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Applying Intertextuality to Chinese Traditional Animation Making in a Global Context: Using Jingwei Reclamation as an Example
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ELAL: An Emotion Lexicon for the Analysis of Alsatian Theatre Plays
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In: Language Resources and Evaluation Conference ; https://hal.archives-ouvertes.fr/hal-03655148 ; Language Resources and Evaluation Conference, Jun 2022, Marseille, France ; https://lrec2022.lrec-conf.org/ (2022)
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Lessons from a distanced stage: embedding a Zoom-mediated drama workshop in a language classroom
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In: L2 Journal, vol 14, iss 3 (2022)
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Theater and Peacebuilding in Post-Conflict Settings: Participants’ Experiences in the Morning Star Theater Program in South Sudan
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In: Antioch University Full-Text Dissertations & Theses (2022)
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Maloya dance and music: Réunionese Créole togetherness
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In: Theses: Doctorates and Masters (2022)
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Abstract:
La Réunion is a former French colony where the coffee, vanilla — and later the sugarcane industry — brought together the mostly enslaved and indentured people from Madagascar, Africa, India, China and France. A quintessential part of this hybrid culture has been the development of maloya, an improvised music-and-dance form that so alienated French colonial authorities and landowners that it was unofficially banned until 1981. While maloya music has been taught since 1987 at Conservatoire de La Réunion and has reached international stages, maloya dance itself has rarely been explored academically, often relegated to the rank of superficial entertainment. The aim of the present research is to interrogate maloya: what it means to me as a practitioner of maloya and what it means as a culturally embodied art form. Using the principles of practice-led research methodology and the research methods of a/r/tography (including qualitative interview methods, as well as studio practice, performance creation, teaching activities and narrative writing familiar with autoethnography), the research interrogates my subjective experience as a maloya artist, researcher and teacher in Australia. As an art form, the research identifies the improvised technique of maloya dance. The research argues that maloya is comprised of elements of La Réunion’s history: dislocation, slavery, ‘third space’, hybridization and freedom. Thus, analysing the teaching of maloya in Australia is the teaching of Réunionese identity. The different spaces, the different audiences and the different intentions of the dancer all play into how the dancer moves. When performed at an International Arts Festival, maloya is different to its presence at a backyard neighbourhood party or in a sacred ritual honouring the ancestors. The research is neither definitive nor interested in providing a generalisable formula for a transnational theory on adapting dance for different audiences or for different purposes (such as for performance or for teaching), rather the motivation behind the research is to fully interrogate an underexplored dance form and to better understand the origins and composition of a dance form that I carry in every step of my feet. Maloya is the conceptualisation and representation of who I am and how key Réunionese artists see themselves through maloya. The research argues that maloya contributes to identity formation, maintenance and evolution and that the history of surviving dispossession and oppression informs a certain type of cultural, linguistic and artistic identity, similar to the powerful idea of batarsité. As a teacher of maloya in Australia, it became clear that the dance as an artistic representation informs the negotiation of intersecting identities and that this perspective — in conjunction with the participant observation, field trips and interviews with maloya artists and experts — sits comfortably alongside my subjective experience of teaching and performing maloya. The research is an important critical yet subjective interrogation of a dance form that is embraced by its people as not only a powerful symbol of freedom from oppression, but also emblematic of everyday life on a post-colonial island.
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Keyword:
Arts and Humanities; Batarsité; Creole; Creolisation; Improvisation; La Réunion; Maloya; Maloya Dance; Maloya Music; Post-colonial; Réunionese History and Culture; Slavery; Theatre and Performance Studies; Trance-like state
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URL: https://ro.ecu.edu.au/theses/2532
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Vedantic Basis and Praxis of the Integral Advaita of Sri Aurobindo
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In: Monsoon: South Asian Studies Association Journal (2022)
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Tusha Hiti: The Origin and Significance of the Name
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In: Monsoon: South Asian Studies Association Journal (2022)
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Diversity, Equity, and Inclusion: Perspectives from Contemporary India and 6th Century Jain Yoga
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In: Monsoon: South Asian Studies Association Journal (2022)
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| 11 |
Ganges in Indian Sculpture and Literature: Mythology and Personification
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In: Monsoon: South Asian Studies Association Journal (2022)
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| 12 |
Digital and Spatial Humanities Mapping: Eurasia-Pacific Early Trade and Belief Linkages
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In: Monsoon: South Asian Studies Association Journal (2022)
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| 13 |
John Van Burek, Michel Tremblay ou la traduction à Toronto revisitée ...
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| 14 |
Face to Facelessness: Imagined Intimacies and Socially Distant Desires
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| 15 |
Early Modern German Shakespeare : "Titus Andronicus" and "The Taming of the Shrew" : "Tito Andronico" and "Kunst über alle Künste, ein bös Weib gut zu machen" in Translation
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| 16 |
The potential of ethnographic drama in the representation, interpretation, and democratization of sociolinguistic research
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| 17 |
Understanding computation time: a critical discussion of time as a computational performance metric
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| 19 |
L’exclamation en grec ancien
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In: https://hal.archives-ouvertes.fr/hal-03286061 ; Peeters, 2021, L’exclamation en grec ancien, 978-90-429-4635-4 (2021)
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| 20 |
Magnetism, Electricity, Spiritualism : On the Imaginary of the Fluid in 19th Century French Theater ; Magnétisme, électricité, spiritisme : l'imaginaire du fluide dans le théâtre du XIXe siècle
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In: https://tel.archives-ouvertes.fr/tel-03526480 ; Linguistique. Université de Lyon, 2021. Français. ⟨NNT : 2021LYSE2047⟩ (2021)
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