B-BIOGRAPHY: RE-PRESENTING B-BOYING AS AN ENABLING ACCOMPANIMENT TO AUTOBIOGRAPHICAL PERFORMANCE

Abstract

This thesis explores the possibility of incorporating b-boying into autobiographical performance, and examines its potential as an enabling accompaniment to support the performer’s task of re-presenting and politicising personal narratives. The research begins with a brief consideration of how both genres of performance are premised on the performing subject’s endeavour to identify with his audience. An examination of autobiographical performance surfaces its general objectives of representing and politicising personal narratives, as well as the importance of cultivating an intersubjective encounter between performer and audience. Next, b-boying is identified as a dance form that promotes the expression of identity, resistance, and negotiation. These characteristics neatly complement the objectives of autobiographical performance. The author’s theoretical assessment is rounded off with a thorough practice-based inquiry referencing existing productions that fuse b-boying with autobiographical performance. A close reading of Shame (2015) and Dead was the body till I taught it how to move (2018) reveals the multitude of ways in which b-boying is employed to facilitate the autobiographical performer’s journey of transformation. Reflecting on b-boying as an enabling accompaniment to both autobiographical performances, the author connects this phenomenon with the cultural associations embedded in the dance. It is the principles and communities of hip-hop culture that allow the practice of b-boying to be an enabling force within the performance of personal narratives.