They don't care about us

Representing the black postcolonial subject through the appropriation of Michael Jackson in Gabonese urban dance

Datos Bibliográficos

ID2173133
AutoresA Aterianus-Owanga (0000-0001-6926-0028, FMSH/IFAS, Johannesburg, South Africa, autor de correspondencia)
Año2019
Volumen31
Número3
Páginas369-384
Fecha de publicación2019-09-02
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of African Cultural Studies (JOURNAL)
Identificadores de la revistaISSN: 1369-6815 • E-ISSN: 1469-9346
EditorialInforma UK Limited (PUBLISHER • GB)
DOI10.1080/13696815.2016.1266464
OpenAlexW2568711904
IdiomaEN
Citas recibidas2
Referencias citadas26

This essay recounts both the intertwined history of the hip-hop appropriation and the identification to the figure of Michael Jackson in Gabon, from the 1980s to nowadays. It questions how transatlantic musical dialogues have provided the African youth with a way of representing a black subject freed from (post)colonial complexes. Drawing on historical and ethnographic data, this paper focuses on several imitators of Michael Jackson, and mainly on the case of Michael Anicet, a dancer who built his career and his fame on the imitation of Michael Jackson choreographies. It describes his pathway, his performances and how he transformed Michael Jackson's dances in order to 'gabonize' it, focusing mainly on his reception and appropriation of the song and choreography of the track 'They don't care about us'. This essay finally proves how the identification to global black icons has constituted the lever for an identity construction which combines nationalist claims and connections with a transnational blackness

Appropriation · Art · Art history · Choreography · Colonialism · Dance · Ethnography · Literature · Musical · Nationalism · Politics · Sociology · Subject (documents · Anthropology · Caribbean and African Literature and Culture · History · Law · Music History and Culture · Philosophy · Race, History, and American Society