This article examines Eleo Pomare's concept of vitality in his piece Blues for the Jungle (1966) as a black aesthetic approach to choreography. Vitality seeks to connect with black audiences in Harlem by referencing and affirming shared cultural knowledge, conveying an embodied epistemology of the US political economy defined by the lived experiences of Harlem: “Harlem knows.” Using a lens of diaspora citation, I argue that Pomare's choreographic citations of “vital” ways of moving and knowing in Harlem critique the terms for “proper” national belonging, while articulating diasporic belonging in motion.

This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different “African” cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.

Between 1958 and 1961, Jerome Robbins's Ballets: U.S.A. company toured to European arts festivals with a repertory of new and existing works, most of which remain in performance more than six decades later. Cold War political and artistic imperatives intersected in choreography that circulated visions of “American” innovation and youthful vitality, danced to an eclectic range of scores by a mixed-race cast. Archival documentation of the funding process reveals discussions about aesthetic priorities and the choreographer's responsibility to the US government. Analysis of press coverage of the performances also considers the extent to which diplomatic objectives were achieved.

This article examines the practice of the Danish K-pop (Korean pop) cover dance crew CODE9 as an example of the rapid cultural exchange on the Internet that reshapes the diffusion of dance styles and ideas. CODE9 demonstrates K-pop as a “migratory dance practice,” forming a transnational dancing community with modern technology at its center. By adapting and embodying K-pop, CODE9 creates a “Thirdspace” in between reality and fantasy, between being oneself and being a Korean idol. With CODE9, K-pop moves in and out of Denmark, through the practice of watching, learning, performing, and then circulating dance online.

Laura Dean's creative output in minimalist art spans interconnected work in dance, music, and drawing. Throughout the early 1970s, Dean represented her compositional structures as works on paper, which present an expanded visualization of her artistic experimentation with color, symmetry, repetition, and form. Dean rejects the reconstruction of her performance works, instead she advances a notion of dances as impermanent. Situating Dean in the context of serial and conceptual art in which the material art object is deemphasized in favor of communicating compositional logic, I argue that Dean presents a choreographic legacy premised on the intentional disappearance of her work in favor of perpetuating ideation and concept.

The Zimbabwean writers Catherine Buckle and Nyaradzo Mtizira reimagine kongonya dance in their works Beyond Tears: Zimbabwe's Tragedy (2002) and The Chimurenga Protocol (2008), respectively. Both the European-born Buckle and the black Zimbabwean Mtizira harness the dance to evoke the post-2000 jambanja experiences associated with Zimbabwe's controversial “Third Chimurenga,” or the fast-track land reform program, beginning in 2000. Their contrasting depictions of dance epitomize the differing views on Zimbabwe's land reform program. Largely, whereas Buckle's novel is a memoir which personalizes a farmer's encounters with dancing African/Zimbabwean “land invaders,” Mtizira's is a panegyric that collectively reimagines a nation's defiant revolution against purported forces of Western imperialism. Both writers’ representations of the post-2000 Zimbabwe's dance performances are therefore colored and compromised by racial subjectivity.

The article examines the hybrid genre of screendance portraiture through the example of 52 Portraits by Jonathan Burrows and collaborators (2016). It unpacks three concepts that are foundational to visual art portraiture and suggests how each might apply to screendance portraits: the truth seeking impulse of portraiture; the portrait transaction, and the relationship between likeness, type and seriality. The article shows how 52 Portraits both relies on and departs from the productive counterpoints found within the portraiture tradition. In so doing, the article builds toward an emergent framework for understanding how screendance portraits function.

The dominant narrative regarding breaking history is that the dance developed as an “exclusively male” expression of inner-city “machismo.” In this study, I challenge this narrative by bringing in the voices of breaking's often-neglected founding practitioners. By juxtaposing primary testimonies with mainstream representations, I aim to show how women have histoirically played a critical role in the dance, and how hegemonic discourse has obscured our understanding of hip-hop's beginnings. I also consider how uncovering the role of women in breaking's history reframes prevailing conceptualizations of its gender performance.

This article discusses dissemination of dances in and out of Sweden, and the dancing communities these processes create. The examples are the African-American Lindy Hop, which originated in New York City, and the polska, a couple dance considered to be the number one Swedish folk dance. Both dances were once used in local community dancing, while today they belong to dancing communities in many places around the world.

Contemporary halling, seen in theatrical dance works by the Norwegian choreogaphers Hallgrim Hansegaard and Sigurd Johan Heide, exists in a fluid interplay between traditional dance and influences from other cultures. This article examines how typical halling moves are negotiated and “remixed” through practices taking place inside and outside of the Nordic sphere. Hansegaard and Heide can be seen as representatives of “wayfinding artists,” influenced by migrant practices through moving, “wayfinding” in and out of the Nordic region.

Dancers and choreographers have always been navigating disability within an ableist representational form. This article questions the ableist histories of modern dance in the United States and seeks to redefine how disability is conceived of within the field of dance. The article explores five themes found within archival research, including overcoming narratives, symbiotic and inseparability of dance and disability, denial of disability, changing choreographic practices, and disability aesthetics. Examples of these themes are found in primary source documents about and by Martha Graham, Ted Shawn, and Doris Humphrey and contextualized throughout the article with dance and disability studies theorization.

This article analyzes the processes of branqueamento (whitening) contained within the ideology of mestiçagem (racial miscegenation) through the work of Brazilian dancer, choreographer, and dance pedagogue Eros Volúsia (1914–2004) in the context of the establishment of the myth of racial democracy in early twentieth-century Brazil. I argue that Eros Volúsia not only embodied Brazil's allegedly harmonious racial mixture through her stylized “folk” dances, but her bailado brasileiro (Brazilian ballet) in fact choreographed Brazil's modernity and aspirations of whiteness. I compare Volúsia's prominent career as a performer and pedagogue in Brazil with her brief film career in the United States, where Volúsia had the opportunity to follow in Carmen Miranda's footsteps and become the next “Brazilian bombshell,” but instead chose to return to Brazil, where she was able to maintain her white privilege and her status as author and artist.

This article examines dance pieces premiered in the Nordic countries at the height of the Syrian refugee crisis in 2015. Framed by the heated debates on current immigration policies, as well as prevailing tropes of a theater of migration and the figure of “the migrant,” the analysis centers on the potential for creating spaces of resistance in the encounter between choreographic performance and spectators. Drawing on analytical concepts such as migratory aesthetics and choreographic agency, the focus is on the interrelationship between the choreographic articulations of experience of migration and their materialization before an audience.

This article argues that the performance of a dance entails varying degrees of openness and spontaneity and that, on these terms, any dance can be considered improvised. The first part substantiates this claim, whereupon the second part deals with the contingent question as to how dancers then handle openness and spontaneity differently in improvisation practices. To answer this question, the article turns to enactive and phenomenological clarifications of agency—our capacity to perform acts—and by analyzing the improvisation of Danish performer Kitt Johnson, indicates how this clarification can help us understand the different ways agency is exercised when improvising.

Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the performing arts more generally, although consistently Orientalized in the process. The designation of works revolving around racist stereotypes as “masterpieces,” and their constant reiteration, amounts to complicity with racism that is not limited to ballet stages.

This essay examines from an artist-researcher perspective the durational solo dance work Likely Terpsichore? (Fragments), created for and performed at the Ashmolean Museum of Art and Archaeology (UK) in 2018. It asks how dance's presence in the archaeological museum might allow an alternative visibility for ancient female bodies previously rendered only partially visible by history. It makes a claim for dance in the archaeological museum as a subversive act of radical archaeology, in terms of how, by playing on notions of dismembering/remembering histories, it seeks to disrupt received notions of how we view and understand ancient history and culture.

In the Gilded Age, Genevieve Lee Stebbins (1857–1934) became a dance soloist admired in New York City's theater world. Stebbins created a foundation from which a new “serious” dance aesthetic emerged and notably inspired the early dance work of Ruth St. Denis and Isadora Duncan; however, she remains an overlooked figure within American dance history. This article chronicles Stebbins's innovations and clarifies misrepresentations of her work in recent scholarship. Unlike other American dance pioneers, there is no public archive dedicated to Stebbins, therefore this article draws upon newly available primary sources to explore Stebbins's foundational work.