A podcast of a lecture by visiting anthropology professor Hélène Neveu Kringelbach from Oxford University.
Drawing on recently published monograph (Dance Circles: Movement, Morality and Self-Fashioning in Urban Senegal),
this presentation traces the development of the performing arts in
Dakar, Senegal, from the 1930s to the contemporary period. The
transformation of expressive cultural forms like dance, music and
theatre is shown to be shaped by individual innovation within regional
genres and by colonial school theatre in Francophone West Africa,
transnational connections between Africa and the US, post-colonial
cultural policies, migration, and the strategic funding of ‘culture and
the arts’ by French agencies.
In the 1930s, colonial French authorities introduced musical theatre to
the William Ponty School in Senegal. The genre that emerged as a result
became an important focus for the mobilization of African,
French-educated literati, and carried the seeds of political activism
from its inception. Over time, they were replaced by new generations of
performers with more diverse levels of schooling. They replaced written
plays with choreography and music, and the genre of ‘neo-traditional
performance’ that emerged became a vehicle for regional and national
politics as well as individual careers abroad.
In the 1970s, regional political rivalries encouraged President Senghor
to promote modernist approaches to choreographic production. The
establishment of the Mudra Afrique School in Dakar was thus a defining
moment in the introduction of individualized choreographic techniques to
Francophone African performing worlds. The experimental effervescence
of the post-independence period was to be short-lived, however, and the
economic decline of the 1980s meant that the Senegalese state’s control
of the arts could not be sustained. The withdrawal of state funding
forced performing artists to develop new strategies of extraversion, on
the same model as the state itself. Most significantly, the period
created the conditions for French and other European funding agencies to
regain a degree of control over artistic production in Senegal and
elsewhere in Africa. In the process, new modes of choreographic
production have emerged, which provide a window into changing ideas of
self and success in the region.
Hélène Neveu Kringelbach is a social anthropologist, a researcher with
the Leverhulme-funded Oxford Diaspora Programme and a research associate
at the African Studies Centre at the University of Oxford. She is
currently a visiting professor at UCLA. She received her D.Phil. in
Anthropology from the University of Oxford in 2005, and was a lecturer
in African Studies and Anthropology from 2006 to 2011. She has recently
published a monograph on dance in urban Senegal (Berghahn, 2013), which
follows a co-edited volume on the anthropology of dance (Berghahn,
2012). While pursuing her interest in dance and music in Francophone
West Africa, she is currently developing a new strand of research on
‘mixed marriage’ between Senegal and Europe.
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