Brenda Dixon Gottschild, amerikansk professor emeritus, dansehistoriker, forfatter, danser, koreograf og antirasistisk kulturarbeider er i Norge for første gang. Tabanka Dance Ensemble og Danseinformasjonen arrangerer et foredrag og en samtale med Dixon Gottschild 2. november på Dansens Hus.
Her kan du lese intervju med henne hvor hun blant annet snakker om hvorfor dans kan fungere som et barometer på samfunnet.
The clearest way for me to explain this is to extrapolate from one of my signature presentations, titled “Researching Performance—The Black Dancing Body as a Measure of Culture”:
The body remembers. The body re-members. The body speaks. The body tells us what is valued in a culture. Bodies are mirrors that absorb, remember, and reflect society’s politics, art, religion, aesthetics, hopes, fears, strengths, failings—both the officially sanctioned versions and the sub-rosa, closeted taboos. Bodies are barometers measuring the pulse of society. Let me begin by giving you a context. Now, all of us in this room may be aware that dance is as old as humankind, and that there are many kinds and forms of dance, and dance has served many functions in different societies and different eras. For example, in African and African-American cultures—I use the term “Africanist” to embrace these two—so, in Africanist cultures dance is an integral part of religious practice, and the deities present themselves to the community through the dancing body of the religious devotee who dances when and as the spirit moves her. On the other hand, in many traditional Europeanist Christian sects the dancing body is a “no-no” and regarded as the vehicle that leads to evil, rather than enlightenment. This is one example of what it means for us to think about the dancing body as a measure of culture that points out what is valued or repressed in a given society.
Foto: Ryan Collerd