This essay analyzes Bill T. Jones/Arnie Zane Company's 2009 work Fondly Do We Hope…Fervently Do We Pray and its centering of Black women in US American history and contemporary choreographic practices. While the work's revisionist representation of national history could be understood as activist in terms of its desire to activate the spectator, this essay centers what performance might do for Black women performers and their personal practices of artistry and activism over what impulses toward social justice Black women's performances might galvanize in their audiences. Attributing FDWH's transformative potential to its aesthetic combination of postmodernism and sentimentalism and its erotic historiography, I theorize the work as a choreohistory, a mode of cultural production wherein the ordering of movement and the ordering of the past interanimate one another.

中文翻译：

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我自己，跳舞：美国舞蹈和历史中黑人女性的编排

这篇文章分析了比尔·T·琼斯/阿尼·赞恩公司 2009 年的作品《Fonly Do We Hope...Fervently Do We Pray》，以及它在美国历史和当代舞蹈实践中对黑人女性的关注。虽然该作品对国家历史的修正主义表现可以被理解为活动家，因为它渴望激活观众，但这篇文章将表演对黑人女性表演者的作用以及她们个人的艺术实践和行动主义集中在对社会正义的推动上。表演可能会激发他们的观众。将 FDWH 的变革潜力归因于其后现代主义和感伤主义的美学结合及其色情史学，我将这部作品理论化为编舞史，