Ann Cooper Albright, Evan Alderson, Norman Bryson, Cynthia Cohen Bull, Ann Daly, Brenda Dixon Gottschild, Susan Foster, Mark Franko, Marianne Goldberg, Amy Koritz, Susan Kozel, Susan Manning, Randy Martin, Angela McRobbie, Kate Ramsey, Anna Scott, Janet Wolff
221 citations
TL;DR: In this paper, Bradford and Bradford discuss the origins of ballroom dance in the early 20th century, and the beginning of the Vernacular dance on Broadway, including the Jitterbug and Shuffle Along.
Abstract: * Marshall Winslow Stearns: An Appreciation by James T. Maher * Prologue Prehistory * Africa and the West Indies * New Orleans and the South * The Pattern of Diffusion Beginnings * From Folk to Professional * Early Minstrelsy * Minstrel Dances and Dancers * Late Minstrelsy The Vernacular * Medicine Shows and Gillies * Carnivals, Circuses, and Negro Minstrels * Roadshows, T.O.B.A., and Picks * The Witman Sisters Tin Pan Alley and Song Lyrics * Ballroom Origins * The Song Writer: Perry BradfordI * The Song Writer: Perry BradfordII Broadway and the Reviewers * Williams and Walker and the Beginnings of Vernacular Dance on Broadway * Early Harlem * Shuffle Along * Broadway: The Early Twenties * Broadway: The Late Twenties * Choreography: Buddy Bradley Technique: Pioneers, Innovators, and Stylists * King Rastus Brown and the Time Step * Bill Robinson: Up on the Toes * Frank Condos: Wings and the Expanding Repertory * James Barton: Versatility * Harland Dixon and Character Dancing * John W. Bubbles and Rhythm Tap * Fred Astaire Specialties * Eccentric Dancing * Comedy Dancing * Russian Dancing Acrobatics * Straight Acrobatics * The New Acrobatics * The Flash Acts The Class Acts * The Original Stylists * The First Class-Act Team: Greenlee and Drayton * Pete Nugent and the Class Acts * Coles and Atkins: The Last of the Class Acts The Jitterbug * Harlem Background * The Savoy Ballroom * From Coast to Coast Requiem * Baby Laurence and the Hoffers Club * Groundhog * The Dying Breed * Epilogue
216 citations
Book•
[...]
1 Jan 1997
TL;DR: Gioia as discussed by the authors describes the evolution of jazz from slave dances held in Congo Square to a thousand different forms -swing, bebop, cool jazz, jazz-rock fusion and a thousand great musicians.
Abstract: Jazz is the most colourful and varied art form in the world and it was born in one of the most colourful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Bolden and Joe 'King' Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms - swing, bebop, cool jazz, jazz-rock fusion - and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. From the rent parties of Harlem to the after-hours spots in Kansas City, Louis Armstrong and Duke Ellington to Wynton Marsalis and Pat Metheny, this book captures all the vibrant colours of jazz on one glorious palate.
215 citations
Book•
20 Apr 2004
TL;DR: For instance, Modern Dance, Negro Dance as mentioned in this paper traces the paths of modern dance and Negro dance from their beginnings in the Depression to their ultimate transformations in the postwar years, from Helen Tamiris's and Ted Shawn's suites of Negro Spirituals to concerts sponsored by the Workers Dance League, from Graham's American Document to the debuts of Katherine Dunham and Pearl Primus, from Jose Limon's 1954 work The Traitor to Merce Cunningham's 1958 dances Summerspace and Antic Meet, to Ailey's 1960 masterpiece Revelations.
Abstract: At the New School for Social Research in 1931, the dance critic for the New York Times announced the arrival of modern dance, touting the "serious art" of such dancers as Mary Wigman, Martha Graham, and Doris Humphrey. Across town, Hemsley Winfield and Edna Guy were staging what they called "The First Negro Dance Recital in America," which Dance Magazine proclaimed "the beginnings of great and important choreographic creations." Yet never have the two parallel traditions converged in the annals of American dance in the twentieth century.Modern Dance, Negro Dance is the first book to bring together these two vibrant strains of American dance in the modern era. Susan Manning traces the paths of modern dance and Negro dance from their beginnings in the Depression to their ultimate transformations in the postwar years, from Helen Tamiris's and Ted Shawn's suites of Negro Spirituals to concerts sponsored by the Workers Dance League, from Graham's American Document to the debuts of Katherine Dunham and Pearl Primus, from Jose Limon's 1954 work The Traitor to Merce Cunningham's 1958 dances Summerspace and Antic Meet, to Ailey's 1960 masterpiece Revelations.Through photographs and reviews, documentary film and oral history, Manning intricately and inextricably links the two historically divided traditions. The result is a unique view of American dance history across the divisions of black and white, radical and liberal, gay and straight, performer and spectator, and into the multiple, interdependent meanings of bodies in motion. Susan Manning is associate professor of English, theater, and performance studies at Northwestern University. She is the author of Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, winner of the 1994 de la Torre Bueno Prize for the year's most important contribution to dance studies.
209 citations
Related Topics (5)
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| Year | Papers |
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| 2025 | 5 |
| 2024 | 7 |
| 2023 | 12 |
| 2022 | 39 |
| 2021 | 7 |
| 2020 | 2 |