Choreographing Postcoloniality: Reflections on the Passing of Edward Said

Browning, Barbara

doi:10.1017/s0149767700007622

Cited by 4 publications

(2 citation statements)

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“…Finally, if one considers the etymology of choreography (combining choreia -'dancing in unison' and graphia -'writing'), it can potentially be applied to a wide understanding of moving bodies (and objects such as cameras or web interfaces); it can be applied to studies of where and how and what kind of movement is allowed, in other words to the politics and aesthetics of (forced vs. voluntary) mobility, including, as Barbara Browning (2003) suggests, instances of choreographed non-violent protest movements. In any case, choreographies always function as "reminders of the layered history that has brought us to this point" (Browning 2003, 168) in time.…”

Section: Discussionmentioning

confidence: 99%

Dancing Back to Multiple Traditions

Hoydis¹

2020

Anglistik

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1 See the links in the Works Cited; all clips are three to five minutes in duration and readily available on YouTube and Vimeo. The 'Bismil' clip is a slightly abridged version of the scene in the film. As an anonymous reviewer of this paper noted, the links have vastly different viewing numbers. I am, however, not concerned with making an argument about these specific clips and their popularity or range of dissemination but listing them to provide access to the performances discussed in this article. 2 Fredric Jameson, in his stocktaking of the agenda of cultural studies, reminds us of its origin in dissatisfaction with "the more traditional opposition between the contemporary concerns of students of mass or popular culture and the tendentiously backward-gazing perspective of literary critics (even when the canonized works are 'modern' and relatively recent in time)" (1993, 19).

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Section: Discussionmentioning

confidence: 99%

Dancing Back to Multiple Traditions

Hoydis¹

2020

Anglistik

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“…As for silence, we follow Browning (2003) to propose new ways of approaching the past in a non-linear way by including not just the words per se but their rhythm of rising and falling, and silences. Interestingly, she emphasises the fact that silences should not be filled but highlighted, since these could represent possible moments of ruptures within specific historical contexts (Browning, 2003, p. 166).…”

Section: The Proposal Of Collectively Designing a Sonic Artwork Related To Memoriesmentioning

confidence: 99%

Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories

López-Yánez

Saavedra²

2021

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The article discusses the decolonial possibilities of the collective design of a sound artwork in reimagining the role of two Afro‐Ecuadorian music and dance‐based events in the Afro‐Ecuadorian ancestral territories of North Esmeraldas and Chota‐Mira. The two events, Bomba del Chota and Marimba Esmeraldeña, emerged in the context of slavery and colonialism as a response of Afro‐Ecuadorians to the oppression and violence they endured. These two music and dance‐based events sustain a counter‐narrative of power and resistance for Afrodescendant peoples in Ecuador, weaving meaningful connections among them and other entities populating their territories, such as the “devil,” whose cohabitation with Afro‐Ecuadorians will be at the spotlight of our analysis. Based on the audio‐recorded testimonies of these connections that strongly existed until the 1970s, and of a sonic composition that was created from them, we propose a collaborative design of a sound artwork in the public spaces of the jungle in Esmeraldas and the mountain in Chota‐Mira. We discuss how a decolonial approach to the design of the artwork can serve as a dialogical space to engage inhabitants in their re‐connection to the possibilities of resistance that their ancestors nurtured in their territories through the practice of the two music and dance‐based events. Through a political reading of soundscapes, an argument is developed to show how sound constructs the public spaces that root people in their territories, connecting them with meaningful stories and practices that keep being forgotten due to the on‐going consequences of slavery and colonialism. The article contributes to the discussion about political ecologies and the collective production of public spaces as a joyful response to exclusion and oppression.

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Bodies on the Line: Contact Improvisation and Techniques of Nonviolent Protest

Goldman¹

2007

Dance Res. J.

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On the morning of May 4, 1961, a brave and motley group of travelers—seven black males, three white males, and three white females, varying in age and professional standing but all trained in nonviolence—embarked on what they called the “Freedom Ride.” Designed by the Congress of Racial Equality (CORE), the bus ride was meant to commemorate and further the organization's 1947 Journey of Reconciliation, a non-violent test of desegregation on interstate buses that quickly disintegrated in the face of staunch resistance. This time, riders would test the 1960 Supreme Court decision Boynton v. Virginia, which prohibited segregation in the waiting rooms and restaurants of bus terminals (Branch 1989, 390). Departing from Washington, D.C., the Freedom Ride aimed to arrive in New Orleans on May 17, the seventh anniversary of Brown v. Board of Education. Explaining that they were merely exercising rights granted by the Supreme Court but that they knew the dangers, CORE director James Farmer said, “We were prepared for the possibility of death” (Cozzens 1997). Riding the momentum of the student sit-ins, the civil rights movement had become for many a matter of “putting your body on the line” (Branch 1989, 392).

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Choreographing Postcoloniality: Reflections on the Passing of Edward Said

Cited by 4 publications

References 0 publications

Dancing Back to Multiple Traditions

Dancing Back to Multiple Traditions

Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories

Bodies on the Line: Contact Improvisation and Techniques of Nonviolent Protest

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