Choreographies of African Identities: Négritude, Dance, and the National Ballet of SenegalChoreographies of African Identities traces interconnected interpretative frameworks around and about the National Ballet of Senegal. Using the metaphor of a dancing circle Castaldi's arguments cover the full spectrum of performance, from production to circulation and reception. Castaldi first situates the reader in a North American theater, focusing on the relationship between dancers and audiences as that between black performers and white spectators. She then examines the work of the National Ballet in relation to Léopold Sédar Senghor's Négritude ideology and cultural politics. Finally, the author addresses the circulation of dances in the streets, discotheques, and courtyards of Dakar, drawing attention to women dancers' occupation of the urban landscape. |
Contents
| 1 | |
1 The National Ballet of Senegal at a Theater in California | 17 |
2 African Dance Africanist Discourse and Negritude | 34 |
3 The Naional Ballet of Senegal at the National Theater in Dakar | 60 |
4 Sabar Dances and a Womens Public Sphere | 70 |
5 Tales of Betrayal | 102 |
6 The Circulation of Dances on and off the Stage | 124 |
7 Urban Ballets and the Professionalization of Dance | 150 |
8 Exploiting Teranga | 174 |
Negritude Reconsidered | 197 |
Notes | 205 |
| 223 | |
| 237 | |
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Choreographies of African Identities: Négritude, Dance, and the National ... Francesca Castaldi No preview available - 2006 |
Common terms and phrases
aesthetic African dance Amadou Bamba argue artistic audience Aziz bakk Ballet Mansour Ballet of Senegal Black woman body Casamance CFA Francs chapter choreographic colonial configured context cultural Dakar dancers defined definition Diop Diouf discotheque discourse discussion drum drum ensemble drummers economic ethnic ethnographic European feminist field figure find first floor flow FRANCESCAZ French gender griots historical identity ideology influence interpretation interview Ioola Islamic kaolack language lay ce gin Léopold Sédar Senghor male Mande Mandinka mbalax modern moral Mouride movement Mudimbe Muslim N’Dour’s narrative National Ballet Négritude official onstage Order Pangols performance play political polyrhythmic popular population postcolonial produced racism relation relationship repertory rhythm sabar complex sabar dancing scholars Sene Senegalese Senghor sexual significant singing social song Sonko Souleymane space specific spectators stage teranga theater tion tourist tradition tribal University Press urban western White woman Wolof Wolofization women Youssou N’Dour