000			03664cam a2200421 i 4500
001			on1154852121
003			OCoLC
005			20240726105400.0
008			050418s2006 ilu ob 001 0beng
010			_a2019718390
040			_aDLC _beng _erda _epn _cDLC _dOCLCO _dOCLCF _dVLY _dOCLCE _dOCLCO _dOCLCQ _dOCLCO _dE7B _dNT _dJSTOR _dP@U _dDKDLA _dCOO _dYDXCP _dIDEBK _dCNMTR _dEBLCP _dDEBSZ _dAZK _dAGLDB _dMOR _dPIFAG _dZCU _dMERUC _dIOG _dU3W _dEZ9 _dSTF _dWRM _dVNS _dVTS _dCOCUF _dICG _dVT2 _dAU@ _dWYU _dLVT _dTKN _dDKC
020			_a9781283155625
020			_a9780252030277
043			_af-sg---
050	0	0	_aGV1588 _b.C467 2006
049			_aMAIN
100	1		_aCastaldi, Francesca, _d1964- _e1
245	1	0	_aChoreographies of African identities : _bnégritude, dance, and the National Ballet of Senegal / _cFrancesca Castaldi.
260			_aUrbana ; _aChicago : _bUniversity of Illinois Press, _c(c)2006.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
500			_aOriginally presented as the author's thesis (doctoral)--University of California, Riverside.
504			_a2
505	0	0	_aIntroduction : positionality and the choreography of theory -- _tThe National Ballet of Senegal at a theatre in California -- _tAfrican dance, Africanist discourse, and negritude -- _tThe National Ballet of Senegal at a theatre in Dakar -- _tSabar dances and a women's public sphere -- _tTales of betrayals -- _tThe circulation of dances on and off the stage -- _tUrban ballets and the professionalization of dance -- _tExploiting terànga -- _tConclusion : negritude reconsidered.
520	1		_a"Structured as a polyrhythmic ensemble, the narrative in Francesca Castaldi's Choreographies of African Identities "sounds" three interrelated interpretations of the work of the National Ballet of Senegal, each interpretation overlapping with the others as the layering of tracks in a music score." "The first interpretative track situates the work of the Ballet in a North American theater, exposing the theatrical and extra-theatrical procedures that collude in racializing the encounter between performers and audiences as that between Black dancers and White spectators." "The second line of analysis examines the work of the National Ballet in relation to Leopold Sedar Senghor's Negritude ideology and cultural politics, engaging in larger debates over African aesthetics, modernity and tradition, globalization, and cultural diversity." "Finally a third interpretative track presents the circulation of dances in the streets, discotheques, and courtyards of Dakar, drawing attention to women dancers' occupation of the urban landscape. In this context, Castaldi explores the agency of women's performance in negotiating Islamic religiosity, gender, and class identities in the dancing circle and the public arena. Taken together, the reading weaves together questions about scholarship, the cross-cultural circulation of performance, national politics, and urban youth culture. Book jacket."--Jacket
530			_a2 _ub
610	2	0	_aNational Ballet of Senegal.
650		0	_aDance _xAnthropological aspects _zSenegal.
650		0	_aBlack people _xRace identity _zSenegal.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=569961&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hGV. _m2006 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c98519 _d98519
902			_a1 _bCynthia Snell _c1 _dCynthia Snell