AAS 16 part 9

  1. When and where was the Ballets
    africains formed?
    Paris, 1948
  2. Who were the initial members of the
    troupe? How were later members recruited?
    • Students; following its success,
    • Fodeba Keita was able to return to Guinea to search for local talent
  3. What led president Sekou Toure of
    Guinea to launch a policy of cultural rehabilitation? 218
    • All the modern bands that existed
    • in Guinea at the time were led by Europeans; the Africans didn’t have modern
    • dancebands, and all the other bands refused to play in his honor
  4. What kind of family did Kouyate Sory
    Kandia come from? What was the traditional role of families like his? (219)
    • Jali;
    • Born into a family of hereditary musicians, singers, dancers, acrobats,
    • counselors; traditionally the jali families form a professional class of their
    • own and are a cultural institution unique to W Africa
  5. Was the Ballets africains a commercial
  6. What elements did Mory Kante blend
    together to create the song Yeke Yeke which topped European singles charts
    in the 1980s?
    • Blend of the kora, traditional
    • singing, and a modern band w/ synthesizers
  7. Which
    company was the world’s first professional African performance company? 12
    Les Ballets Africains
  8. What
    kind of content did its performance include when the company rose to fame
    during the 1950s? 12
    • West African music, stories, and dance
    • staged in modern arrangements and choreography
  9. Which
    parts of the world did the Ballets Africains tour after its founding in 1952? 13
    • Territories of French West Africa, western
    • and eastern Europe (France, Germany, Czechoslovakia, Romania, Turkey, Hungary),
    • South America (Brazil, Chile, Peru, Argentina, Uruguay), Middle East (Israel)
  10. When
    did a turn towards African-based forms begin to occur in American staged dance?
  11. How
    far developed was American interest in African performance when the Ballets
    Africains came to perform in the US in 1959? 14
    Still in its nascent stages
  12. How
    was the performance of the Ballets Africains different from the Ghanaian and
    Nigerian traditions that were already known in New York at the time? 15
    • Ghanaian and Nigerian had bass-heavy
    • percussion and earth-grounded movements; Ballets featured higher-pitched sounds
    • of jembe drumming, song repertoires of northern Mande griots, and acrobatic
    • dance styles
  13. What
    specific cultural practices did Fodeba Keita amalgamate when he formed the
    Ballets Africains? 24
    • Indigenous traditional forms,
    • pan-Africanist Ponty theater, values of European show business
  14. What
    kind of strategies did Fodeba Keita use to create an overall exotic appeal? 25
    • Specific indigenous rhythms and dances were
    • labeled generically
  15. During
    the 1959 tour, which countries did the artists and material performed come
    from? 25
    • Senegal, Guinea, Sudan (Mali), and Cote
    • d’Ivoire (Ivory Coast)
  16. How did the membership of the Ballets
    Africains company change after 1960 when the company switched its base of
    operations to Conakry in Guinea? 26
    • Members now almost exclusively Guineans;
    • assembed via competitive nationawide selection process
  17. How would Baga audiences have responded to
    seeing the Kakilambe performed by the Ballets Africains? 33
    • Notes in playbills describe the kakilambe
    • benignly enough; generalizes and idealized in typical folkloric fashion, bt
    • Kakilambe is a Soso name for the Bagas’ most revered and powerful masked
    • spirit. Final mounting of the mask symbolized suppression and appropriation of
    • Baga culture

  18. Did the supplementary characters who
    appeared in the ‘Bird men’ performance bear any relation to the Loma forest
    setting or to Guinean culture? 33
  19. Did the Ballets Africains privilege
    demystification of tradition over exoticism, or did it privilege exoticism over
    demystification of tradition? 34
    Exoticism over demystification
  20. Do tourists who visit the Dogon desire
    to experience Dogon society in its entirety or are they just attracted to
    specific set of features? 66
    Specific set of features
  21. What elements are used to promote
    tours to the Dogon country? 66
    • Elemnts of the geographical
    • situation of the region, the local landscape and architecture, Dogon mythology,
    • the more spectacular aspects of the trad’tl masked dances abstracted from their
    • broader regional and social contexts
  22. Under normal circumstances, do the
    famous masked rituals of the Dogon take place on a regular basis or are
    they sporadic? 67
  23. *Are these masked rituals sometimes
    staged for tourists? 67
  24. Are the dances held for tourists as
    long as the ritual dances?
    No; highly abbreviated
  25. Are all portions of the ritual masks
    retained in tourist performances?
    • only the more spectacular portions
    • involving maskers are retained.
  26. Where do the tourist performances take
    place? Is this a usual location? 68
    • Not held in residential area nor in
    • the village square like usual locations; In ogol e.g. put on in front of local
    • post office on edge of village
  27. Who supervises the tourist
    performances, and what kind of instructions do these supervisors give the
    dancers? 68
    • Tourist board official;
    • instructions: dance more energetically
  28. Are the sexes segregated during the
    tourist performance as is typical for the ritual dances? 68
    • Care is taken to not let women see
    • masks when in transit from storage to dancers
  29. Do the tourist performances take place
    at the usual time for the ritual dances? 68
    • no; tourist perf can be held
    • anytime during daylight hours w/out regard to other events
  30. Within the context of a ritual dance,
    is there a desire to be recognized? 69
Card Set
AAS 16 part 9
aas 16 part 9