Bone-Breaking, Black Social Dance, and Queer Corporeal Orature
Bone-Breaking, Black Social Dance, and Queer Corporeal Orature
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碎骨舞、黑人社交舞和酷儿肉体表演
DOI：
10.1080/00064246.2015.1119624
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Thomas F. Defrantz
中科院分区：
文献类型：
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作者：
Thomas F. Defrantz
黑人表演在其结构中为反抗性的酷儿美学提供了特权空间：酷儿的存在和酷儿的姿态是黑人表现艺术的基础。非洲主义的表演美学结构支撑着非裔美国人音乐和舞蹈的流行形式;这些美学结构重视在群体认可的运动结构中前所未有的个人创新姿态。通常，在这些社交舞蹈形式中定义卓越的创新姿态违背了对规范性别或性身份的共同期望。此外，许多非裔美国人衍生的社交舞蹈出现在非规范的身份政治空间。本文探讨了对性别整合的抵制，围绕着二十一世纪的某些黑人社交舞蹈的发展和实践，并关注非酷儿舞者的酷儿姿态的参与，这种抵制的酷儿美学通常体现在非裔美国人的直男和其他渴望享受酷儿创造力的社会可能性的人身上。
Black performance provides privileged space for a resistant queer aesthetic in its structure: queer presence and queer gesture are foundational to the Black expressive arts. Africanist aesthetic structures of performance underpin popular forms of African American music and dance; these aesthetic structures value the unprecedented gestures of individual innovation within a movement structure recognized by the group. Often, the gesture of innovation that defines excellence in these social dance forms defies common expectations of normative gender or sexual identity. In addition, many African American–derived social dances emerge from spaces of non-normative identity politic. This essay explores the resistance to gender conformity that surrounds the development and practice of certain Black social dances of the twenty-first century, and concerns itself with the engagement of queer gesture by non-queer dancers—the ways that resistant queer aesthetics are routinely embodied by African American straights and others eager to enjoy the social possibilities of queer creativity.