Abstract:
Much has been written about the politics of performance in Africa, usually addressing theatre, and usually from the perspectives of the Occident. The focus of Africa (and its contemporary dance practices) is highly welcome and overdue, for discussion about this art form is often omitted or devalued within the critical literature. The text represents a unique account of critical reflection of both theory and practice that blends both personal experience and testimony with politics and cultural analysis. The review addresses conceptual issues, representational practices and some shortcomings of an important volume on African contemporary dance.
Reference:
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