La Grande Danse by Moustapha Dimé in Local and Transnational Encounters
Bibliographic Data
| ID | 12225751 |
|---|---|
| Authors | Susan Kart (corresponding author) |
| Year | 2016 |
| Volume | 30 |
| Issue | 3-4 |
| Pages | 219-237 |
| Publication date | 2016-07-03 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Third Text (JOURNAL) |
| Journal identifiers | ISSN: 0952-8822 • E-ISSN: 1475-5297 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/09528822.2017.1315915 |
| OpenAlex | W2606674612 |
| Language | FR |
| Citations received | 1 |
In 1995 Moustapha Dimé began creating a novel series of sculptural installations around the theme of ‘The Dance’. Instead of being exclusively hand-carved as were his works from the 1980s, or composed solely from found objects like his objects from the 1990s, the Dance series is a hybrid of both styles. This series not only indicates the circularity and consistency of Dimé's artistic project, but also his desire to inject a Senegalese cultural philosophy into transnational art discourse and visual consumption. I surmise that Dimé's interrogation of differing Euro-American and Senegalese practices of consumption and viewership of the same art object is the focus of this final series. The parallactic nature of the Dance series warrants an understanding of why Dimé manipulated the group to create a simultaneous dissonance and convergence between his works and those of European modernism
Aesthetics · Art · Art history · Consumption (sociology · Dance · Interrogation · Linguistics · Modernism (music · Object (grammar · Series (stratigraphy · Sociology · Theme (computing · Visual arts · African history and culture studies · Communism, Protests, Social Movements · Computer Science · Cultural Identity and Heritage · History · Philosophy
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,17 |
| Citation span | 2020 - 2020 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |