In this Book

summary
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 theater, 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 Léopold Sédar Senghor's Négritude 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.
 

Table of Contents

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  1. Cover
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  1. Title Page
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  1. Copyright Page
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  1. Contents
  2. p. v
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  1. Acknowledgments
  2. pp. vii-x
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  1. Introduction: Positionality and the Choreography of Theory
  2. pp. 1-16
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  1. 1. The National Ballet of Senegal at a Theater in California
  2. pp. 17-33
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  1. 2. African Dance, Africanist Discourse, and Negritude
  2. pp. 34-59
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  1. 3. The Naional Ballet of Senegal at the National Theater in Dakar
  2. pp. 60-69
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  1. 4. Sabar Dances and a Women's Public Sphere
  2. pp. 70-101
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  1. 5. Tales of Betrayal
  2. pp. 102-123
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  1. 6. The Circulation of Dances on and off the Stage
  2. pp. 124-149
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  1. 7. Urban Ballets and the Professionalization of Dance
  2. pp. 150-173
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  1. 8. Exploiting Teranga
  2. pp. 174-196
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  1. Conclusion: Negritude Reconsidered
  2. pp. 197-204
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  1. Notes
  2. pp. 205-222
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  1. References
  2. pp. 223-236
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  1. Index
  2. pp. 237-246
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