Open Access (free)
Moving beyond boundaries

Dance has always been a method of self- expression for human beings. This book examines the political power of dance and especially its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement using dance to protest against gendered violence, dabkeh in Palestine and dance as protest against human rights abuse in Israel, the Sun Dance within the Native American Crow tribe, the book focuses on the political power of dance and moments in which dance transgresses politics articulated in words. Thus the book seeks ways in which reading political dance as interruption unsettles conceptions of politics and dance.

Open Access (free)
Dana Mills

99 6 Dancing human rights We have seen that ever since Isadora Duncan entered the stage of political dance, various instances of sic-​sensuous have been performed on the stage of the argument by bodies contracting into themselves and releasing to other bodies, moving and being moved. Those bodies affirm their equality to other bodies –​whether the dancing bodies they intervene against, or bodies inhabiting other worlds that deem them unequal. From Martha Graham’s audiences who are uninvited spectators to the gumboot dancers in South Africa and the flash mob

in Dance and politics
One Billion Rising, dance and gendered violence
Dana Mills

83 5 Dancing the ruptured body: One Billion Rising, dance and gendered violence I move the reader–​spectator to view the performance of a protest movement that calls on us to end violence against women through the power of dance. One Billion Rising, initiated by feminist author and activist Eve Ensler, calls for a global uprising on Valentine’s Day, utilising dance to protest against gendered violence. The impact of the movement has been far-​reaching and its scope ambitious. The site of the movement is the moving body upon which gendered violence is inscribed

in Dance and politics
Isadora Duncan’s danced revolution
Dana Mills

28 2 ‘I dreamed of a different dance’: Isadora Duncan’s danced revolution Modern dance innovator Isadora Duncan (1877–​ 1927) truly moved beyond boundaries, both choreographically and politically. Born in San Francisco, then dancing with Augustine Daly Dance Theatre in 1896, she moved from London to Paris to Berlin in quick succession, performing in salons and achieving success before the age of twenty. In 1905 she established her first school in Germany, aimed at children of all classes, and in 1914 she went to the US and transferred her school there. Duncan

in Dance and politics
Mapuche migration and joy
Martín Llancaman

rhythms heard for the first time, coloured light bulbs, Sunday strolls in the Quinta Normal Park, gente morena (people of colour) dancing in old dark houses on Matucana Avenue, it is from these rhythms and lights, from those dance halls and meadows, that I ask myself a simple question: how do we understand ourselves from joy? How did we live through that past, on the flip side of a coin that so often sealed our fate by showing us the face of suffering? To seek an understanding from a place of joy is to

in Performing the jumbled city
Lesboratories as affective spaces
Tuula Juvonen

challenging to study (Reuter, 2008; Forstie, 2014 ). Whereas historians have successfully used old photographs to study vanishing and mundane material entities and their agency ( Männistö-Funk, 2021 : 64), in the case of lesbian and gay dance parties in Tampere this cannot be done, as no known photographs exist. Hence, in my research I have relied on an analysis of oral history interviews conducted

in Affective intimacies
Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 42 John's G5:Users:john:Public:John's Mac: John's Jobs 2 ‘The master’s dance to the master’s voice’: revolutionary nationalism and women’s representation in Ngugi wa Thiong’o A writer needs people around him. . . . For me, in writing a novel, I love to hear the voices of the people . . . I need the vibrant voices of beautiful women: their touch, their sighs, their tears, their laughter. (Ngugi wa Thiong’o, Detained)1 With these affirmative words, the Kenyan writer Ngugi wa Thiong’o points to the strong position that women

in Stories of women
Monika Gehlawat

Using political and critical theory, this article identifies in James Baldwin a model for citizenship unique to the Black artist who assumed the dual responsibilities of art practice and political activism. I engage with Baldwin’s fiction and his writing about other Black artists working in theater, film, dance, and music during the period of the civil rights movement. Across his career, Baldwin’s prevailing view was that, because of their history, Black artists have the singular, and indeed superlative, capacity to make art as praxis. Baldwin explains that the craft of the Black artist depends upon representing truths, rather than fantasies, about their experience, so that they are at once artists pursuing freedom and citizens pursuing justice. This article pays particular attention to the tension between living a public, political life and the need for privacy to create art, and ultimately the toll this takes on the citizen artist. Baldwin demonstrates how the community of mutual support he finds among Black artists aids in their survival. In his writings on Sidney Poitier and Lorraine Hansberry, his friendships with Beauford Delaney and Josephine Baker, as well as his reviews of music and literature, Baldwin assembles a collective he refers to as “I and my tribe.”

James Baldwin Review
What Lessons Can Be Drawn from Case Studies in France, the United States and Madagascar?
Hugo Carnell

a toll-free case-reporting number, and a crackdown on ‘fake news’ spread via social media ( BBC, 2017 ). The government also suppressed traditional Malagasy famadihana burial practices. These involve exhuming the corpse of the dead, rewrapping them in fresh cloth, and dancing with the body around the family crypt, a practice which has been linked to the transmission of pneumonic plague ( Sodikoff, 2019 : 48). Many bodies of plague victims were

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

dancing, singing and learning in orphanages and schools are ‘healthy’ and ‘happy’ ( New Near East , 1921 : 4). The visual economy of aid (and its underlying moral, political and religious components) thus involved a plethora of emotions not limited to care, compassion, and empathy; filmic narratives also involved indignation that enabled new affective and intellectual engagements of the audience with ‘others’. The use of blame, which previous studies have underestimated, is of particular interest. Instead of shaming oppressors, the movies blamed the audience for not

Journal of Humanitarian Affairs