Afro-Futurism or Lament? Staging Africa(s) in Dance Today and in the 1920s
Bibliographic Data
| ID | 11222808 |
|---|---|
| Authors | Nicole Haitzinger (0000-0002-7796-4882, corresponding author) |
| Year | 2017 |
| Volume | 49 |
| Issue | 1 |
| Pages | 24-36 |
| Publication date | 2017-04-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dance Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 0149-7677 • E-ISSN: 1940-509X |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s014976771700002x |
| OpenAlex | W2606292098 |
| Language | EN |
| References cited | 10 |
This article analyzes two contemporary pieces, Faustin Linyekula's La Création du Monde 1923–2012 and Vera Mantero's A mysterious thing said e. e. Cummings , which respond to dance productions presented in Europe in the early decades of the twentieth century by criticizing their “negrophilic” attitude. The article juxtaposes the analysis of these two contemporary pieces with rereadings of the historical choreographies/events of the 1920s to which they refer, namely, Les Ballets Suédois's La Création du Monde (1923) and Josephine Baker's performances. Theoretically revisiting historical works that developed within such a “negrophilic” framework alongside contemporary pieces relating to them can be taken as attacking this very framework, trying to “undo” the Eurocentrism inherent in its cannibalistic processes.
Acknowledgement · Aesthetics · Art · Art history · Contemporary dance · Context (archaeology) · Dance · Eurocentrism · Lament · Linguistics · Literature · Perspective (graphical) · Plural · Sociology · Visual arts · Anthropology · Diversity and Impact of Dance · French Historical and Cultural Studies · History · Musicology and Musical Analysis · Philosophy
| Highly cited | No |
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