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.

中文翻译：

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凯瑟琳·邓纳姆剧目中的潮汐解/映射与非洲侨民想象力的表现

本文提出了想象，以思考非洲侨民的状况如何与舞蹈表达相融合。通过将 Kamau E. Brathwaite (1993) 的潮汐学概念扩展到加勒比海以外的更广泛的非洲侨民和一个独特的加勒比地区，分析“un/map”了二十世纪中叶非裔美国编舞家兼人类学家凯瑟琳·邓纳姆 (Katherine Dunham) 对编舞过程的主要理解。对离散想象力的理解。本文利用邓纳姆数据：凯瑟琳·邓纳姆和舞蹈历史调查数字方法创建的数据集和可视化，追溯了 1937 年至 1962 年邓纳姆档案中如何想象和重新想象巴西的概念。邓纳姆的地位既是一位在种族、性别和经济不稳定的政治中游刃有余的少数族裔女性先驱，又是一位在职业生涯中放弃了美国公民的帝国特权的人，为邓纳姆作为经典舞蹈人物的叙述带来了细微差别。