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008			181003s2016 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aDodds, Sherril _d1967- _9138198
245	0		_aHip Hop Battles and Facial Interexts _cSherril Dodds
260			_c2016 _aEdinburgh: _bEdinburgh University Press,
300			_a21 p.
520			_aRESUMEN: Hip hop dance battles are organized around a face-to-face danced exchange and, although dancers mobilize a diverse range of facial expression, scarcely any scholarly work addresses the face as a choreographic device. Several scholars, however, have noted that hip hip battles are dialogic or conversational in style, and I assert that dancers strategically employ facial expression to challenge and comment upon their opponents. In this article, I draw on the theory of intertextuality, and in particular Henry Louis Gate's concept of signifyin(g), to show how dancers deploy facial choreography as a mode of embodied articulation. Based on an ethnography of hip hop battles in Philadelphia, I examine the choreography of facial expression in four particular ways: as a strategy to signal generic particularity; to make commentary on the actions of other body parts; to create dialogic exchange between other faces at the battle event; and to reference facial intertexts from the broader popular culture. PALABRAS CLAVE: hip hop, facial expression, intertextuality, genre, signifyin(g)
773			_tDance Research _wmyd_16032 _gVol. 34, núm. 1, Summer 2016, p. 63 - 83 _072889
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