Artigos de revistas: "Danse africaine"

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Danto, Isabelle. "Danse africaine contemporaine." Esprit Octobre, no. 10 (2011): 180. http://dx.doi.org/10.3917/espri.1110.0180.

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Lassibille, Mahalia. "« La danse africaine », une catégorie à déconstruire." Cahiers d'études africaines 44, no. 175 (2004): 681–90. http://dx.doi.org/10.4000/etudesafricaines.4776.

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Adams, Monni, Alphonse Tiérou, and Alphonse Tierou. "Dooplé: Loi éternelle de la danse africaine." African Arts 23, no. 2 (1990): 96. http://dx.doi.org/10.2307/3336908.

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Mensah, Ayoko. "Danse contemporaine africaine : vers de nouveaux rapports sud-nord ?" Africultures 54, no. 1 (2003): 102. http://dx.doi.org/10.3917/afcul.054.0102.

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Mensah, Ayoko. "De naissance en (re)connaissance de la danse contemporaine africaine." Africultures 54, no. 1 (2003): 222. http://dx.doi.org/10.3917/afcul.054.0222.

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Mensah, Ayoko. "Corps noirs, regards blancs : retour sur la danse africaine contemporaine." Africultures 62, no. 1 (2005): 164. http://dx.doi.org/10.3917/afcul.062.0164.

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Thérésine, Amélie, Marie-Julie Chalu, and Alphonse Tierou. "Alphonse Tierou : défendre les couleurs contemporaines de la danse africaine." Africultures 92-93, no. 2 (2013): 312. http://dx.doi.org/10.3917/afcul.092.0312.

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Djebbari, Elina. "La relation musique-danse dans le genre du ballet au Mali : organisation, évolution et émancipation." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 21–26. http://dx.doi.org/10.7202/1012346ar.

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Pendant longtemps, la danse dite « africaine » a été considérée comme une expression corporelle que l’on ne pouvait distinguer du « tam-tam », censé l’accompagner à tout moment. Depuis sa création après l’indépendance en 1960, le Ballet national du Mali a contribué à donner du sens à ce stéréotype en faisant du tambour jembe l’instrument-roi de ce genre musico-chorégraphique. Cet article propose de nous interroger sur les techniques musicales et chorégraphiques qui permettent l’interaction musique-danse lors de la performance scénique, sur les rapports de hiérarchie qui s’en dégagent, la façon dont ces valeurs peuvent s’inverser ou se transformer selon les contextes et les pratiques et, enfin, d’appréhender comment la création artistique contemporaine de ce genre musico-chorégraphique semble pouvoir s’orienter vers une dissociation de ces deux éléments alors que leur complémentarité en déterminait justement la caractéristique principale.

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Brun, Marielle, and Nathalie Gal-Petitfaux. "Étude des actes de transmission interculturelle en danse africaine : une étude de cas en classe d'intégration." Staps 74, no. 4 (2006): 7. http://dx.doi.org/10.3917/sta.074.0007.

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ALMEIDA, Nilson Ferreira de. "Dança Africana." INTERRITÓRIOS 6, no. 12 (2020): 211. http://dx.doi.org/10.33052/inter.v6i12.248997.

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RESUMO O presente trabalho possui como finalidade, a partir de uma perspectiva transversal, dissertar sobre a concepção epistemológicas do território da dança africana, compreendendo desta forma a sua importância dentro da cultura da África, adentrando os caminhos que interpelam a realidade, analisando desta forma os significados da esfera dos movimentos e as suas relações, dando importância para o corpo, os movimentos e os sentidos, entendendo a sua função cultural e a percepção de como habitam o mundo num verdadeiro diálogo crítico entre dança, antropologia e a vida. Com base na Diáspora, compreende-se as técnicas, as estéticas e as poéticas oriundas das formas africanizadas de escrita do corpo. O artigo tem por objetivo evidenciar a dança africana levando ao conhecimento do que elas são na realidade, a razão pela qual se fazem tão presentes no cotidiano dos africanos e os tipos mais comuns reafirmando assim, as diversidades dentro da África e fora dela. A metodologia da pesquisa foi realizada a partir de investigações em páginas eletrônicas, com o intuito de compreender as suas definições, seus contextos e sua importância, reforçando o entendimento sobre elas através de alguns teóricos como Tiérou (2001), Robert Farris-Thompson (1974) e Kariamu Welsh (1985), e dentre outros que reforçam a compreensão dos movimentos da dança africana e do uso do corpo em sua execução. Dança africana. Cultura. ABSTRACTThe present work aims, from a transversal perspective, to talk about the epistemological conception of the territory of African dance, thus understanding its importance within the culture of Africa, entering the paths that challenge reality, thus analyzing the meanings of the sphere of movements and their relations, giving importance to the body, movements and senses, understanding their cultural function and the perception of how they inhabit the world in a true critical dialogue between dance, anthropology and life. Based on the Diaspora, the techniques, aesthetics and poetics that come from Africanized forms of body writing are understood. The article aims to highlight the African dance leading to the knowledge of what they are in reality, the reason why they are so present in the daily lives of Africans and the most common types thus reaffirming, the diversities within Africa and outside it. The research methodology was carried out from investigations on electronic pages, in order to understand their definitions, their contexts and their importance, reinforcing the understanding of them through some theorists such as Tiérou (2001), Robert Farris-Thompson (1974 ) and Kariamu Welsh (1985), and among others who reinforce the understanding of African dance movements and the use of the body in their performance.African dance. Culture. RESUMENEl propósito del presente trabajo es, desde una perspectiva transversal, discutir sobre la concepción epistemológica del territorio de la danza africana, entendiendo así su importancia dentro de la cultura africana, adentrándonos en los caminos que desafían la realidad, analizando así los significados de la esfera de los movimientos y sus relaciones, dando importancia al cuerpo, los movimientos y los sentidos, comprendiendo su función cultural y la percepción de cómo habitan el mundo en un verdadero diálogo crítico entre danza, antropología y vida. A partir de la Diáspora se entienden las técnicas, la estética y la poética derivadas de las formas africanizadas de escritura del cuerpo. El artículo tiene como objetivo resaltar la danza africana conduciendo al conocimiento de lo que realmente son, la razón por la que están tan presentes en la vida cotidiana de los africanos y los tipos más comunes reafirmando así, las diversidades dentro y fuera de África. La metodología de investigación se llevó a cabo a partir de investigaciones en páginas electrónicas, con el fin de entender sus definiciones, sus contextos y su importancia, reforzando la comprensión de las danzas a través de algunos teóricos como Tiérou (2001), Robert Farris-Thompson (1974) y Kariamu Welsh (1985), y entre otros que refuerzan la comprensión de los movimientos de la danza africana y el uso del cuerpo en su ejecución.Danza africana. Cultura. SOMMARIOLo scopo di questo lavoro è, da una prospettiva trasversale, discutere la concezione epistemologica del territorio della danza africana, comprendendone così l'importanza all'interno della cultura africana, addentrandosi nei percorsi che sfidano la realtà, analizzando così i significati della sfera dei movimenti e delle loro relazioni, dando importanza al corpo, ai movimenti e ai sensi, comprendendone la funzione culturale e la percezione di come abitano il mondo in un vero dialogo critico tra danza, antropologia e vita. Dalla diaspora si comprendono le tecniche, l'estetica e la poetica derivate dalle forme africanizzate della scrittura del corpo. L'articolo si propone di mettere in luce le danze africane portando alla conoscenza di cosa sono realmente, il motivo per cui sono così presenti nella vita quotidiana degli africani e delle tipologie più comuni, riaffermando così le diversità dentro e fuori l'Africa. La metodologia di ricerca è stata realizzata dalla ricerca su pagine elettroniche, al fine di comprenderne le definizioni, i loro contesti e la loro importanza, rafforzando la comprensione delle danze attraverso alcuni teorici come Tiérou (2001), Robert Farris- Thompson (1974) e Kariamu Welsh (1985), e tra gli altri che rafforzano la comprensione dei movimenti della danza africana e l'uso del corpo nella sua esecuzione.Danza africana. Cultura.

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Guzski, Carolyn, and Violetta Donini. "Le ballet américain au Metropolitan Opera: The Dance in Place Congo de Henry F. Gilbert." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 43–50. http://dx.doi.org/10.7202/1012349ar.

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La création de Dance in Place Congo (1918) du compositeur américain Henry F. Gilbert par la compagnie de danse en résidence et l’orchestre du Metropolitan Opera a été la première production sur un thème africano-américain à être présentée dans l’enceinte du Metropolitan Opera. Il s’agit aussi de la toute première prestation de musiques vernaculaires noires et de la première présence d’artistes de couleur sur la scène légendaire du Met. Le résultat, cependant, est davantage un reflet des rivalités entre compositeur, chorégraphe et gestionnaires, et d’un choc de visions artistiques en réponse à une esthétique moderniste émergente en musique, danse et scénographie.

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.

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Cohen, Joshua. "Stages in Transition." Journal of Black Studies 43, no. 1 (2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.

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Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberation struggles, and cultural transformations in Guinea under president Sékou Touré.

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Katrak, Ketu H. "Jay Pather Reimagining Site-Specific Cartographies of Belonging." Dance Research Journal 50, no. 2 (2018): 31–44. http://dx.doi.org/10.1017/s0149767718000219.

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This essay examines Jay Pather's site-specific workCityscapes(2002) within a theoretical discussion of the conjuncture and disjuncture of space and race in South Africa. Jay Pather, a South African of Indian ancestry, an innovative choreographer and curator of site-specific works, creatively uses space to inspire social change by providing access and challenging exclusions—social, cultural, political—of black and colored South Africans during apartheid (1948–1994) and after. A progressive vision underlies his avant-garde work expressed via a hybrid choreographic palette of South African classical and popular dance styles, Indian classical dance, modern and contemporary dance. His choreography is performed across South Africa and the African continent as well as in Denmark, Mumbai, and New York City.

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Hopkins, Daniel. "A poisonous plant of the genus Datura (Solanaceae) in an eighteenth-century Danish garden in West Africa." Archives of Natural History 30, no. 1 (2003): 157–59. http://dx.doi.org/10.3366/anh.2003.30.1.157.

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There was disagreement among colonialists about whether the Africans around the Danish West African forts made use of native poisons in the early nineteenth century, but it appears that the Danes themselves may have introduced a poisonous ornamental plant of the genus Datura in one of their own gardens on the Guinea Coast.

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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.

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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.

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Ward, Sheila A. "African-Centered Dance." Journal of Physical Education, Recreation & Dance 79, no. 7 (2008): 4–5. http://dx.doi.org/10.1080/07303084.2008.10598204.

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Arnaut, Karel. "Africans Dance in Time." Cultural Dynamics 1, no. 3 (1988): 252–81. http://dx.doi.org/10.1177/092137408800100302.

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Hazzard-Gordon, Katrina. "African-American Vernacular Dance." Journal of Black Studies 15, no. 4 (1985): 427–45. http://dx.doi.org/10.1177/002193478501500405.

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Brazzale, Claudia. "The Economy of West African Dance in Italy." Congress on Research in Dance Conference Proceedings 2014 (2014): 27–31. http://dx.doi.org/10.1017/cor.2014.4.

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Over the past decade, so-called African dance has become increasingly popular in Italy, growing in tandem with local West African diasporic communities and the national concern over immigration. Although the circulation of African dance provides West African migrants with an important form of self-identification and subsistence, it often revolves around problematic discourses rooted on the myth and romance with the primitive. Constructing and capitalizing on the fetishization of black bodies, African dance mobilizes complex economies of desire that rest on an orientalist fascination with the Other. While these economies reify racist stereotypes, they also enable significant communities of knowledge and interracial encounters.

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Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.

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This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

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Hanna, Judith Lynne. "African Dance Frame by Frame." Journal of Black Studies 19, no. 4 (1989): 422–41. http://dx.doi.org/10.1177/002193478901900404.

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Asante, Kariamu Welsh. "African-American Dance in Curricula." Journal of Physical Education, Recreation & Dance 64, no. 2 (1993): 48–51. http://dx.doi.org/10.1080/07303084.1993.10606706.

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Kerr-Berry, Julie A. "African Dance Enhancing the Curriculum." Journal of Physical Education, Recreation & Dance 65, no. 5 (1994): 25–27. http://dx.doi.org/10.1080/07303084.1994.10606912.

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Charlson, Doria E. "Framing Black Labor: On Archives and Mine Dancing in South African Gold Mines, 1950–1970." TDR/The Drama Review 64, no. 3 (2020): 79–99. http://dx.doi.org/10.1162/dram_a_00944.

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Promoted as a tourist attraction to highlight the benevolent treatment of black migrant laborers at South African gold mines, mine dance performances by workers became a symbol of both “authentic” preindustrial African culture and, paradoxically, the progress made towards industrializing the nation. Excavating both state-sponsored, industrial archives and the photographs of black South African Ernest Cole enables a reframing of the ways dance was mobilized and extracted during apartheid.

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Suriam, Suzie. "Théâtre africain et théâtre québécois : un essai de rapprochement." L’Annuaire théâtral, no. 31 (May 5, 2010): 12–32. http://dx.doi.org/10.7202/041485ar.

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Cet article tente de relever le défi d’une comparaison systématique entre théâtre africain et québécois. Après un bref panorama, sont explorées les différences et similarités entre les deux genres. Les premières, nombreuses, sont de nature historique, culturelle, etc. Mais, de part et d’autre, on note un même souci de produire un théâtre politique qui soit aussi formellement novateur. D’où le recours à la danse, au chant, à la musique, entre autres, et l’avènement d’un nouveau genre de spectacle théâtral.

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Moss, Michèle. "The Dynamic Realities of “Traditional” Dance: Les Ballets Africains." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 161–65. http://dx.doi.org/10.1017/s2049125500000273.

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This paper presents the author's journey to West Africa, which grew out of a desire to trace the roots of “real” jazz dance. Seeking the “authentic,” the author (ironically) sought out the oldest national company of Guinée-Conakry, Les Ballets Africains, which has been performing and creating for fifty-three years years. Mandated to preserve the rich cultural traditions of Guinée, they are the “real thing,” revealed in what the author calls a “dynamic reality”: traditional dance that is at once authentic, significant, contemporary, and fluid.

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Adair, Christy, and Ramsay Burt. "Dance Britannia: The Impact of Global Shifts on Dance in Britain." Congress on Research in Dance Conference Proceedings 2014 (2014): 1–13. http://dx.doi.org/10.1017/cor.2014.1.

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The music and dance of African Diasporan artists has impacted current dance practice in Britain, and their legacies are testament to the global circulation of artistic ideas. This paper discusses the British Dance and the African Diaspora research project which seeks to write Black British dance artists and their legacies back into history. It aims to understand the nexus of aesthetic, institutional, and conceptual problems that have rendered these dancers invisible.Since the 1970s, a number of black British-based dancers has been teaching and producing performance work in a variety of dance styles. It was influenced by the context of anti-colonialism and the struggle for independence, which has been the motivation for the post-war generation of Caribbean and Asian artists who migrated to Britain. These historical and cultural contexts form the basis for our argument for new approaches to frameworks for analysis of the work of black British dance artists.

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Kabasele Lumbala, François. "Liturgies africaines et vie." Thème 19, no. 1 (2013): 147–62. http://dx.doi.org/10.7202/1014185ar.

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En Afrique noire, la vie est le sacré par excellence ; aussi, demeure-t-elle la préoccupation principale de toutes les cérémonies religieuses, déjà dans les traditions, et jusqu’aujourd’hui dans les religions africaines nouvelles : les rituels regorgent d’évocations et de supplications pour la vie ; les lieux de culte sont décorés aux couleurs de la vie (la trilogie « blanc-noir-rouge ») ; les symboles déployés dans le culte au sein de ces civilisations de l’oralité sont ceux de la fécondité, du triomphe sur la mort, de communion et cohésion sociale : les bananiers, la chaux, les arbres de vie ou arbres aux ancêtres, le feu, etc. Enfin, la manière même de célébrer est des plus vivantes : les assemblées grouillent de monde, la prédication est jalonnée de cris d’acclamation et élaborée avec l’apport de toute l’assemblée, le tambour rythme la prière en réveillant efficacement tous les dormeurs et en mettant debout toute l’assemblée pour la danse qui remet le corps à l’unisson avec l’Esprit et tout le groupe ! Oui, la vie « explose » dans les célébrations africaines.

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Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.

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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.

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Murrock, Carolyn J., and Elizabeth Madigan. "Self-Efficacy and Social Support as Mediators Between Culturally Specific Dance and Lifestyle Physical Activity." Research and Theory for Nursing Practice 22, no. 3 (2008): 192–204. http://dx.doi.org/10.1891/1541-6577.22.3.192.

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Culturally specific dance has the potential to generate health benefits but is seldom used even among studies advocating culturally specific interventions. This study examined the components of self-efficacy and social support as mediators between culturally specific dance and lifestyle physical activity in African American women (N = 126). An experimental design compared intervention and control groups for mediating effects of self-efficacy and social support on lifestyle physical activity. Findings indicated that only outcome expectations and social support from friends mediated effects. Culturally specific dance is a first step in encouraging African American women to become more physically active and improve health outcomes. The implications are that culturally specific dance programs can improve health outcomes by including members of underserved populations.

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Carwile, Christey. "“The Clave Comes Home”: Salsa Dance and Pan-African Identity in Ghana." African Studies Review 60, no. 2 (2017): 183–207. http://dx.doi.org/10.1017/asr.2017.6.

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Abstract:While salsa dance is popularly, and now globally, understood to be a symbol and expression of Latin identity, its adoption in non-Latin contexts has produced new meanings and cultural configurations. This is particularly the case in West Africa, where salsa is not only catching on among urban youth, but is becoming understood and approached from an African perspective. This article explores the ways in which salsa dance in Ghana serves as an innovative, embodied expression of a contemporary, pan-African identity. This is seen in Ghanaian dancers’ ideological reinvigoration of salsa’s African history and in the physical incorporation of local styles and presentations. Salsa in Ghana is recast through global networks, which in turn contributes to its global character while refashioning it to better suit local motives and desires. Thus, rather than emphasizing salsa’s African roots alone, dancers in Ghana equally engage with the complexroutesof the dance.

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Loots, Lliane. "Navigating African Identities, Otherness, and the “Wild Untamed Body” in Dance Training and Pedagogy in South Africa: A Case Study of Flatfoot Dance Company's Dance “Development” Programmes." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 293–99. http://dx.doi.org/10.1017/s2049125500001242.

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This paper offers an interrogation of dance training methodologies used as a basis for dance education, training, and pedagogy by Flatfoot Dance as it operates in the African contemporary context of South Africa. Focus is placed on interrogating the dance education work, which uses dance as a methodology for life skills training around health, HIV/AIDS, and sexuality, and the more focused training of young dancers for a performance career. All of this is navigated in the postcolonial context of looking for a dance pedagogy that speaks to the context of the South rather than appropriating a very problematic “globalised” process of defining dance training and pedagogy.

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Siljamäki, Mariana, Eeva Anttila, and Arja Sääkslahti. "Pedagogical conceptions of Finnish teachers of transnational dances. Cases: African dance, Oriental dance and Flamenco." Nordic Journal of Dance 2, no. 1 (2011): 38–55. http://dx.doi.org/10.2478/njd-2011-0006.

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Abstract Today, multiculturalism is increasing in the Nordic societies. It is also evidently reflected in the arts, including dance. Simultaneously, understanding different dance cultures is becoming more important in the field of dance pedagogy. This article discusses the pedagogical conceptions of Finnish teachers of transnational dances and their experiences in teaching African dance, Oriental dance and flamenco. Through a process of a phenomenographic data analysis, the authors have identified three different ways to understand the nature of transnational dances: 1) Dance is art, 2) Dance is culture open to all people and simultaneously art and physical education, and 3) Dance is a part of well-being. These different views seem to be reflected in the teachers’ pedagogical conceptions that are the main focus of the data analysis. The article includes descriptions of the different pedagogical ways of thinking of the teachers. The present findings can be used to increase the awareness of teachers who focus on teaching the dances of different cultures. They are also relevant for the future development of physical education and dance teacher programs, where cultural consciousness is considered relevant.

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Sedano, Livia Jiménez. "African Nightclubs of Lisbon and Madrid as Spaces of Cultural Resistance." Open Cultural Studies 3, no. 1 (2019): 264–75. http://dx.doi.org/10.1515/culture-2019-0024.

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Abstract The main objective of this article involves describing how African nightclubs of Lisbon have become spaces for cultural resistance against certain representations of African-ness, taking Madrid as a contrasting case. Since the 1970s, the so-called African nightclubs of Lisbon have constituted spaces for gathering and nurturing a sense of community for immigrants from Portuguese-speaking Africa. Commonly regarded suspiciously by most Portuguese citizens, commodification of the couple dance labelled kizomba during the 1990s helped changed their status. However, most African research participants do not recognise their beloved dance in the commodified version of kizomba. In this context, I analyse the commodification process as a form of symbolic violence that disguises postcolonial structural inequalities and unsolved conflicts through a discourse of neutral “approaching of cultures” on the dance floor. Moreover, from the point of view of a meritocratic symbolism, this discourse portrays the performances displayed at African discos as “basic” and unworthy. After exploring several ways of resistance to commodified kizomba displayed by African discos clientele, I conclude reflecting on the increasing symbolic power of global industries for naming social groups, structuring practices and exercising symbolic violence in late modernity.

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.

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Maurer, Bill. "Caribbean dance: ‘resistance’, colonial discourse, and subjugated knowledges." New West Indian Guide / Nieuwe West-Indische Gids 65, no. 1-2 (1991): 1–26. http://dx.doi.org/10.1163/13822373-90002014.

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Review of the literature on African-American dance in the Caribbean. The author focuses on 3 problems. The first is the construction of canons in dance anthropology. The second has to do with the ways in which these canons have dealt with dance in the Caribbean in particular. Finally, the author examines issues 'surrounding the ways anthropology creates its objects of study'.

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Hovde, Sunniva Skjøstad. "The Traditional Concept Umunthu as entangled in a Malawian Dance Teacher’s Educational Practice." Journal for Research in Arts and Sports Education 3, no. 1 (2019): 101–17. http://dx.doi.org/10.23865/jased.v3.1326.

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Dance pedagogies globally are theoretically and often practically based on Western pedagogies. It appears that dance pedagogies deriving from African perspectives have had little visibility in African institutions and in institutions elsewhere. This article outlines some of the pedagogical dance practices and philosophies in Malawi, Southern Africa, expressed by John Duma, a merited dance teacher at Music Crossroads Malawi. His emphasis is on love, respect and self-confidence as a practical part of dancing, and achieving a balance between tribal-modern-urban-traditional-western perspectives in the community. The pedagogical perspectives are discussed as part of the Malawian concept uMunthu in an analysis of the entanglements of these different interests. The material is gathered through extensive ethnographic fieldwork over 4 years, including one formal interview. The material is analysed through diffractive analysis and post-qualitative theories.

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Allen-Handy, Ayana, Valerie Ifill, Raja Y. Schaar, Michelle Rogers, and Monique Woodard. "The Emerging Critical Pedagogies of Dance Educators in an Urban STEAM After-School Program for Black Girls." Journal of Urban Learning, Teaching, and Research 16, no. 1 (2021): 58–88. http://dx.doi.org/10.51830/jultr.15.

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The preparation of urban educators has gained widespread attention across education policy, research, and practice. As US urban cities have become more diverse, the teacher workforce has not kept up, and the racial/ethnic demographics of students and teachers are disproportionately incongruent. In order to eradicate an education landscape that perpetuates white, middle-class ways of knowing and being, often at the expense of the cultural practices and cultural wealth of historically marginalized students of color, urban teacher education must be centered toward justice and rooted in critical pedagogies. The literature, albeit bleak, reveals that these perspectives must also be applied to urban dance education. Dance education programs have been significantly eliminated from urban schools over time, and although dance has historical roots in African and African diasporic cultures, dance education continues to be Eurocentric. This phenomenological case study examines the emerging critical pedagogies of undergraduate dance majors and minors who served as dance teachers in an urban Science, Technology, Engineering, Arts, and Mathematics (STEAM) after-school program for 7-12-year-old Black girls. Findings reveal that (a) navigating race, place, and space; (b) mentorship and practice; and (c) critical reflection and self-efficacy were critical components of the urban dance educators’ emerging critical pedagogies. Implications for urban dance education and the broader field of urban education are provided.

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McCarthy-Brown, Nyama. "From African to African American Dance: A Chronological Journey." Dance Chronicle 33, no. 2 (2010): 304–9. http://dx.doi.org/10.1080/01472526.2010.485921.

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Markus, Andrea K. "West African Dance: Movement and More!" Dance Education in Practice 1, no. 3 (2015): 14–17. http://dx.doi.org/10.1080/23734833.2015.1068070.

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Gittens, Angela Fatou. "Black Dance and the Fight for Flight." Journal of Black Studies 43, no. 1 (2011): 49–71. http://dx.doi.org/10.1177/0021934711423262.

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The arts have fulfilled a major historical role as mediums of expressivity for people of African descent during the 1960s. It is during this important decade that a number of political and artistic movements came to rise—like a pot waiting to boil over—as a result of decades of sociopolitical precedents that came to a head, sparking revolutionary responses by grassroots communities worldwide. This body of writing is an excerpt of a larger study the author conducted on the role of West African dance as performed by Black women dancers in New York City–based dance companies. Because of the techniques of djembe and sabar dance within traditional West African contexts for both dancers and drummers alike, the author closely examines these styles as leading examples of the types of physical movement within political movements of the 1960s era—movements that empowered and liberated oppressed peoples during moments of high tension.

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.

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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.

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Mapira, Nesta Nyaradzo, and Made Mantle Hood. "Performing Authenticity And Contesting Heritage In The UNESCO-Inscribed Jerusarema/Mbende Dance Of Zimbabwe." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (2018): 1. http://dx.doi.org/10.31091/lekesan.v1i1.340.

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In African societies, traditional dances form and shape a multitude of cultural expressions that reflect socio-cultural status, stalwart traditions and degrees of heritage maintenance. Due to colonisation, westernisation and Christianity, the performative aesthetics of many African traditional dances have been drastically modified over time. One such traditional dance in Zimbabwe that has undergone continual socio-cultural and aesthetic change is Jerusarema/Mbende from the Murehwa and Uzumba-Maramba-Pfungwe districts of Mashonaland Eastern province. In 2005, The Mbende Jerusarema Dance of Zimbabwe was proclaimed on the United Nations Educational Scientific and Cultural Organisation (UNESCO) list of Masterpieces of Oral and Intangible Heritage of Humanity. Authentic elements of the dance were compiled by the Zimbabwe National Oral and Intangible Cultural Heritage (ZNOICH) committee in an effort to safeguard it against change. This safeguarding led the Jerusarema/Mbende dance along a contested path of endorsement and utilisation in multiple contexts by some performance ensembles such as Swerengoma, Ngomadzepasi, Zevezeve, Shingirirai and Makarekare as promoted by prominent dance festivals. These ensembles assert different agendas through music, props, instruments and dance movements. Drawing upon documentary video evidence from the National Arts Council of Zimbabwe and interviews, this paper evaluates the extent to which the authentic elements of the Jerusarema/Mbende dance inscribed on the UNESCO list have been safeguarded in formalised performances from 2013 to 2015. Video recordings from this period showing continuous participation of Ngoma Dzepasi, Makarekare and Shingirirai are used to assess similarities and differences from the fixity of authentic elements. We argue that UNESCO’s recognition of the Jerusarema/Mbende dance as intangible cultural heritage has, on the one hand, revived and maintained some characteristics of this dance but, on the other hand, gradually compromised innovative aesthetic music and dance elements introduced by inheriting generations.

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Mabingo, Alfdaniels. "Teaching African Dances in the Caribbean: Horizontal Interpenetration and Afrocentricity in Jamaica." Journal of Black Studies 49, no. 8 (2018): 735–55. http://dx.doi.org/10.1177/0021934718780561.

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This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the dances originate. The article frames pedagogy of the dances as an epistemological and ontological framework through which the learners sought to know, think, do, question, connect, and become. For people of African descent, partaking in teaching and learning processes of the dances created possibilities for cultural connections through experiential, imaginative, participatory, and reflective dance activities. The analysis further reveals how teaching dances from African cultures, a subject that is treated as insignificant within academic and artistic thought, positioned me to en/counter, rationalize, and address the challenges, dilemmas, and anxieties surrounding Black dance scholarship. It is hoped that this article can expand discourses on how African dances can be engaged as valued and valid epistemological and ontological domains in scholarship and practice to pluralize creative and cultural thought and empower communities and liberate their bodies of knowledge that have been dispossessed by Western hegemonic epistemological canons.

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Hanna, Judith Lynne. "Practicing Anthropology Under a Legal Umbrella." Practicing Anthropology 39, no. 4 (2017): 39–40. http://dx.doi.org/10.17730/0888-4552.39.4.39.

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Surprised to be asked to apply to exotic dance the sociolinguistic/semiotic theory and ethnographic methods I used to study the relationship between dance and society in African villages and cities, American theaters, and elementary school playgrounds and classrooms, I have been an expert court witness since 1995. I worked with 63 different attorneys on 132 cases in 29 states, the District of Columbia, and 39 cities and counties related to the First, Fifth, and Fourteen Amendments, labor law, taxes, and even murder. I explain how exotic dance is a form of dance, art, and communication.

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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism." Pneuma 32, no. 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.

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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a missionary-driven avoidance of indigenous music and dance to the incorporation of indigenous elements, leading in turn to the popularization of Pentecostal music and dance that blends indigenous forms and concepts, Christian symbolism, and popular cultural expressions. The resulting forms have not only shaped Christianity, but also the surrounding culture and its political environment.

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Templeton, Melissa. "Walking with the Self: Zab Maboungou's Interventions Against Eurocentrism Through Contemporary African Dance." Dance Research Journal 49, no. 2 (2017): 44–61. http://dx.doi.org/10.1017/s0149767717000195.

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This article examines how choreographer Zab Maboungou uses philosophical themes about the “self” positioned in time and space to reappropriate subjecthood through a contemporary African dance vocabulary. I suggest that in deploying such methods—which I describe as an “embodied Africanist metaphysics”— Maboungou challenges the rhetoric of the European Enlightenment that continues to influence constructions of race today. Maboungou's choreography and pedagogy effectively undermine implicit assumptions that align whiteness and European aesthetics with universal subject-hood and creates a productive space for the presentation and development of contemporary African dance in Montreal (and North America more generally).

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Jackson, Naomi. "African-American Dance: Researching a Complex History." Dance Research Journal 28, no. 2 (1996): 107–10. http://dx.doi.org/10.1017/s0149767700004472.

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Artigos de revistas sobre o tema "Danse africaine"

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