This article focuses on an analysis of ways in which conflicts between dancing as an act of solidarity, a tool for self-fulfillment, or as a form of an interpretative transformation have been played out in practicing dancing derived from different “African” cultures within a Swedish context. This period embraces African-American theatrical jazz dance during the 1960s and the more contemporary interest in dances from West African countries. The examples articulate modes of cultural appropriation. The question raised is whether a focus on embodied experience of dancing can subvert the practice of appropriation, or if the two approaches are contradictory.

中文翻译：

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有争议的肉体：团结、自我实现和通过非洲衍生舞蹈的转变

本文重点分析了舞蹈作为一种团结行为、一种自我实现的工具或一种解释性转变的形式，在不同的“非洲”文化中练习舞蹈时所产生的冲突的方式。瑞典语境。这一时期包括 1960 年代的非裔美国人戏剧爵士舞以及对西非国家舞蹈的更现代兴趣。这些例子阐明了文化挪用的模式。提出的问题是，专注于舞蹈的具身体验是否可以颠覆挪用的做法，或者这两种方法是否相互矛盾。