Abstract:The second chapter grapples with the tensions between authenticity, spectacle, and exoticism in its examination of Shango (1945), a dance choreographed for Broadway and performed in repertoire by Katherine Dunham and her dancers. Dunham's ethnographically informed invocation of Vodou makes felt the tensions between exoticization and the possibility of decolonization while also preserving something of the unrepresentability—the noise—of Vodou itself. Shango's movement through and distance from African diasporic… Show more
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