Posted: February 26th, 2022

Dance

C ha p t e r 1 eight

I m p r o v i s i n g S o c i a l E x c h a n g e

African American Social Dance

T h o m as F. D e F r a n t z

Broadly outlined, social dance operates as an unavoidable and important web site of iden- tity formation for people and teams; in mythologies of American youth tradition from the 1950s ahead, it stands as a major web site of improvised selfhood. In African American communities, the significance of social dance to group cohesion by way of altering historic eras can seldom be overstated. Social dance permits its practitioners entry to modes of private expression that present pressing clues of bodily capability, want, social flexibility, and a capability to innovate. In social dance, we uncover the ever- increasing vary of prospects that may outline particular person presence inside a gaggle dynamic.

This essay explores African American social dance constructions of the 20th and twenty- first centuries, the place improvisation operates as a vital methodology and beliefs. Improvisation gives a strategy for the development of social dance change. Improvisation additionally stands as a foundational ideology of black social dance apply. Conceptually, this twinned useful resource demonstrates an unimpeachable central- ity of the bodily apply of improvisation: “creating whereas doing,” or constantly ask- ing questions whereas shifting, turns into foundational to the emergence of a social black self in communion with others.

A black social self is likely to be one which imagines itself in communion with different black selves, even because it distinguishes its capacities alongside traces of capacity, curiosity, and want. Black exists in relationship to different markers of id, black and non- black, and the method of relationship determines prospects of recognition that undergird its exis- tence. In different phrases, black isn’t a factor, however moderately, a gesture, an motion, a sensibil- ity made manifest. Thus, a black social self is actually an idea in movement, shifting and forming in response to the phrases of encounter that decide social relations.

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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Improvising Social Change 331

Social dance presents a web site the place black movement will be generated, accommodated, honed, and appreciated; it presents a spot of aesthetic chance linked to private expression. For this chapter, social dance is likely to be dance created in conditions with- out separation of performer and viewers, and with no predetermined intention of expression. The websites of this style embrace faculty auditoriums, church basements, home events, nightclubs, and rented ballrooms, and the style turns into manifest inside occasion celebrations resembling household reunions, cotillions, weddings, faculty dances, and birthday events. On these types of events, and in these websites, social dance emerges because the con- secration of an occasion by the group, as an embodied aesthetic marking of presence in time. Non- linear creativity inside social dance movement distinguishes it from goal- ori- ented athletics or the politically tilted gestures of rallies or sit- ins (choreographies of sport or protest). For our functions, social dance hinges upon the potential of expres- sion and communication as its personal purpose inside a selected time and place. Social dance happens exterior of on a regular basis interactions of commerce, that means that it can’t be paid labor, and, considerably, it requires the participation of a bigger group who acknowledge the dance occasion as such. Outlined thus, by its personal prevalence and participation, social dance constitutes ritual practices that characterize particular person motion inside communal com- munication and change.

Rhetorics of African American Improvisation

The adage that African American tradition “makes one thing from nothing” under- scores emphases on improvisation and composition that encompass black presence within the New World. Pundits and cultural theorists can simply align black social dances to an “American inventiveness” and “do- it- yourself- ness” foundational to an understand- ing of an American self. On this narrative line, youthful America creates itself out of incessant volition and ambition to realize. Equally, improvisation arrives as ambition towards achievement; as a capability to maneuver unexpectedly towards a purpose, in addition to an abil- ity to maneuver because the scenario calls for. The efficiency of intentional, directed move- ment permits for a recognition of the act of black social dance improvisation, and artistic invention within the second characterize its prospects.

Black social dances additionally align this essential moving- to- specific with an embod- ied realization of delight. The idea of a severe pleasure throughout the invention of bodily improvisation deserves particular consideration right here. Black social dances con- ceive of social, rhythmic movement as pleasurable, and important, modes of interplay and change; improvisation intends to permit for frolicsome, liberatory embodied choice- making throughout the context of the group. The pleasures of social dance relate to its musi- cality and embedded processes of choice- making inside agreed- upon group constructions; the apply of dancing on this style demonstrates emotional and non secular well- being.

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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332 Thomas F. DeFrantz

In a nod to the overall tendency to worth literature over orature, some dance students have labored to outline improvisation as choreography in black vernacular (social) danc- ing. Dance literature, or choreography, is likely to be work that might be recorded on paper or by way of applied sciences of visible media, whereas improvisation is likely to be extra akin to constructions of spontaneous oration and rhetoric. In 2001, theorist Jonathan David Jackson known as for a valorization of sensing, or emotion, in social dance as a “path of clever understanding” that may resist the violent Platonic/ Cartesian break up brought on by writing (Jackson 2001, 43). In black vernacular dance, “improvisation means the inventive structuring, or the choreographing, of human motion within the second of formality efficiency,” a structur- ing that aligns improvisation with intentional composition (44). This line of argumenta- tion tends to re- stabilize choreography, or writing, as the best mannequin for dance apply. However improvisation, particularly in black social dance circumstances, conveys its personal plea- sures and urgencies with out essential recourse to translatable indicators and symbols that characterize writing. The improvisational practices of those dances full themselves with out an insistence on translation into language or visible mark.

Jackson’s name for “sensing” as a mode of study suggests an intangible analytic for improvisation, one which stresses the impermanent, time- based mostly nature of social dance manufacturing. Sensing turns into manifest in waves, like thought and movement, and resists a fixing of gesture. Improvisation that proceeds from a reliance on sensing, then, may grow to be enlivened by the engagement of sudden and weird movement; by bodily embellishment or unruliness that works to unsettle formalized repetitions of gesture. In different phrases, the dancer’s innovation in response to a rhythmic/ musical floor pro- vides important markers towards the manufacturing of emotion that is likely to be sensed throughout the dance. Fulfilling the age- previous adage otherwise, the “one thing” produced by the dance builds from the largely invisible “nothing” of bodily notion.

Teleologies of Improvisation in African American Social Dance

INSIDE the dance, I benefit from the discovery of what we will do collectively. With you watching, a keen witness, confidante, and companion in movement, I really feel supported to interrupt the beat, to withstand the advanced, however regular, grounding pulse that already presents so some ways to think about synchronicities of power. The advanced rhythm that kinds the bottom for our dance echoes in my nervous system, pulsing outward from my incessantly rhythmicized life pressure, and confirming the efficiency of this encounter of music and motion. My pulse, our pulse, the musical pulse converge and align, however then separate in order that our dance can emerge in- between. I grimace on the effort to maneuver exterior of those cadences, I threat actions and fail alongside the best way, and giggle and smile at any achievement that you just or I share as we dance.

Social dance features as a barometer of connectivity, or a approach for individuals to acknowledge a social self. The dance produces relationship; and in it, we battle to realize. Transferring

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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Improvising Social Change 333

amongst others, we hope for connection to be born or to be laid naked as we stomp, shift, glide, and dip by way of passages of spontaneous movement. This connection isn’t guaran- teed, and the danger of social dance arrives intertwined with its improvisational crucial. We threat failure, or a miscommunication that may alter our future capacities exterior of the dance. This threat provides to the sense of urgency surrounding its execution. Social dance issues, and its improvisations are embedded throughout the relationships that it might or might not encourage.

African American social dance proceeds from the necessity to talk exterior of lan- guage; a passage of dance could also be language- like, however it isn’t in any respect literal. Corporeal Orature, a designator for the method of speaking by way of decisions of motion, gives methodology grounded in historical past for the apply of social dance. Right here, body- speaking establishes intertextual connection amongst steps and gestures carried out contained in the dance, with referents usually drawn from circumstances exterior its execution. A motion might make reference to another person’s model of its kind, as in a step performed in cousin Jan’s dis- tinctive slow- movement type; it might reference dances now not in vast distribution, as within the insertion of a 1980s “Roger Rabbit” within the midst of a 2010s “Wobble”; it might mimeti- cally recommend direct metaphor, as in bringing arms to the guts to point emotions of affec- tion, or brushing a hand throughout a brow, to point exertion or “sweating” a companion or scenario. These insertions of embodied referents arrive in non- linear, evocative meeting; they affirm the expansive chance of assertion enabled by the dance. Dancers entry these referents in improvised response to the event of the dance. Essentially the most success- ful corporeal orature employs elegant, sudden assemblage of metaphor and bodily achievement.

A historic dimension of black social dance, alluded to above, renders it directly archival and futuristic. Dancers rediscover pungent pleasure and expressive capac- ity in older, discarded actions, made recent once more now with unanticipated musical accompaniment. The music of social dance grounds its improvisational practices and stimulates motion prospects with sonic calls that provoke bodily response. A propulsive backbeat suggests quick footwork from 1930s dances; a sluggish, downward- slid- ing bass line can encourage “lean again” gestures from repertories of 1960s or 1990s dances. Improvisation on this realm, then, reaches again with a view to forged ahead, confirming affiliation amongst actions from a full of life previous of dancing whereas reimagining possi- bilities of gesture. This reiteration of movement aligns the apply of social dance with an Africanist aesthetic crucial that values cycles of repetition (Snead 1981). Social dance can fulfill the embodied reclaiming, or remembering, of musical genres/ rhythmic bases that outline eras and kinds of black well-liked music.

Studying to Social Dance

I WANT to bop with you. I need to transfer alongside you, and towards and away from you, as we navigate the rhythms and sonic constructions that encompass us. I need to guess at what

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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334 Thomas F. DeFrantz

you may do, and I need to be right more often than not. I need to shock you with my abil- ity to do one thing you didn’t know I would. I need to trip the rhythm somewhat longer than we might have performed final time, or to work towards the beat in a stutter step and switch towards the group. I need my dance to verify me on this second. To validate our communion as individuals in relationship, within the house of the dance, within the means of discovery. Once we dance we marvel at what is feasible, we admire how impulse turns into gesture and gesture reveals want and mind. Our dance is multidimensional, and I need it to be good, I need to be provocative and profound. I by no means know whether or not this can occur, however I do hope for it. Will you dance with me?

The method of studying to social dance is definitely a means of studying to improvise. Or, extra accurately maybe, a means of studying to belief one’s improvisation. As a result of social dance has no set end result, or ironclad kind, its apply could also be outlined largely by the willingness of its members. The willingness to have interaction in social dance is a willingness to simply accept threat and an unruly incapability to know what is going to occur. Social dance challenges the schools of bodily engagement and relational correspondence. To bop nicely on this idiom is to belief that one’s decisions have worth, and that they are going to talk one thing recognizable and fleetingly noteworthy.

A longstanding Hollywood trope casts awkward younger males within the function of needing to study to social dance with a view to join with their object of want; on this idiom, social dance is outlined as a ceremony of passage. Formulaically, this state of affairs often includes a finest good friend or mentor main the protagonist by way of a montage of missteps and embar- rassments earlier than the large dance occasion/ promenade the place tensions and disappointments could also be resolved by way of the demonstration of dance. In these situations, the principle char- acter exceeds his coaching within the warmth of the performative second, and in an impro- visational flourish, achieves gestures that he didn’t know he may. Footloose presents a traditional portrayal of this style. Observe that in each the primary 1984 iteration and the 2011 remake, the small- metropolis, white dancers have interaction in white- derived “rock and roll” dances, in addition to African American- created social dance actions. The black social dance actions— steps drawn from 1960s “black energy”– period social dances together with “the soccer” and “the 4 Tops”— permit the principle characters of the movies to shine forth in improvisatory demonstrations of their talents and personalities. The black social dance improvisations affirm the arrival of a recognizable topic in movement, prepared to have interaction others in a bodily, desirous relationship.

To bop nicely differs little from talking nicely: social dance demonstrates embodied rhetoric. Improvisational movers can align concepts in coherent sequence to sign agility, capacity, wit, or sensual pleasure. Magnificence of execution and composition issues right here, and a recognizable “flip of phrase” separates one of the best social artists from their compan- ions. However as a result of dance motion doesn’t carry literal that means, witnesses and part- ners have interaction the important act of decoding that confers communicative worth. To reiterate, social dance arrives as a mode of encounter, realized by two or extra members.

Some social dancers have little to say, and their dance arrives in easy, repetitive movement. These is likely to be the dances that most individuals carry out: dances that have interaction lit- tle improvisation, and make few extra- dance references; dances that reply a easy

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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Improvising Social Change 335

rhythmic and social have to be in movement with others. These dances additionally matter, as sen- sation and affirmation of prospects for a gaggle dynamic. However, as within the Hollywood prototype, the moments of black social dance that linger longest in reminiscence are inclined to derive from these compressed circumstances that produce an unanticipated articula- tion of character or self, even when solely within the prompt of their improvised realization. These is likely to be small acts, however they’ll certainly shift the structure of relationship.

Skilled Social Dance

THIS is what I already know. If I push again with my weight by way of my hips, and grind my toes into the bottom with a heaviness of step, I can amaze you with the acuteness of an angle produced by my bent knees and elbows; I can stun you into silence with the accuracy and pressure of my attacking hips in movement, or the smoothness of my glide throughout the ground as I launch my weight ever upwards from the bottom. I scurry throughout the ground, shifting my toes with out seeming effort. I curve my arm up my physique, circling my hips, touching my torso calmly, gazing inward, pulling my focus inside, and as I shut my eyes, I suppose I do discover one thing out. I didn’t find out about this weight right here, or that doable shift of power to there. Did you see me do this? However even in these few seconds of understanding my movement, and sensing it in a different way, I want your witnessing to stabilize my discovery.

Skilled social dances supply an phantasm of improvisation. The conceptual contra- diction between skilled and social dance has to do with the extent of improvisation current in efficiency. Skilled dancers apply and rehearse constantly alone or with others, with a view to have interaction an expanded repertory of motion accessible for per- formance. Social dancers, although, apply much less constantly, and uncover prospects throughout the realm of social dancing itself. Proficient and extremely expert social dancers transfer past the class that would appear to outline them as they grow to be the main partici- pants of any circumstance of dance. Their management sometimes signifies two truths: one, that their apply intends to attenuate threat and maximize a completed high quality of execu- tion; and two, that their efficiency is likely to be repeated, or replicated, practically intact in different circumstances and on different events.

Skilled social dance is the dance of tv and movie, the dance of the stage, and the dance of demonstration. On this type of dance, dancers embellish and exagger- ate the bodily contours, or steps, of the shape to affirm the probabilities of organized efficiency. Professional social dancers in any style encourage and delight their audiences, who inevitably get pleasure from witnessing the supremely assured execution of motion that emerges with out the hesitations and ruptured errors of on a regular basis improvisation. The joys of social dance carried out with minimal threat transfer its contents towards the house of the refined, the repeatable, the commodifiable.

When black social dance will be repeated and professionalized, it loses its capacity to convey the sudden discovery. Moderately, it seeks to amaze by its spectacular presence. On this, black social dance has been totally profitable, from its earlier worldwide

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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336 Thomas F. DeFrantz

achievement within the nineteenth- century cakewalk, to the twenty- first- century innovations of j- setting and turf dancing distributed by YouTube movies. The skilled social dancers who apply these kinds, and arrive in movies made by Thomas A. Edison or in HD on web websites, seldom make a dwelling by dancing. Like different dance artists, they encounter a area filled with competitors and small alternative in comparison with their quantity. However for these better of one of the best, social dancing is greater than avocation, and their pres- ence in social settings transforms the occasion from a spot of mutual exploration to a spot of the present. The skilled social dancers— these within the “cat’s nook” on the Savoy Ballroom within the 1930s, or on the higher degree of the Studio 54 within the 1970s— display a hovering potential for social change of their embodied excellence, their practiced experience. Certainly additionally they improvise to a point, however the phrases of improvisation arrive in studied distinction of impact.

For devoted social dancers, competitions permit a high- degree engagement with the raised stakes of efficiency essential for motion invention. Certainly, African American dance competitions occupy a valued and important web site of social perfor- mance, stretching from dances in seventeenth- century corn- husking competitions to twentieth- century Chicago Stepping competitions. In these occasions, professional social dancers attempt their expertise towards different, equally dedicated movers, to be judged by different consultants and gathered witnesses surrounding the efficiency. Right here, improvisation arises as dancers push their motion past the routines they’ve practiced so care- totally. Improvisation provides the burnished power of want that marks bodily effort as extraordinary. Collectively, we really feel this “push to exceed” and transfer past the identified gestures, and the improvisatory flourish inevitably wins the problem.

Improvising Sexuality and Failure

THE YOUNG man focuses his power by way of his pelvis, by way of the muscle groups that bind the torso and stomach to the hips and thighs. His face contorts within the visage of fear. With one arm held excessive, he reaches ahead along with his different arm, hand opened and tensed directly, as if to slap one thing. He performs completely different rhythms throughout his physique: arms shifting in a sluggish patting gesture towards the air, whereas he animates his hips in staggered however fast jabbing circles, shifting sooner and sooner as he bends his legs increasingly more. The younger girls who encompass him appear involved as nicely; they appear to need to perceive what he means to specific by way of his dance. They clap for him, and maintain the beat regular in order that he can solo in entrance of it. Instantly, the movie cuts to a different dancer. The brief movie clip lasts lower than 5 seconds, and viewers witnessing the movie study little of its implications, or what the brief improvisation may imply for the dancer or his witnesses.

Social dance incites issues of sexuality, and each its practitioners and detractors are inclined to conflate capacity within the dance with sexual availability. This is smart, if we think about social dance as a barometer of intimate responsiveness and abil- ity to improvise bodily; these is likely to be most popular qualities in intimate encounter.

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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Improvising Social Change 337

However usually, detractors construe black social dances— these dances that constantly emphasize an agility in all components of the physique with knees bent, torso engaged, and pelvis launched— as brokers of immorality and instigators of lust. The younger man described above, dancing within the documentary Rize, demonstrates actions aligned with “the stripper dance,” a kind named for its borrowing from commodified, and largely impro- vised, sexually charged efficiency dance. Social dancers conceive the stripper dance as a solo kind, practiced in turns amid a witnessing and supportive group— usually on the heart of a dance circle. The stripper dance exists alongside the border of social dance to be explored in encounter with one other, and dances of labor, to be shared with a complete group.

The dance circle acts as middleman between an intimate sociality of two and the unwieldiness of a dancer seen by a mass viewers. The dance circle mitigates inter- pretive distances that come up as social dance broadens its attain, and gives an “in- between” house of encounter for ready dance and improvisation, private discovery and group consensus. The dance circle protects and permits, and its boundaries reveal the restrictions of palpable discovery in dance movement. Outdoors the circle— sitting within the auditorium watching social dancers onstage, or at house viewing dancers on-line— I can solely guess on the worth of danced change. With out the cues of context that mark any profitable and evocative communication, my guesses on the significance of danced inno- vations earlier than me will largely fail.

The circle of the dance, referenced by Fanon, accommodates the wants of a commu- nity to acknowledge itself in movement. Extra necessary, the circle permits improvisers to search out their very own kind regardless of the actions of the bigger group. Outdoors the circle— when the group is in its bigger, improvising entire— small gestures and discover- ies rise and fall, emerge and dissipate alongside the rhythmic pulse of the dance. These small victories in motion matter, however they continue to be small and contained by the near- privateness of their prevalence. With out the circle, improvising social dancers usually exceed the rising tendencies of the bigger group. Inside the circle, bodily moments of “flash” or “shine” reveal an interior emotional lifetime of the dancers. Within the circle, these stunning actions are inspired, noticed, supported, valued, and remembered. However what do they imply? What of the improvised gestures that resist even the norms of the group black social dance, the electrical slide or cha- cha slide? If these group dances promote entry to a black social self in communion with others, what does improvisation exterior of those formal constructions do?

Improvisation, then, poses particular issues of interpretation in black social dance, largely constrained by pressures of on a regular basis racism. Improvising black social danc- ers, greater than others, could also be seen to function as provocateurs, non- normative danc- ers whose strikes search to subvert social norms. In some ways, this capability stands, as social dance permits for the efficiency of outrageous gesture— sexualized, desirous, intimidating— inside its context of embodied thought. However black social dance additionally dangers failure in its improvisations, and that circumstance, the place actions land with out worth or affect, regularly reminds us all the fragility of gesture, and the abiding have to attempt once more.

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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338 Thomas F. DeFrantz

As a result of it’s in all probability in these missteps that improvisation reassures us. What we have to know: the restoration is all the time doable, that invention generates warmth and confirms capac- ity, that figuring the factor out collectively reminds us of a doable shared information. Our improvisation enlivens us as a result of it confirms that we’re versatile, keen to not know, however engaged within the Question Assignment of what is likely to be.

References

Brewer, Craig, dir. Footloose. Paramount Photos, 2011. DeFrantz, Thomas F. “The Black Beat Made Seen: Physique Energy in Hip Hop Dance.” In Of the

Presence of the Physique: Essays on Dance and Efficiency Concept, edited by Andre Lepecki, 64–81. Middletown, CT: Wesleyan College Press, 2004.

Fanon, Frantz. The Wretched of the Earth, translated by Constance Farrington. New York: Grove Press, 1963.

Jackson, Jonathan David. “Improvisation in African- America Vernacular Dancing.” Dance Analysis Journal 33, no. 2 (2001): 40– 53.

LaChapelle, David, dir. Rize. Lionsgate Movies, 2005. Ross, Herbert, dir. Footloose. Paramount Photos, 1984. Snead, James A. “On Repetition in Black Tradition,” Black American Literature Discussion board 15, no. four

(1981): 146–154.

The Oxford Handbook of Crucial Improvisation Research, Quantity 1, edited by George E. Lewis, and Benjamin Piekut, Oxford College Press USA – OSO, 2016. ProQuest Book Central, http://ebookcentral.proquest.com/lib/ucsd/element.motion?docID=4717492. Created from ucsd on 2022-01-02 15:18:34.

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