This mini thesis proposes that the Dance Factory in Ne'Ntown, Johannesburg, is a site of resistance. Its source and motivation are the personal, artistic and socio-poIiticaI sites ofresistance to mainstream forms of dance with nationalistic tendencies and to dominant ideological hegemonies that enforced apartheid or nationalism. Therefore, these sites or resistance are examined prior to and after the democratisation of South African culture. An analysis of the dances choreographed in this period of transition and changing hegemonies reveal shifts of resistance. These are traced within the development of the Dance Factory. Chapter one explores the notion of resistance as a form of power and the notion of site, where the operations of power evoke resistance. Three sites of resistance within South African dance culture are identified and examined. These are the Dance Factory, the artistic site of dance and the site of the dancing body. The chapter reveals the development of these sites in a changed culture and notes a re-orientation of resistance within dance, namely Afro-fusion, and the subsequent development and emergence of 'alternative' sites of resistance. These reveal new expressionistic tendencies, body politics and the feminist strategies of 'new poetics' and 'ecriture feminine'. The codified mainstream forms of dance, subject to nationalistic strategies of dassicism and its inherent Iogocentricity are challenged and destabilised by the emergence of these altemative resistant forms of dance. Chapter two examines the artistic policies of the Nationalist Govemment, the African National Congress and the Dance Factory from 1983-1997. It notes the effects of the changes in the artistic policies on sites of resistance in dance, performed at the Dance Factory. The chapter desaibes the development of the Dance Factory, its policies of diversification as a strategy of resistance, its promotion of praxis, its resistance to nationalism and the ramifications thereof. It also explores the effects of a governmentalisation of culture and the role of the organic intellectual within the Dance Factory. An analysis of the alternative dance work 'Torso-Tongue" in chapter three furthers the argument that the Dance Factory maintains and encourages the changing sites of resistance in dance. This analysis demonstrates the resistant aspects of dance as discussed in chapter one and thereby confirms the aims and missions of the Dance Factory. The thesis examines the role of the Dance Factory as it develops, nurtures and responds to the shifts in resistance and changes in culture and dance. Most importantly the thesis exposes the resistance to and the effects of an imposition of a nationalistic ideology on dance. The resultant resistance to this form of domination is explored in dance within the site of the Dance Factory, thus supporting the premise that the Dance Factory is a site of resistance.

This dissertation analyzes the intellectual and political contributions of choreographer Katherine Dunham (1909-2006). As an African American woman, Dunham broke several barriers of race and gender, first as an anthropologist conducting ethnographic fieldwork in the Caribbean in the 1930s, and second as the artistic director of a major dance company that toured the United States, Latin America, Europe, Asia, and Australia from the 1930s through the 1960s. She also wrote several scholarly books and articles, opened multiple schools, and served on the boards of numerous arts organizations. Although Dunham's contributions to anthropology and dance are vitally important, "Choreographing a New World" emphasizes her political engagement. Through actions both onstage and off, she helped strengthen the transnational ties of black social movements from the New Negro Movement to the Black Power Movement. In particular, the dissertation contends that Dunham made dance one of the primary forces in the creation and perpetuation of the African diaspora. She herself attempted to live diaspora by forging personal connections across racial, linguistic, national, class, and cultural borders. In order to shift the focus to Dunham's intellectual and political engagement, "Choreographing a New World" turns to previously untapped archival sources. This dissertation is the first scholarly work on Dunham to examine archives from the U.S. State Department, Office of Economic Opportunity, Bernard Berenson Papers, Rockefeller Foundation Records, Langston Hughes Papers, and Rosenwald Foundation Papers, among other archives. It combines insights from these archives with choreographic analysis, interviews with Dunham's former dancers and students, and embodied participant-observation research at the annual International Katherine Dunham Technique Seminars from 2010 to 2013. Overall, "Choreographing a New World" not only provides a new perspective on Dunham, but also raises important questions about dance as an intellectual and political activity, especially within an African diasporic context.

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Throughout the 1960s and 1970s, a trailblazing cohort of African American choreographers, dancers, and teachers innovated the aesthetics of their art while also using dance performance as a tool for civic education and community engagement. This group, which included figures like Alvin Ailey, Eleo Pomare, Rod Rodgers, Carole Johnson, and Mozel Spriggs, harnessed the creative potential of the ongoing “dance boom” to intervene in cultural, political, and social debates in American life. They advanced a multistylistic definition of “Black dance,” embracing both Western and Africanist artistic elements. By translating their ideas about pressing sociopolitical topics into the embodied language of movement, they used their choreography to offer explicit commentary on the world around them. Placing a particular emphasis on community engagement, they brought this work to new spaces and contexts, performing in public parks, city streets, college auditoriums, and on broadcast television. Supported by an institutional infrastructure of publications and administrative alliances dedicated to Black dance, they built a national, multiracial audience for their art. Together, these dancemakers functioned as a cohort of public intellectuals, contributing to broader discourse on race, cultural identity, citizenship, and activism within the context of the ongoing Civil Rights and Black Arts Movements. This dissertation marks the first comprehensive study of this innovative generation of Black dance artists. Combining methods from intellectual history, cultural history, and dance studies, it examines their intervention in American life during a period of urban unrest, cultural revolution, and political transformation. Drawing on a wide range of archival materials, including government and foundation records, lesson plans, choreographic notes, personal papers, critical reviews, programs, correspondence, oral histories, video, and photography, this analysis reconstructs choreographers’ embodied ideas and contextualizes audience reception. In their choreography, creative practice, and pedagogy, these dancemakers elevated the beauty and strength of the Black body in motion and emphasized the universality of African American stories. This dissertation likewise argues that Black modern dance offers a new way of thinking about art and its real-world implications, advancing our understanding of the body’s capacity to communicate ideas, educate audiences, and intervene in public life.