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This anthology brings together a diverse array of perspectives and histories that weave together notions of Black-ness, British-ness, and dance. It offers a starting point for those interested in these topics, signposting readers to other sources while also providing an extensive overview of companies, artists, events, and artworks that compose a foundational account.
The chapters foreground Black-ness within the multicultural landscape of British dance, addressing gaps in narratives of dance history, development, and innovation from a British perspective. Engaging with Black-ness as diasporic multiplicities expressed through the lived contexts of Caribbean British, African British, Black British, and Afro-Indigenous British lineages, alongside African American influences that have been lived and developed within Britain the collection highlights artists whose work has profoundly shaped and continues to enrich the British dance landscape. More than a record of the past, this book reflects the living, evolving presence of Black-ness in British dance today.
List of contents
.- Introduction.- Chapter 1: Sankofa Performance: African Caribbean Dance in Britain, H Patten (Open University, Irie! Dance Theatre).- Chapter 2: Black Practice: Identity, Innovation & Continuity, Robert Ramdhanie (Independent Scholar).- Chapter 3: Reclaiming Land: Mary Woolaston and The Black Mary Project, Valerie Ebuwa (Independent).- Chapter 4: A Black British Jazz Dance Renaissance, Jerry Barry, Jreens Green, Ellen Miller, Lee Rochester, Orson Nava, Juliet Vibert, and Annette Walker (The Jazz Dance Collective).- Chapter 5: A Moment in Time: Michael Hall s Dance Lessons with Buddy Bradley, Sandie Bourne (Independent Scholar).- Chapter 6: Harmonies of Heritage: Sound Systems and Dance Across Generations: In conversation with Donald Edwards, Yassmin V. Foster (University of East London).- Chapter 7: Navigating British ballet institutions: Dancing with the Scottish Ballet, Vincent Hantam (Independent) and Sandie Bourne (Independent Scholar).- Chapter 8: Becoming Namron: From Asphalt to Maplewood Floor, an Interview with Namron, Carolene Sargeant (Independent).- Chapter 9: British Popping History: An Introduction, Alex Mechanikool Peters (Independent).- Chapter 10: London Youth Dance Theatre, Hilary Ball (Independent) and Adesola Akinleye (Texas Woman s University).- Chapter 11: Mara Ya Pili: Youth Dance in Leeds, Paul Hambley (Independent).- Chapter 12: A Home for Dance: An Introduction to the Carol Straker Dance Foundation and Company, Carol Straker (Independent).- Chapter 13: Chickens Coming Home to Roost: UK Hip Hop Dance and Theatre, Robert Hylton (Independent).- Chapter 14: Ballet Reaching out, Brenda Garratt-Glassman and Julie Felix.- Chapter 15: Heritage in Dance: Caribbean Dance in Britain, Caroline Muraldo (Independent).- Chapter 16: Weekend Arts College and Its Contribution to Black Dance, Celia Greenwood (Independent).- Chapter 17: Profiling Dance of the African Diaspora Choreographers from a Cultural Producer Perspective, Mercy Nabirye (Independent) interviews Carl Campbell and Bawren Tavaziva.- : Stewart Avon-Arnold and British Contemporary Jazz, Stewart Avon[1]Arnold (Independent) and Adesola Akinleye (Texas Woman s University).- Chapter 19: A Love Letter to Jackie Guy (1944 2021): Interview with Chester Morrison, Hopal Romans (Royal Academy of Dance).- Chapter 20: Dance & Diversity Irie! Dance Theatre 40 years and still counting..., Beverley Glean (Irie! Dance Theatre).- Chapter 21: Phoenix Dance Theatre: Rising and Rebellion, Laura Griffiths, (Leeds Beckett University) and Marcus Jarrell Willis, (Phoenix Dance Theatre).- Chapter 22: Stuart Thomas: Soul Boy, Stuart Thomas (Independent).- Chapter 23: Union Dance Company, Corrine Bougaard (Union Dance Company), and Michael Joseph (Union Dance Company).- Chapter 24: Dancing African and Caribbean Identities: an overview, Alison Ray (Independent).- Chapter 25: Dance United: Developing Dance in the Community and in Prisons, Tara Herbert (Independent).- Chapter 26: State of Emergency, Deborah Baddoo (State of Emergency) and Jane Carr (Bird College).- Chapter 27: Adzido Pan-African Dance Ensemble and the development of professional practice in the UK: The Dance Journeys of Hilary Carty, Judith Palmer, and H Patten, Funmi Adewole-Elliott (Independent Scholar).- Chapter 28: Breakin Convention, Michelle Norton and Jonzi D in conversation, Adesola Akinleye (Texas Woman s University).-
About the author
Edited by a collective of dance-artist-scholars—
Adesola Akinleye
,
Sandie Bourne
,
Beverley Glean
MBE,
Louise Katerega
, and
Hopal Romans
—with
Julia Cheng
contributing to the original planning alongside the editorial team, this book is both a resource and an invitation. It is essential for students, scholars, artists, and practitioners seeking to engage with the histories, innovations, and lived practices of dance.
Summary
This anthology brings together a diverse array of perspectives and histories that weave together notions of Black-ness, British-ness, and dance. It offers a starting point for those interested in these topics, signposting readers to other sources while also providing an extensive overview of companies, artists, events, and artworks that compose a foundational account.
The chapters foreground Black-ness within the multicultural landscape of British dance, addressing gaps in narratives of dance history, development, and innovation from a British perspective. Engaging with Black-ness as diasporic multiplicities—expressed through the lived contexts of Caribbean British, African British, Black British, and Afro-Indigenous British lineages, alongside African American influences that have been lived and developed within Britain—the collection highlights artists whose work has profoundly shaped and continues to enrich the British dance landscape. More than a record of the past, this book reflects the living, evolving presence of Black-ness in British dance today.
