Contemporary dynamics in Rwandan dances : identity, changing creativity and the globalisation of affect
- Author
- Carine Plancke (UGent)
- Organization
- Abstract
- In contemporary Rwandan society, a revitalisation of 'traditional' dances can be observed which manifests in the proliferation of youth dance troupes, especially in urban areas. This revival is part of the drive, which has characterised Rwanda, to reconstruct itself after the traumatic 1994 genocide and to create a new, unified nation that strives to be 'modern' and integrated into the global market economy. This article explores the repertoire and dynamics of current Rwandan dance performances as they embody the new national identity, pointing to differences between the practices and views of dancers trained in the pre-genocide period and dancers from contemporary youth troupes. In this respect, two divergent views of creativity, found among these two categories of dancers, are distinguished: a perspective that privileges improvisation as a key creative process, on the one hand, and a view of creativity as innovation and the realisation of novel, pre-designed forms, on the other. With regard to the affective power of these performances, the article advances that contemporary dance shows generate affect, as bodily intensity, among the onlookers captured by the flow of spectacular, homogeneously performed dance forms. While evocative of Rwanda's new national identity, the latter neutralise connections with the dancers' subjective history and erase the dances' sociocultural background. In a final note, the changing dynamics in Rwandan dances are linked beyond this specific case study to the flow-closure dialectic of globalisation. It is suggested that dance's dual nature of both rhythmic flow and visual form is what makes it such a privileged marker of identity in our uncertain and violence-generating global times.
- Keywords
- dance performance, cultural creativity, national identity, globalisation, trauma, post-genocide Rwanda
Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-8503261
- MLA
- Plancke, Carine. “Contemporary Dynamics in Rwandan Dances : Identity, Changing Creativity and the Globalisation of Affect.” DANCE RESEARCH, vol. 34, no. 2, 2016, pp. 150–69, doi:10.3366/drs.2016.0157.
- APA
- Plancke, C. (2016). Contemporary dynamics in Rwandan dances : identity, changing creativity and the globalisation of affect. DANCE RESEARCH, 34(2), 150–169. https://doi.org/10.3366/drs.2016.0157
- Chicago author-date
- Plancke, Carine. 2016. “Contemporary Dynamics in Rwandan Dances : Identity, Changing Creativity and the Globalisation of Affect.” DANCE RESEARCH 34 (2): 150–69. https://doi.org/10.3366/drs.2016.0157.
- Chicago author-date (all authors)
- Plancke, Carine. 2016. “Contemporary Dynamics in Rwandan Dances : Identity, Changing Creativity and the Globalisation of Affect.” DANCE RESEARCH 34 (2): 150–169. doi:10.3366/drs.2016.0157.
- Vancouver
- 1.Plancke C. Contemporary dynamics in Rwandan dances : identity, changing creativity and the globalisation of affect. DANCE RESEARCH. 2016;34(2):150–69.
- IEEE
- [1]C. Plancke, “Contemporary dynamics in Rwandan dances : identity, changing creativity and the globalisation of affect,” DANCE RESEARCH, vol. 34, no. 2, pp. 150–169, 2016.
@article{8503261, abstract = {{In contemporary Rwandan society, a revitalisation of 'traditional' dances can be observed which manifests in the proliferation of youth dance troupes, especially in urban areas. This revival is part of the drive, which has characterised Rwanda, to reconstruct itself after the traumatic 1994 genocide and to create a new, unified nation that strives to be 'modern' and integrated into the global market economy. This article explores the repertoire and dynamics of current Rwandan dance performances as they embody the new national identity, pointing to differences between the practices and views of dancers trained in the pre-genocide period and dancers from contemporary youth troupes. In this respect, two divergent views of creativity, found among these two categories of dancers, are distinguished: a perspective that privileges improvisation as a key creative process, on the one hand, and a view of creativity as innovation and the realisation of novel, pre-designed forms, on the other. With regard to the affective power of these performances, the article advances that contemporary dance shows generate affect, as bodily intensity, among the onlookers captured by the flow of spectacular, homogeneously performed dance forms. While evocative of Rwanda's new national identity, the latter neutralise connections with the dancers' subjective history and erase the dances' sociocultural background. In a final note, the changing dynamics in Rwandan dances are linked beyond this specific case study to the flow-closure dialectic of globalisation. It is suggested that dance's dual nature of both rhythmic flow and visual form is what makes it such a privileged marker of identity in our uncertain and violence-generating global times.}}, author = {{Plancke, Carine}}, issn = {{0264-2875}}, journal = {{DANCE RESEARCH}}, keywords = {{dance performance,cultural creativity,national identity,globalisation,trauma,post-genocide Rwanda}}, language = {{eng}}, number = {{2}}, pages = {{150--169}}, title = {{Contemporary dynamics in Rwandan dances : identity, changing creativity and the globalisation of affect}}, url = {{http://doi.org/10.3366/drs.2016.0157}}, volume = {{34}}, year = {{2016}}, }
- Altmetric
- View in Altmetric
- Web of Science
- Times cited: