Black Dance: From 1619 To Today Download Free (EPUB, PDF)
A complete history of black dance forms, this book explores folk, ballet, jazz, tap, Broadway/Hollywood, disco, and breakdancing. An ultimate research tool, it includes portraits of hundreds of important black dancers and choreographers.
Paperback: 397 pages
Publisher: Princeton Book Company; 2 edition (September 1, 1989)
Language: English
ISBN-10: 0916622630
ISBN-13: 978-0916622633
Product Dimensions: 6 x 1 x 9 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review: 4.8 out of 5 stars See all reviews (4 customer reviews)
Best Sellers Rank: #522,588 in Books (See Top 100 in Books) #46 in Books > Arts & Photography > Performing Arts > Dance > Reference #89 in Books > Textbooks > Humanities > Performing Arts > Dance #147 in Books > Arts & Photography > Performing Arts > Reference
I read this book chiefly as an aid to my study of Black traditional folk music, especially about the banjo and the fiddle. This book has outstanding information about fiddling and banjo playing by Africans in the Americas in the colonial periods. I've read specialized books and research papers on that topic, but I have never seen some of the reports that appear in the early part of Emery's book of banjo playing on slave ships, banjo playing in Cuba, and early Black dancing to these instruments. Emery's discussion of dance under slavery is quite interesting, particularly her account of how similar dances existed among Africans who were enslaved in the West Indies and Latin America as were danced by Africans in the United States. Some of the African dances shared across the Americas, particularly La Bomba and the Kalinda, remain known by people familiar with Mexican and Mexican American music or Creole and Zydeco music from Louisiana.I was pleased to find a balanced acount of dance in minstrelsy. She speculates that many of the dances that were done in minstrelsy by whites and the few African Americans involved were not reproductions of Black dances, but African-Americanized versions of white folk dancing. This offsets what I consider an overemphasis on minstrelsy's transmission of African American music and dance and a correct estimation of how much European-American content was involved.After minstrelsy, she turns her attention to dancing by African Americans in the public entertainment industry, and loses any focus on the Black Southern rural masses who were a majority of the Black population until the 1960s.
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