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While the body appears in almost all cultural discourses, it is
nowhere as visible as in dance. This book captures the resurgence
of the dancing body in the second half of the twentieth century by
introducing students to the key phenomenological, kinaesthetic and
psychological concepts relevant to both theatre and dance studies.
This book is the first to consider contemporary African dance
theatre aesthetics in the context of phenomenology, whiteness, and
the gaze. Rather than a discussion of African dance per se, the
author challenges hegemonic perceptions of contemporary African
dance theatre to interrogate the extent to which white supremacy
and privilege weave through capitalist necropolitics and determine
our perception of contemporary African dance theatre today.
Multiple aesthetic strategies are discussed throughout the book to
account for the affective experience of 'un-suturing' that touches
white spectatorship and colonial guilt at their core. The critical
analysis covers a broad range of dance choreography by artists from
the Democratic Republic of Congo, Ivory Coast, South Africa,
Canada, Europe, and the US as they travel, create, and show their
works internationally to global audiences to contest racial divides
and white supremacist politics.
This book is the first to consider contemporary African dance
theatre aesthetics in the context of phenomenology, whiteness, and
the gaze. Rather than a discussion of African dance per se, the
author challenges hegemonic perceptions of contemporary African
dance theatre to interrogate the extent to which white supremacy
and privilege weave through capitalist necropolitics and determine
our perception of contemporary African dance theatre today.
Multiple aesthetic strategies are discussed throughout the book to
account for the affective experience of 'un-suturing' that touches
white spectatorship and colonial guilt at their core. The critical
analysis covers a broad range of dance choreography by artists from
the Democratic Republic of Congo, Ivory Coast, South Africa,
Canada, Europe, and the US as they travel, create, and show their
works internationally to global audiences to contest racial divides
and white supremacist politics.
While the body appears in almost all cultural discourses, it is
nowhere as visible as in dance. This book captures the resurgence
of the dancing body in the second half of the twentieth century by
introducing students to the key phenomenological, kinaesthetic and
psychological concepts relevant to both theatre and dance studies.
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