ABSTRACT Name: Debra J. Nelson Department: Counseling, Adult And
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ABSTRACT Name: Debra J. Nelson Department: Counseling, Adult and Higher Education Title: Perceptions of the Meaning of Dance Choreography by Contemporary African-American Dancers, Choreographers, and Educators Major: Adult and Higher Education Degree: Doctor of Education Approved by: Amy D. Rose Date: Dissertation Director ' NORTHERN ILLINOIS UNIVERSITY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT This study explored the reasons why some African-American dancers, choreographers, and educators choreograph, how they choreograph, and what they choreograph about. This study investigated how the dance experience provides meaning for these individuals and their perceptions of the meaning of Black dance. Although we know dance has been used as a vehicle of expression for artists, and of particular interest in this study, the African-American artist, we do not know what the dance experience means to these individuals. Prior research has not explored the creation of dance as both a personal and cultural phenomenon for African Americans. No one has looked at how the African-American artist is impacted by internal and external forces and how these forces become manifested in the work they create. To examine these questions and uncover salient themes in the choreography of the African-American artists in this study, an interpretive qualitative design using life history was employed. Twelve professional African-American dancers, choreographers, and educators were interviewed about their experiences as choreographers. The analysis revealed how outside forces (i.e., life experience, socio-political and economic forces, history, music, and religion) impact the artists and become manifested in their choreographic works. The findings disclosed how Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. these artists take what they have learned about self lfom personal experiences (i.e., life, emotions) and transform that knowledge into dance. The dance making of these individuals comes from their personal experience. Their culture informs their view, which influences their art, manifesting itself in the choreography they create, producing a new and transformed culture of awareness. The reasons the participants choreograph are descriptive, educative, and prescriptive in nature. They use dance to tell stories, communicate, educate, raise awareness of social issues, and in some instances create change in society. The findings indicated these individuals found the dance experience to be empowering, transforming, and liberating. Several of the participants disclosed the dance experience provided an emotional, spiritual, or physical release. Although there was no agreement regarding the use of the term “Black dance,” the participants indicated an African-American aesthetic present in the choreographic works of many African- American artists. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NORTHERN ILLINOIS UNIVERSITY PERCEPTIONS OF THE MEANING OF DANCE CHOREOGRAPHY BY CONTEMPORARY AFRICAN-AMERICAN DANCERS, CHOREOGRAPHERS AND EDUCATORS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF EDUCATION DEPARTMENT OF COUNSELING, ADULT AND HIGHER EDUCATION BY DEBRA J. NELSON 5 2007 Debra J. Nelson DEKALB, ILLINOIS DECEMBER 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3301642 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3301642 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Certification: In accordance with departmental and Graduate School policies, this dissertation is accepted in partial fulfillment o f degree requirements. Dissertationduirector ii-4 -o'? Date ANY use o f m aterial contained HEREIN m u s t b e d u l y acknowledged THE AUTHOR'S PERMISSION MUST BE OBTAINED IF ANY PORTION IS TO BE PUBLISHED OR INCLUDED IN A PUBLICATION. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page LIST OF TABLES........................................................................................... viii LIST OF FIGURES......................................................................................... ix LIST OF APPENDICES................................................................................. x PREFACE........................................................................................................ xi Chapter 1. INTRODUCTION............................................................................. 1 Background............................................................................ 1 The Problem.......................................................................... 4 Research Questions............................................................... 7 The Purpose of This Study.................................................. 7 The Significance of the Study.............................................. 8 Theoretical Framework........................................................ 12 Limitations............................................................................ 14 Definition of Terms.............................................................. 15 Overview of the Dissertation.............................................. 16 2. REVIEW OF THE LITERATURE................................................. 18 Early Beginnings.................................................................. 19 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iv Chapter Page Dance in African Culture..................................................... 20 The Slave Trade..................................................................... 22 The West Indies.................................................................... 23 Slavery in the New World................................................... 25 Post-Emancipation................................................................. 30 From the Dance Hall to the Concert Stage.......................... 31 Socio-Cultural and Socio-Political Climate in North America....................................................................... 34 The African-American Dance Pioneers................................ 35 Social Justice.......................................................................... 39 Life Experience...................................................................... 40 Autobiography....................................................................... 43 The Body as Identity.............................................................. 45 Connecting to the Past........................................................... 47 Dance Pedagogy.................................................................... 49 Africanist Elements/Qualities............................................... 50 Black Dance............................................................................ 52 Summary................................................................................ 55 3. METHODOLOGY............................................................................ 56 Introduction............................................................................ 56 Research Questions................................................................ 56 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V Chapter Page Methodological Approaches................................................. 56 Data Collection Strategy....................................................... 59 The Participants.................................................................... 64 Data Analysis....................................................................... 67 Introduction to Life Histories.............................................. 72 4. DANCE AS DESCRIPTION ............................................................ 75 Randy Duncan...................................................................... 76 Kirby Reed............................................................................ 97 Mel Tomlinson...................................................................... 114 Pierre Lockett...................................................................... 127 Chapter Summary.................................................................. 142 5. DANCE AS EDUCATIONAL DISCOURSE ................................. 148 Iantha Tucker........................................................................