This article foregrounds imagination to consider how African diasporic conditions converge with choreographic expression. The analysis “un/maps” dominant understandings of the choreographic process of mid-twentieth-century African American choreographer-anthropologist Katherine Dunham by expanding Kamau E. Brathwaite's (1993) concept of Tidalectics beyond the Caribbean to the wider African diaspora and a distinctly Caribbean comprehension of diasporic imagination. Utilizing datasets and visualizations created by the project, Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry, this article traces how the concept of Brazil is imagined and reimagined within Dunham's archive from 1937 to 1962. In doing so, it considers the complex positionality of Dunham as both a pioneering minoritized woman navigating the politics of race, gender, and financial precarity, and someone who yielded their imperial privilege as a US citizen through their career to bring nuance to Dunham's narrative as a canonical dance figure.

This article focuses on how dance companies have restaged three of the original automata characters from the ballet Coppélia (Arthur Saint-Léon, 1870), described as the “Negro,” the “Moor,” and the “Chinaman.” In conversation with scholarship on the racialization of objects and the object-ification of humans, I claim these characters embody and reenact the ontological effects of slavery and colonialism, in which notions of human and object collapse into one another. I further argue that such processes vary among the roles, illuminating ways the white colonialist perspective constructs the imagined Chinese body differently than the Black body through human-object relations. As a contribution to discussions within the ballet world surrounding the use of blackface and yellowface, this article exposes how ballet choreography both participates in and reveals object-centered acts of racism through embodiment practices.

Human rights scrutiny processes in some Australian parliaments require consideration of whether rights-limiting legislation is reasonable, justifiable, and proportionate. The Queensland Human Rights commissioner has raised concerns of this becoming a “perfunctory ‘tick and flick’ exercise” in which decision-makers perform the “dance steps to [rights] derogation”—a concern emulated by others. Taking this notion of “tick and flick” and “dance steps” literally, this article explores movement and form in the composition of parliamentary human rights scrutiny reports. Drawing from Marie Jacob and Anna Macdonald's notion of legal documents as material, somatic, and metaphorical forms, this article analyzes the choreographic and calligraphic forms in these reports. Through exploring the forms themselves alongside interview data about parliamentary human rights scrutiny practices, this article speculates on whether form has bearing on the process of parliamentary human rights scrutiny, and how form shapes the substance of both the reports and human rights themselves.

The dancer Mademoiselle Mercédès performed in the most important music halls of the Parisian Belle Époque, such as the Folies-Bergère and the Olympia. Her exotic pseudonym reflects the Hispanophilia of this period in France, but she was neither a Spanish dancer nor a native imitator. On the contrary, she displayed great versatility as a dancer and actively participated in the transition to modernity with the dancer Loïe Fuller and the choreographer Madame Mariquita. However, who is behind this artist's name? This research reveals that at least three women used this nickname and only one of them has been previously identified: Julienne Mathieu (1874–1943), who, after her stage career, became one of the most prolific actresses in early cinema. This case study explores the implications of using a pseudonym by a secondary figure in the dance world in fin-de-siècle Paris.

In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.