voodoo nationalism and performance the staging of folklore in mid twentieth century haiti
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Voodoo, Nationalism, And Performance: The Staging Of Folklore in Mid-Twentieth-Century Haiti. By: Mark Hofmeyer and John Anderson and Edited By: Laura Pratt and Dr. Kay Picart. Folklore.

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voodoo nationalism and performance the staging of folklore in mid twentieth century haiti

Voodoo, Nationalism, And Performance: The Staging Of Folklore in Mid-Twentieth-Century Haiti

By: Mark Hofmeyer and John Anderson and Edited By:

Laura Pratt and Dr. Kay Picart

folklore
Folklore
  • The young Haitian literary community began to write new publications. Dedicated to the “indigenization” of Haitian poetics and “systematic use” of neglected folkloric, national and popular themes. (350)
  • Refocused on the country’s African ___________.
  • Isolation of the nation’s authentic cultural and revolutionary heritages. (350)
folklore is booming and vodou is slumming
Folklore is booming and Vodou is slumming.
  • Elite intellectuals either denied the existence of Vodou, ________ it, or ___________ it.
  • Leon Audian said that the religious aspects of Vodou be taken out and have it become a _________________________________
  • Anti-_____________ campaign.
folklore and tourism
Folklore and tourism
  • Official “uses” of folklore increased as Haiti tried to develop an international tourist industry.(358)
  • ________ stereotyping.
  • A Puritan in Voodoo land and Cannibal Cousins.
1940s and 1950s tourism picks up
1940s and 1950s tourism picks up
  • Many begin to see ________ in Haiti
  • Sip rum punches, dance the meringue, watch native dances.
  • The ________ government exerted control over how Haiti’s identity was represented.
jean leon destine
Jean Leon Destine
  • Put together dance troupe
  • Dancers who specialized in particular regional traditions. (363)
  • Then proceeded to include choreography according to ________ ___________ figures and patterns
michel lamartiniere honorat
Michel Lamartiniere Honorat
  • Observed staged demonstrations and wrote book explaining the _______ folklore.
  • “It was more like a study of the staged folklore tradition of the forties and early fifties than of Haiti’s indigenous dance cultures
voodoo tourism
Voodoo Tourism
  • Alfred Metraux denounced _____________
  • “Artists were irresponsibly transforming and misinterpreting traditional folkloric forms.” (369)
dance ethnography and the limits of representation
Dance Ethnography And The Limits Of Representation
  • By Randy Martin
  • Talks about “the distance between ________ and ______”
  • My Pal Randy thinks that
  • “the distance has engaged the intellectual energies of those writing on dance as kind of bricolage where the dance event appears to occasion writerly structure”.
  • What do you guys think he means by this?
the structural autonomy of dance practices
The Structural Autonomy of Dance Practices
  • A different sort of dance writing
  • It is more visibly _________ and more comfortable with the __________ theory of representation. (329)
  • Refers to _________-, but in a way that attempts to foreground the subject. (329)
susan foster
Susan Foster
  • Her theory of dance representation produces different modes of reading autonomous dance practices. (330)
  • Hence, each particular instance is normalized and made familiar through an explicit theoretical procedure that accepts ______ tropes or figures, of speech derived from literary theory.
four tropes of speech
Four tropes of Speech
  • Metaphor:
  • Metonymy:
  • Irony:
two elements of democratization define the problematic of herbert blau s study the audience
Two elements of democratization define the problematic of Herbert Blau’s study The Audience
  • Blau conceives of audience as a kind of _____ movement precipitated by and further constituted in _________.
slide14
Thus, the audience is a _____body that appropriates by its gaze a subject that, in turn marks its own tendency to disappear.
  • The audience simulates the presence mobilized in history, but within the vulnerable and elusive constitution of the ________ _______ sphere.
almost done
Almost done
  • Blau’s study can be seen as contributing to an ethnographic procedure that highlights the disruptive effects of the exotic Other it “______” and “_______” through representation. (337)
slide16
Even under conditions of a globally mediated culture, the unstable audience may be said to stand for ________________________________________________________________________
works cited
Works Cited
  • Kate Ramsey, "The Staging of Folklore in Mid-Twentieth-Century Haiti," MM, pp. 345-378
  • Randy Martin, "Dance Ethnography and the Limits of Representation," MM, pp. 321-344
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