Two traditionally divided strains of American dance, Modern Dance and Negro Dance, are linked through photographs, reviews, film, and oral history, resulting in a unique view of the history of American dance.

American Society for Aesthetics Selma Jeanne Cohen Prize in Dance Aesthetics Before Columbus Foundation American Book Award Dancing in Blackness is a professional dancer's personal journey over four decades, across three continents and 23 countries, and through defining moments in the story of black dance in America. In this memoir, Halifu Osumare reflects on what blackness and dance have meant to her life and international career. Osumare's story begins in 1960s San Francisco amid the Black Arts Movement, black militancy, and hippie counterculture. It was there, she says, that she chose dance as her own revolutionary statement. Osumare describes her experiences as a young black dancer in Europe teaching "jazz ballet" and establishing her own dance company in Copenhagen. Moving to New York City, she danced with the Rod Rodgers Dance Company and took part in integrating the programs at the Lincoln Center. After doing dance fieldwork in Ghana, Osumare returned to California and helped develop Oakland’s black dance scene. Osumare introduces readers to some of the major artistic movers and shakers she collaborated with throughout her career, including Katherine Dunham, Pearl Primus, Jean-Leon Destine, Alvin Ailey, and Donald McKayle. Now a black studies scholar, Osumare uses her extraordinary experiences to reveal the overlooked ways that dance has been a vital tool in the black struggle for recognition, justice, and self-empowerment. Her memoir is the inspiring story of an accomplished dance artist who has boldly developed and proclaimed her identity as a black woman.

Dance and literary studies have traditionally been at odds: dancers and dance critics have understood academic analysis to be overly invested in the mind at the expense of body signification; literary critics and theorists have seen dance studies as anti-theoretical, even anti-intellectual. Bodies of the Text is the first book-length study of the interconnections between the two arts and the body of writing about them. The essays, by scholar-critics of dance and literature, explore dances actual and fictional to offer powerful new insights into issues of gender, race, ethnicity, popular culture, feminist aesthetics, historical "embodiment," identity politics, and narrativity. The general introduction traces the genealogy of dance studies in the academy to suggest why critical and theoretical attention to dance--and dance's challenges to writing--is both compelling and overdue. A milestone in interdisciplinary studies, Bodies of the Text opens both its fields to new inquiry, new theoretical precision, and to new readers and writers.

A collection of essays concerning the black body in American dance, EmBODYing Liberation serves as an important contribution to the growing field of scholarship in African American dance, in particular the strategies used by individual artists to contest and liberate racialized stagings of the black body. The collection features special essays by Thomas DeFrantz and Brenda Dixon Gottschild, as well as an interview with Isaac Julien.

Peter H. Wood’s groundbreaking history of Blacks in colonial South Carolina, with a new foreword by National Book Award winner Imani Perry. First published in 1974, Black Majority marked a breakthrough in our understanding of early American history. Today, Wood’s insightful study remains more relevant and enlightening than ever. This landmark book chronicles the crucial formative years of North America’s wealthiest and most tormented British colony. It explores how West African familiarity with rice determined the Lowcountry economy and how a skilled but enslaved labor force formed its own distinctive language and culture. While African American history often focuses on the nineteenth and twentieth centuries, Black Majority underscores the significant role early African arrivals played in shaping the direction of American history. This revised and updated fiftieth anniversary edition challenges a fresh generation with provocative history and features a new epilogue by the author.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Haiti has long been both a source of immense pride--because of the Haitian Revolution--and of profound disappointment--because of the unshakable realities of poverty, political instability, and violence--to the black diasporic imagination. Charting the long history of these multiple meanings is the focus of Millery Polyne's rich and critical transnational history of U.S. African Americans and Haitians. Stretching from the thoughts and words of American intellectuals such as Frederick Douglass, Robert Moton, and Claude Barnett to the Civil Rights era, Polyne's temporal scope is breathtaking. But just as impressive is the thematic range of the work, which carefully examines the political, economic, and cultural relations between U.S. African Americans and Haitians. From Douglass to Duvalier examines the creative and critical ways U.S. African Americans and Haitians engaged the idealized tenets of Pan Americanism--mutual cooperation, egalitarianism, and nonintervention between nation-states--in order to strengthen Haiti's social, economic, and political growth and stability. The depth of Polyne's research allows him to speak confidently about the convoluted ways that these groups have viewed modernization, "uplift," and racial unity, as well as the shifting meanings and importance of the concepts over time.