Springer, Jennifer ThoringtonTressler, Gretchen E.Kubitschek, Missy DehnShepherd, Susan Carol2011-06-032011-06-032011-06-03https://hdl.handle.net/1805/2592http://dx.doi.org/10.7912/C2/385Indiana University-Purdue University Indianapolis (IUPUI)Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).en-USCaribbeanLiteratureAnglophoneDanceIdentityCultureCommunityRitualPerformancePolitical consciousnessPostcolonialCarnivalEkphrasisAfro-CaribbeanEarl LovelacePaule MarshallMarie-Elena JohnSamuel SelvonSelvon, Samuel. -- Lonely LondonersLovelace, Earl, 1935- -- Dragon can't danceMarshall, Paule, 1929- -- Praisesong for the widowJohn, Marie-Elena. -- UnburnableCaribbean literature (English) -- History and criticismDance in literature -- History and criticismThesis