Dance in the Republic of Guinea is an object of cultural transmission that magnifies the inherent contingency of social reproduction and the plasticity of the heirloom. Long connected to the vicissitudes of Guinean politics, dance was violently appropriated by the postindependence socialist state (1958–84) as a tool of nation building. In postsocialist Guinea, where the nation‐state has relinquished its stake in the performing arts, young practitioners create new improvisational forms that emblematize shifting models of ideal personhood. Novel dance forms incite tension about intergenerational trust and cultural inheritance in a social context in which neither the heirloom nor the cultural identity it signals remains stable. [dance, inheritance, inalienability, personhood, postsocialism, Republic of Guinea, West Africa] La danse en République de Guinée sert de véhicule de transmission culturelle qui démontre la nature contingente de la reproduction sociale et la nature plastique de l'héritage culturelle. Longtemps liée aux vicissitudes de la politique guinéenne, la danse fut violemment appropriée par l’état socialiste pendant la période qui suivit l'indépendance (1958–84) comme outil pour la construction de la nation. En Guinée postsocialiste, où l′État‐nation a abandonné son mécénat des arts du spectacle, de jeunes danseurs créent des nouvelles formes d'improvisation qui révèlent des chagemements dans la conceptualisation de l'identité individuelle. Ces nouvelles formes de danse suscitent des problèmes de confiance entre les générations par rapport à la succession culturelle, dans un contexte où ni l'héritage ni l'identité culturelle sont stables. [danse, héritage culturel, inaliénabilité, notion de personne, postsocialisme, République de Guinée, Afrique de l'Ouest] Kabi a rakuya, fare nun mangɛya nu e boore malima la République de Guinée bɔxi ma. Première République waxati (1958–1984), La Guinée mangasanyi nu fare xa fe rawalima alako ɲama xa lan e boore ma, mangasanyi xa nɔ mixie mafa a mabiri. Kabi Sékou Touré xa waxati raɲɔnyi, mangasanyi mu artistya tide to alɔ singe ra. Kɔnɔ mixi wuyaxie bara naatɛ tongo fare xa fe ma, alako e xa nɔ masenyi tife ɲama ma duniɲɛigiri xa fe ma. Artiste tagi, lanlanteya mu na temui birin mixi mɔxie nun mixi mɔxitaree tagi. Naamunyie na masarafe; to maɲɔxunyi mu lanxi xɔrɔ maɲɔxunyi ma. Ɲama ki fan masarafe. Birin xa na kolon fare saabui ra. [fare, kɛɛ, lanyi, mixiya, postsocialisme, République de Guinée, Afrique de l'Ouest]

In the Republic of Guinea, where transnational migration has become a critical path to prestige among young urbanites, migrant success abroad is intimately connected to the cultivation of kin ties at home. For performing artists, who were the darlings of Guinea's Socialist Revolution (1958‐84), the experience of migration is uniquely linked to the fall of the socialist state and to the precarity of urban life in contemporary Africa. This article describes how Guinean artists manage distance and uncertainty through three practices: occult aggression, grace‐seeking, and patronage (saabui), which together illustrate the contours and limitations of kinship's efficacy in transnational space. By exploring transnational kinship as an intersubjective and productive practice that can extend beyond obligation or solidarity and into the realm of magic, this article proposes new ways of conceptualizing what it means for migrants to maintain significant connections across national borders.

In Conakry, the capital city of the Republic of Guinea, dance ceremonies called sabars, derived from a Senegalese genre of the same name, have become extremely popular for wedding celebrations. Sabar's rise in Guinea coincided with the liberalization of the country's economy and the opening of national borders in the wake of state socialism (1958–84) – events that have produced profound uncertainty for average citizens. This article explores sabar as a practice that grapples affectively with the social and economic changes neoliberal reform has engendered within Guinea. Sabar ceremonies are characterized by instantiations of excess, including hypersexualized dancing, electric amplification and theatrical displays of opulence. By examining excess as an ‘emergent’ quality whose cultural value is undetermined, the article demonstrates how dancers participate in the active constitution and questioning of collective value in Conakry, and how embodiment is central to an anthropology of precarity.

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Guinea’s postindependence state (1958-84) discouraged ethnic identification in favor of national solidarity. In the decades since, ethnic groups have increasingly been mobilized as political interest groups in Guinea, a phenomenon that has been especially visible in recent multiparty elections. At the same time as ethnicity resurfaced as an explicit political force, young performing artists in Guinea’s capital city Conakry were inventing genres of dance and urban ceremony that de-emphasize ethnicity as a marker of belonging. Cohen engages with an interdisciplinary literature on publics to describe how the aesthetic practices of non-elite African youth constitute a crucial form of political engagement.

The negative impact of nutritional deficits in the development of bronchopulmonary dysplasia is well recognized, yet mechanisms by which nutrition alters lung outcomes and nutritional strategies that optimize development and protect the lung remain elusive. Here, we use a rat model to assess the isolated effects of postnatal nutrition on lung structural development without concomitant lung injury. We hypothesize that postnatal growth restriction (PGR) impairs lung structure and function, critical mediators of lung development, and fatty acid profiles at postnatal day 21 in the rat. Rat pups were cross‐fostered at birth to rat dams with litter sizes of 8 (control) or 16 (PGR). Lung structure and function, as well as serum and lung tissue fatty acids, and lung molecular mediators of development, were measured. Male and female PGR rat pups had thicker airspace walls, decreased lung compliance, and increased tissue damping. Male rats also had increased lung elastance, increased lung elastin protein abundance, and lysol oxidase expression, and increased elastic fiber deposition. Female rat lungs had increased conducting airway resistance and reduced levels of docosahexaenoic acid in lung tissue. We conclude that PGR impairs lung structure and function in both male and female rats, with sex‐divergent changes in lung molecular mediators of development.

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