Preface  ix
Acknowledgments  xi
Introduction  1
1. Analyzing the African Origins of Negro Music and Dance in a Time of Racism, Fascism, and War  21
2. Listening to Africa in the City, in the Laboratory, and on Record  74
3. Embodying Africa against Racial Oppression, Ignorance, and Colonialism  124
4. Disalienating Movement and Sound from the Pathologies of Freedom and Time  173
5. Desiring Africa, or Western Civilization's Discontents  221
Conclusion. Dance-Music as Rhizome  268
Notes  277
Bibliography  323
Index  345

“David F. Garcia’s deftly argued study brings to light how black music and dance became a defining factor during the high years of Afro-modernism, 1930s to 1950s. Because it emerged from conscious artistic intent, black dance ‘made’ many things: myths of origins, race’s content, and even modernism itself. Garcia treats black dance as a community theater that staged the scramble for an African Diaspora, a movement that was international and with multiple roots and aspirations. Black dance, Garcia teaches us, was more than just a lot of shaking and jumping. It made a world.” — Guthrie P. Ramsey Jr, author of, The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop

"David F. Garcia's linkage of jazz, Cuban and Latin American music, and Africa, along with his focus on understudied figures, is compelling. Garcia's work makes a powerful intervention in jazz studies as well as the field of Africanist ethnomusicology. We need this book." — Ingrid Monson, author of, Freedom Sounds: Civil Rights Call out to Jazz and Africa

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