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| ABSTRACTS
Felicia McCarren (Tulane University) Global gestures: the difference of le hip-hop
Based on fieldwork undertaken in Paris in 2001, (Shapiro, Kauffmann, and
McCarren: La danse hip-hop: apprentissage, transmission, socialisation;
Rapport pour la Mission du Patrimoine Ethnologique, Ministère de
la Culture et de la Communication 2002), this paper considers how
a new form of French hip-hop, la danse urbaine,. stages "difference."
Created by dancers often from working-class backgrounds and immigrant
families, French hip-hop has, in the last decade, achieved critical respect
as an art form now programmed at the level of the "scènes
nationales." In "Monsieur Hip-Hop" (in Blackening Europe;
The African American Presence, ed. Heike Raphael, Routledge, 2003),
I argued that cultural differences as well as a strategic politique culturelle
helped to create this dance in France: within the mode of homage to an
African-American authenticity that characterizes the rhetoric of the "mouv',"
young dancer-choreographers drawing on many forms of traditional and concert
dance accessible in France have articulated their differences from a commercialized,
globalized form and its imitative practices. Grounded in the inclusivity
of "black/blanc/beur," and the "fonds d'action sociale,"
urban dancers have elaborated a political-social identity via a dance
form with the dimensions of a civic art, staging their difference even
as their art is "recuperated" by a republican assimilationist
model. |
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