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

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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 _________.


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

  • 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)


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

  • 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


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

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