A response African contemporary dance Questioning issues of a performance aesthetic for a developing continent-1-1

Overview of African Contemporary Dance

  • Author: Jay Pather, director of Siwela Sonke Dance Theatre.

  • Focus: Defining African contemporary dance in the context of post-colonial Africa.

Introduction

  • Publication Details: Critical Arts (2006), ISSN 0256-0046 (Print), 1992-6049 (Online).

  • Central Thesis: Analysis of complexities surrounding African contemporary dance, its relation to colonial history, and Western influence.

Contextual Framework

Use of Metaphor

  • Rape Metaphor: Addressing the relationship between Africa and the West by evoking the metaphor of rape to emphasize the violence and trauma of colonization.

  • Consequences of Rape: Recovery and long-lasting changes to identity affected by the colonial 'attack.'

Defining African Contemporary Dance

Complex Definitions

  • Elusive Definitions: Difficulty in establishing a clear definition of contemporary African dance due to the influence of Western aesthetics.

  • Response Aesthetic: Introduction of the idea that contemporary African dance could develop through understanding responses to Western influence.

Aesthetic Development

  • Tension Between Cultures: Discusses how contemporary African dance is influenced by Western concepts, leading to alienation from local audiences.

  • Ownership of Aesthetics: The importance of creating a self-aware, contemporary dance aesthetic that reflects African experiences and life.

Historical Impact

Colonial Influence

  • Theatrical Dance Origins: The emergence of theatrical dance in Africa is tied to European colonialism and the introduction of classical ballet alongside other Western art forms.

  • Jean Loup Pivin’s Perspective: Comments on the absence of a cohesive contemporary African dance tradition, asserting that dance in Africa primarily serves a ritualistic rather than a performance-based purpose.

Contemporary Challenges

Interrogating Responses

  • Kisselgoff’s Misconception: Critiques overly simplistic views of African dance, advocating for more nuanced definitions that reflect Africa's diverse realities.

  • Manufactured Responses: Discusses the pressure to tailor artistic outputs for Western sensibilities, potentially diluting authentic expressions of African identity.

Questions for Reflection

  1. Are African artists adapting their work to appease Western expectations?

  2. Is there a dichotomy between local and international audiences in appreciating contemporary African dance?

  3. Can contemporary African dance truly exist independently from Western influence?

Conclusion

  • Future Potential: Advocates for embracing a 'response aesthetic' that acknowledges historical influences but encourages the development of local cultural aesthetics.

  • Call for Authenticity: Strong emphasis on creating art that arises from an engagement with contemporary African realities, rather than as an imitation of Western forms.

References

  • Hassan, S. (1995). The modernist experience in African art.

  • Kisselgoff, A. (2003). African dance: Sand, drum, and Shostakovich.

  • Pevin, J. L. (n/d). The idolator.