- The Oxford Handbook of Critical Improvisation Studies
- Contributors to Volume 1
- Introduction: On Critical Improvisation Studies
- Cognitive Processes in Musical Improvisation
- The Cognitive Neuroscience of Improvisation
- Improvisation, Action Understanding, and Music Cognition with and without Bodies
- The Ghost in the Music, or the Perspective of an Improvising Ant
- The Improvisative
- Jurisgenerative grammar (for alto)
- Is Improvisation Present?
- Politics as Hypergestural Improvisation in the Age of Mediocracy
- On the Edge: A Frame of Analysis for Improvisation
- The Salmon of Wisdom: On the Consciousness of Self and Other in Improvised Music and in the Language that Sets One Free
- Improvising Yoga
- Michel de Montaigne, or Philosophy as Improvisation
- The Improvisation of Poetry, 1750–1850: Oral Performance, Print Culture, and the Modern Homer
- Germaine de Staël’s <i>Corinne, or Italy</i> and the Early Usage of Improvisation in English
- Improvisation, Time, and Opportunity in the Rhetorical Tradition
- Improvisation, Democracy, and Feedback
- Improvised Dance in the Reconstruction of <i>THEM</i>
- Improvising Social Exchange: African American Social Dance
- Fixing Improvisation: Copyright and African American Vernacular Dancers in the Early Twentieth Century
- Performing Gender, Race, and Power in Improv Comedy
- Shifting Cultivation as Improvisation
- Improvisation in Management
- Free Improvisation as a Path-Dependent Process
- Musical Improvisation and the Philosophy of Music
- Improvisation and Time-Consciousness
- Improvising <i>Impromptu,</i> Or, What to Do with a Broken String
- Ensemble Improvisation, Collective Intention, and Group Attention
- Interspecies Improvisation
- Spiritual Exercises, Improvisation, and Moral Perfectionism: With Special Reference to Sonny Rollins
- Improvisation and Ecclesial Ethics
Abstract and Keywords
This chapter explores African American social dance structures of the twentieth and twenty-first centuries, in which improvisation operates as a crucial methodology and ideology. It demonstrates the unimpeachable centrality of the physical practice of improvisation and shows that “creating while doing,” or consistently asking questions while moving, becomes foundational to the emergence of a black social self in communion with others.
Thomas F. DeFrantz is Professor of Dance and African American Studies at Duke University. He is the director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications, in residence at Duke University. An author, director, and performer, he co-convenes the working group Black Performance Theory, the Collegium for African Diaspora Dance, and the Choreography and Corporeality of the International Federation for Theatre Research. He acts as President of the Society of Dance History Scholars. Thomas DeFrantz is Professor of Dance and African American Studies at Duke University.
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