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Re-framing the vernacular: The danc...

Kraut, Anthea Catherine.

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Re-framing the vernacular: The dance praxis of Zora Neale Hurston.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Re-framing the vernacular: The dance praxis of Zora Neale Hurston./
Author:	Kraut, Anthea Catherine.
Description:	644 p.
Notes:	Adviser: Susan Manning.
Contained By:	Dissertation Abstracts International63-04A.
Subject:	American Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3050547
ISBN:	0493650997

Re-framing the vernacular: The dance praxis of Zora Neale Hurston.
Kraut, Anthea Catherine.

Re-framing the vernacular: The dance praxis of Zora Neale Hurston. - 644 p.

Adviser: Susan Manning.

Thesis (Ph.D.)--Northwestern University, 2002.

Focusing on the revues that Zora Neale Hurston produced throughout the 1930s, this dissertation restores the record of Hurston's contributions to the field of American dance history and uses her stagings of Bahamian folk dances to reconsider the relationship between Hurston and the vernacular itself. Whereas the recent canonization of Hurston celebrates her ability to adapt non-literate folk traditions to literary forms, I complicate the existing scholarship, positing that while the transformation of the vernacular lay at the very core of Hurston's artistic work, this operation was by no means a straightforward or unidirectional one. Not only are vernacular expressive forms themselves always already engaged in a myriad of negotiations, undergoing and resisting commodification by the mainstream, but Hurston too was forced to negotiate the often conflicting demands of ownership, authorship, and authenticity. By attending to the manifold ways in which Hurston worked to shape the meaning of the dance forms she staged, this dissertation foregrounds her re-framing of the vernacular—the process by which she fashioned non-commodified, communal folk forms into a theatrical, commercial product.

ISBN: 0493650997Subjects--Topical Terms:

1017604
American Studies.

Re-framing the vernacular: The dance praxis of Zora Neale Hurston.
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100 1 $a Kraut, Anthea Catherine. $3 1254945
245 1 0 $a Re-framing the vernacular: The dance praxis of Zora Neale Hurston.
300 $a 644 p.
500 $a Adviser: Susan Manning.
500 $a Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1169.
502 $a Thesis (Ph.D.)--Northwestern University, 2002.
520 $a Focusing on the revues that Zora Neale Hurston produced throughout the 1930s, this dissertation restores the record of Hurston's contributions to the field of American dance history and uses her stagings of Bahamian folk dances to reconsider the relationship between Hurston and the vernacular itself. Whereas the recent canonization of Hurston celebrates her ability to adapt non-literate folk traditions to literary forms, I complicate the existing scholarship, positing that while the transformation of the vernacular lay at the very core of Hurston's artistic work, this operation was by no means a straightforward or unidirectional one. Not only are vernacular expressive forms themselves always already engaged in a myriad of negotiations, undergoing and resisting commodification by the mainstream, but Hurston too was forced to negotiate the often conflicting demands of ownership, authorship, and authenticity. By attending to the manifold ways in which Hurston worked to shape the meaning of the dance forms she staged, this dissertation foregrounds her re-framing of the vernacular—the process by which she fashioned non-commodified, communal folk forms into a theatrical, commercial product.
520 $a Taking up this more nuanced approach to representations of the vernacular, the dissertation interrogates the conditions of production leading up to and governing the New York premiere of Hurston's folk concert, revealing how she struggled to maintain artistic control over her program amidst the regulations and impositions of her wealthy white patron. I then attend to the narrative structure and performance conventions of the revue itself, which depicted a day in the life of a railroad work camp, from the waking of the camp at dawn to the rousing West Indian Fire Dance at midnight. Beneath the surface claims of authenticity, Hurston's concerts were actually complex stagings of the tensions between Afrocentric roots and diasporic routes. Turning finally to the re-surfacing of the Fire Dance on the American dance landscape in the 1930s—in subsequent productions by Hurston and by the troupe of Bahamian dancers whom she trained—this dissertation uncovers the consequential yet convoluted role that the black vernacular played in the formation of multiple dance traditions in the early twentieth century.
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790 1 0 $a Manning, Susan, $e advisor
791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3050547