Africanist Dance Traditions

Africanist Dance Traditions

Academic Year:
2012 - 2013 (June 1, 2012 through May 31, 2013)
Funding Requested:
$500.00
Project Dates:
-
Applicant(s):
Overview of the Project:
Africanist Dance Traditions This proposal is support and enhance the instruction of the course Dances in Culture: Africanist Dance Traditions from Minstrelsy to Hip Hop through guest lectures and movement sessions with experts in such Africanist dance forms as Rhythm Tap, African American stepping, Hip Hop and Dunham Technique. Offered each winter and cross-listed in Dance and Afro-American and African Studies (AAS), the course uses a mixture of lecture, class discussion, movement sessions, and video screenings to explore the relationship between African-American vernacular dance forms and their influence upon 20th century American popular and concert performance, and places embodied learning at its center. Movement sessions and master classes in various Africanist dance forms provide the means for students, non-dancers and dancers alike, to understand the history and impact of African Diaspora dance in the United States through their own dancing bodies. Funds will provide honoraria for guest lecturers Alde Lewis, Jr., Penny Godboldo, and others, providing expertise in Rhythm Tap, Dunham Technique, African-American stepping, Hip Hop, and West African dance, thus enhancing student experience of these forms. It will also provide specialist drummer/accompanist fees for sessions that require live accompaniment. Funds may be spread over a two-year period to bring in experts on a rotating basis, based on artist availability.
Final Report Fields
Project Objectives:

Objective was to provide funding for honoraria for guest lecturers expert in Africanist dance forms beyond the expertise of the instructor as well as live musicians expert in such styles to accompany those classes as needed. Those sessions would augment those taught by the instructor, thus allowing the instructor to better focus on her knowledge base as a cultural historian and theorist. These movement sessions and master classes in various Africanist dance forms provide the means for students, non-dancers and dancers alike, to understand the history and impact of African Diaspora dance in the United States through their own dancing bodies.

Project Achievements:

There were a total six master classes with artists from Flint, Detroit, Washington, DC and Jackson Michigan over the two winter terms of the two-year period. Students had broader and deeper exposure by these classes that were often threaded with the sharing of rich oral histories based on that instructors’ experiences as “keepers” of these forms. These experiences added to my arsenal of oral histories of these forms; It strengthened the content and confirmed that the practice should continue - and hopefully be funded from within the department's budget.

Continuation:
The course continues to be taught each year, albeit without the additional funding to bring in external artists of such caliber. One solution has been to barter with local experts, exchanging master classes at each other's home institutions whenever possible.
Dissemination:
Notices of the master classes were publicized within the department as well as the SMTD's website.