78 p., Examines the ways in which the African American identity articulates and constructs itself through dance. Norman Bryson, an art historian, suggests that approaches from art history, film and comparative literature are as well applicable to the field of dance research. Therefore, as his main critical lens and a theoretical foundation, the author adopts the analytical approach developed by Erwin Panofsky, an art historian and a proponent of integrated critical approach, much like the one suggested by Bryson. Demonstrates that Erwin Panofsky's iconology, when applied as a research method, can make valuable contributions to the field of Dance Studies. Uses Katherine Dunham's original recordings of diaspora dances of the Caribbean and her modern dance choreography titled L'Ag'Ya to look for evidence for the paradigm shift from "primitive" to "diaspora" in representation of Black identity in dance also with the aim of detecting the elements that produce cultural difference in dance.
The major event -- "A Moment in Time" -- will take place on Saturday (June 25th). It's a white- tie tribute gala honoring the life mission of [Katherine Dunham]. The honorary chairs of the event -- Harry Belafonte, Danny Glover and Dick Gregory -- will be joined by a host of other luminaries, including Eugene Redman, poet-laureate of the State of Illinois, to highlight the many contributions of the "Grande Dame of Modern and African Dance" who was instrumental in projecting Haiti on the international scene in the 1940's and '50's. An alert Ms. Dunham reminisced about Haiti's "glorious days" under Presidents Estimé and Magloire. She said, "You all were too young to know about that!" When the Prime Minister said, "Oh no! We aren't that young, we were there too," she beamed and added: "So, you know what I'm talking about."
