ABSTRACT
Through institutional racism and socio-economic disadvantage British Caribbean Diasporic identities have been forming, shifting and reforming since the arrival of West Indian immigrants to the United Kingdom in the late 1950s. It has become evident with the recent Windrush Scandal that the position of British Caribbean Diasporic identities within the United Kingdom is not as stable as once believed. This chapter will take a postcolonial approach – one necessary in analysing movement practices that do not completely adhere to Western standards of “art” or “technique” – to examine the ways in which two different generations of artists use choreography as a tool in which to engage in practices of rooting their identity within an unstable environment. It will focus on the work of “H” Patten as the first generation and Akeim Toussaint Buck as the second, examining how their aesthetic choices of movement are able to produce resistance, revelation and affirmation within their identities.
