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Felicia McCarren has succeeded brilliantly in taking dance out of its disciplinary confines, showing how vital a consideration of hip-hop is to any attempt to understand the dynamics of race and identity in contemporary France; the progress of the globalization of culture; the transformational power of moving bodes; and the mutually constitutive relation between bodies and technologies. McCarren makes it impossible for semiotics or cultural theory to remain indifferent to dance. --Carrie Noland, author of Agency and Embodiment: Performing Gestures/Producing Culture The strengths of McCarren's research lay both in the cross-disciplinary structural analysis of national ideology and state funding of the arts (and research on the arts) insofar as they relate to particular communities and individuals in complex national, social, and cultural situations. Likewise, McCarren's introduction to works that might not be widely known to scholars bring new perspectives on French concert dance and the ways in which dance might be read as part of debates on national and global politics. --H-France Review.. .Offers an original perspective on contemporary hip-hop theatre. -- Dance Review Journal

Felicia McCarren has succeeded brilliantly in taking dance out of its disciplinary confines, showing how vital a consideration of hip-hop is to any attempt to understand the dynamics of race and identity in contemporary France; the progress of the globalization of culture; the transformational power of moving bodes; and the mutually constitutive relation between bodies and technologies. McCarren makes it impossible for semiotics or cultural theory to remain indifferent to dance. --Carrie Noland, author of Agency and Embodiment: Performing Gestures/Producing Culture The strengths of McCarren's research lay both in the cross-disciplinary structural analysis of national ideology and state funding of the arts (and research on the arts) insofar as they relate to particular communities and individuals in complex national, social, and cultural situations. Likewise, McCarren's introduction to works that might not be widely known to scholars bring new perspectives on French concert dance and the ways in which dance might be read as part of debates on national and global politics. --H-France Review

<br> Felicia McCarren has succeeded brilliantly in taking dance out of its disciplinary confines, showing how vital a consideration of hip-hop is to any attempt to understand the dynamics of race and identity in contemporary France; the progress of the globalization of culture; the transformational power of moving bodes; and the mutually constitutive relation between bodies and technologies. McCarren makes it impossible for semiotics or cultural theory to remain indifferent to dance. --Carrie Noland, author of Agency and Embodiment: Performing Gestures/Producing Culture<p><br>

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Felicia McCarren is Professor of French at Tulane University. From hip-hop dance classes in the Paris suburbs to the national staging and international touring of French urban dance companies, she follows the French ""mouv'"" of a state-funded choreographic phenomenon.

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