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The black consciousness movement of the 1960s and 1970s as well as efforts by groups such as The Sacred Dance Guild fostered this dance form, [32] which draws on modern dance and jazz dance. Since the late 1980s gospel mime , in which texts and lyrics are acted out, has found some acceptance in black churches.
The Spirit Moves: A History of Black Social Dance on Film, 1900–1986 is a documentary film by Mura Dehn chronicling the evolution of African-American social dance throughout most of the 20th century. In its original form it consists of nearly six hours of rare archival footage shot over the course of thirty years.
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In a New York Times review on February 19, 1940, dance critic John Martin wrote of Dunham: "Her performance with her group last Sunday at the Windsor Theatre may very well become a historic occasion, for certainly never before in all efforts of recent years to establish Negro dance as a serious medium has there been so convincing and ...
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Katherine Dunham in Tropical Review, Martin Beck Theatre. Katherine Mary Dunham (June 22, 1909 – May 21, 2006) [1] was an American dancer, choreographer, anthropologist, and social activist. Dunham had one of the most successful dance careers of the 20th century and directed her own dance company for many years.
In 1979, she and her husband Percival Borde, whom she met during her research in Trinidad, founded the Pearl Primus "Dance Language Institute" in New Rochelle, New York, where they offered classes that blended African-American, Caribbean, and African dance forms with modern dance and ballet techniques. They also established a performance group ...
He argues that in parts of Portugal and the Basque Country, the word moor is also used to mean 'pagan', and that perhaps morris dance originally meant 'pagan dance', and that bells and disguised faces are a common feature of pagan ritual. Thus, for Gallop, the Moorish link is coincidental and the true origins are much older and pagan.