Myth Performance in the African Diasporas : Ritual, Theatre, and Dance

Diaspora studies continue to expand in range and scope and remain fertile terrain for investigating multiple techniques of myth creation in dance performance, history as performance, dramatic narrative, and staged rituals in the field. Similarly, research in postcoloniality, gender/sexuality, intercultural, and literary studies, among others, all engage and feature core components of performance and myth in articulating and understanding their fields. This sharing of similar components also demonstrates the interrelatedness of these fields. In Myth Performance in the African Diasporas: Ritual, Theatre, and Dance , the authors contend that performance traditions across artistic disciplines reveal a shared—if sometimes varied—journey among diasporic artists to reconnect with their African ancestors. The volume begins with a historical and aesthetic overview of how dramatists, choreographers, and performance artists have approached the task of interpreting African myth. The individual chapters reveal how specific artists, dramatists, and choreographers have interpreted African myth and what performative approaches and traditions they have used. Focusing on theatre practitioners from the nineteenth century through the present, the authors examine performative traditions from Canada, the United States, the Caribbean, and Latin America. Drawing upon research in theatre, dance, and literary texts, Myth Performance in the African Diasporas will be crucial to academics interested in African performance viewed through the prism of myth making and spiritual/ritualistic stagings. Besides those interested in diasporic studies, this book will also be useful to scholars and students of history, drama, theatre, and dance. Contends that performance traditions across artistic disciplines reveal a shared--if sometimes varied--journey among diasporic artists to reconnect with their African ancestors. The volume begins with a historical and aesthetic overview of how dramatists, choreographers, and performance artists have approached the task of interpreting African myth. The individual chapters reveal how specific artists, dramatists, and choreographers have interpreted African myth and what performative approaches and traditions they have used. Focusing on theatre practitioners from the nineteenth century through the present, the authors examine performative traditions from Canada, the United States, the Caribbean, and Latin America. --From publisher description. Cover 1 Title Page 2 Copyright Page 3 Contents 4 Acknowledgments 6 Introduction 8 1 Re-visionary History as Myth Performance 20 2 The Òrìṣà Paradigm 60 3 Performative Body Language in Suzan-Lori Parks’s Venus and Lynn Nottage’s Ruined 78 4 The Codification of Soul in African-Derived Dance Culture 96 5 Of Rebels, Tricksters, and Supernatural Beings 110 6 Of Princesses and Queens 144 Conclusion 158 Index 162 About the Authors 172 This book examines the concept and practice of myth performance in African Diaspora dramas and dances. These six essays chart a new path that enriches and enhances the understanding of African diaspora myth performance in literary and diaspora studies. This text examines the concept and practice of myth performance in African Diaspora dramas and dances. These six essays chart a new path that enriches and enhances the understanding of African diaspora myth performance in literary and diaspora studies