Subversive Dancing
The Interventions in Jawole Willa Jo Zollar's Batty Moves
Bibliographic Data
| ID | 4552033 |
|---|---|
| Authors | Ananya Chatterjea (corresponding author) |
| Year | 2003 |
| Volume | 55 |
| Issue | 3 |
| Pages | 451-465 |
| Publication date | 2003-10-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tj.2003.0098 |
| OpenAlex | W2078204205 |
| Language | EN |
| References cited | 3 |
This essay analyzes the movement vocabulary and choreographic structure of Batty Moves, a piece created by Jawole Willa Jo Zollar and performed by her company, Urban Bush Women, in order to suggest how the dancing bodies here comment on history and rewrite current cultural stereotypes. It focuses specifically on how the dancers, manipulating typical movement phrases from ballet, modern dance, and African-based movement, negotiate an aesthetic-cultural framework that critiques the fetishization of the black female body while enabling reclamations of black female sexuality
Aesthetics · Art · Ballet · Black female · Dance · Human sexuality · Literature · Modern dance · Movement (music · Negotiation · Order (exchange · Sociology · Visual arts · Diversity and Impact of Dance · Gender Studies · Music History and Culture · Race, History, and American Society
| Citation velocity | historical |
|---|---|
| Highly cited | No |