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- W3213321556 abstract "IN THE LATE 1940s, a highly regarded critic for the New York Times wrote thatthe modern dance revolution had opened the way for black Americans to findthemselves as “creative artists.” The widespread embrace of new choreographicstyles had enabled them, John Martin asserted, to “release in communicativeessence the uninhibited qualities of the racial heritage, no matter what theimmediate subject of any specific dance might be.” Martin’s survey text(republished in 1963 and in 1970) ranged over a large number of themes. But whatstood out, from first version to last, was the chapter “The Negro Dance,” with itspersistent references to the “intrinsic” and the “innate.” One feature of the Negrodancer, Martin insisted, “is his uniquely racial rhythm”:Far more than just a beat, it includes a characteristic phrase, manifestedthroughout the entire body and originating sometimes so far from itseventual point of outlet as to have won the description of “lazy… Closelyallied to this pervasive rhythm is the wide dynamic range of his movementitself, with, at one extreme, vigor and an apparently inexhaustible energy(though, be it noted, a minimum of tension), and at the other extreme, arich command of relaxation.1" @default.
- W3213321556 created "2021-11-22" @default.
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- W3213321556 date "2004-06-01" @default.
- W3213321556 modified "2023-09-23" @default.
- W3213321556 title "The Anatomy of Scientific Racism Racialist Responses to Black Athletic Achievement" @default.
- W3213321556 doi "https://doi.org/10.4324/9780203497456-24" @default.
- W3213321556 hasPublicationYear "2004" @default.
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