Choreographies 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 theatre, 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 Leopold Sedar Senghor's Negritude 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.
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"Castaldi was the first to publish an in-depth study of dance in Dakar, and hers is a very valuable contribution to a much neglected yet growing field. . . . I would highly recommend it to any reader concerned with the significance of performance in social life and the circulation of the performing arts within and out of Africa."--African Arts
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Inside This Book
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First Sentence:
Irvine, California, March 1995. This is the land of highways, malls, and parking lots: Southern California, the "Inland Empire." Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
sabar dances, sabar dancing, sabar circle, gin tac, sabar dancers, choreographic authority, sabar rhythms, mbalax music, urban ballets, sabar drums, discotheque dancing, griot caste, national ballet, lead drummer, international world order, africanist discourse, drum ensemble, choreographic process, dance scholars, african identities, african dance, peanut production, tourist enclaves, white spectators, natural bends Key Phrases - Capitalized Phrases (CAPs): (learn more)
Order of the Other, Order of the Same, Ballet Mansour, United States, First World, West Africa, Aziz Faye, Ballet Kaddu, Lat Dior, Lemzo Diamono, Sing Sing, Third Dis, African American, African Ballets, Manding Epic, Sierra Leone, Amadou Bamba, Ballet Fambondy, Third World, Daniel Sorano, Kine Lam, Djibril Sane, Mudra Afrique, National Conservatory, North America New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Irvine, California, March 1995. This is the land of highways, malls, and parking lots: Southern California, the "Inland Empire." Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
sabar dances, sabar dancing, sabar circle, gin tac, sabar dancers, choreographic authority, sabar rhythms, mbalax music, urban ballets, sabar drums, discotheque dancing, griot caste, national ballet, lead drummer, international world order, africanist discourse, drum ensemble, choreographic process, dance scholars, african identities, african dance, peanut production, tourist enclaves, white spectators, natural bends Key Phrases - Capitalized Phrases (CAPs): (learn more)
Order of the Other, Order of the Same, Ballet Mansour, United States, First World, West Africa, Aziz Faye, Ballet Kaddu, Lat Dior, Lemzo Diamono, Sing Sing, Third Dis, African American, African Ballets, Manding Epic, Sierra Leone, Amadou Bamba, Ballet Fambondy, Third World, Daniel Sorano, Kine Lam, Djibril Sane, Mudra Afrique, National Conservatory, North America New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 88
books:
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- Nation, Empire, Colony: Historicizing Gender and Race by Ruth Roach Pierson in Back Matter (1), Back Matter (2), and Back Matter (3)
- World History of the Dance (The Norton Library) by Curt Sachs on page 37, page 43, and Back Matter
- Modernity and Its Malcontents: Ritual and Power in Postcolonial Africa by Jean Comaroff in Back Matter (1), and Back Matter (2)
- African Art in Motion by Robert Farris Thompson in Back Matter (1), and Back Matter (2)
- On the Postcolony (Studies on the History of Society and Culture) by Achille Mbembe in Back Matter (1), and Back Matter (2)
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