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Dance and the Colonial Body: Re-Choreographing Postcolonial Theories of the Body

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Dance and the Colonial Body: Re-Choreographing Postcolonial Theories of the Body Université de Montréal Dance and the Colonial Body: Re-choreographing Postcolonial Theories of the Body par Rachid Belghiti Département d’études anglaises Faculté des arts et des sciences Thèse présentée à la Faculté des études supèrieures en vue de l’obtention du grade de Philosophiae Doctor (Ph.D) en études anglaises Septembre, 2012 © Rachid Belghiti, 2012 Résumé iii Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. iv Méthodologiquement, cette dissertation rassemble des théories occidentales et utochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question. Mots Clés: Corps Colonisé, danse, chorégraphie, théories postcoloniales, érotisme, sexualité, fétichisme, nation, carnaval. Abstract vi Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in vii ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it. Keywords: the colonial body, dance, choreography, Postcolonial theory, eroticism, sexuality, fetishism, nation narration, Carnival. Table of content ix Résumé…………………………………………………………………….....ii Abstract……………………………………………………………….……..v Table of Contents…………………………………………………………...viii Dedication……………………………………………………………………xiii Acknowledgement……………………………………………………………xv Preface…………………………………………………………………………1 Introduction: Dance and the Postcolonial Studies of the Body: Theoretical Perspectives 8 1. The Colonial Body, Dance, and Postcolonial Studies…………………9 2. The Colonial Body in Postcolonial and Critical Race Theories………19 3. Postcolonial Studies: Recent Critical Concerns……..…......................36 4. Dance Studies: Interventions in the Postcolonial Theories of the Body…………………...................................................................44 5. Dance and the Colonial Body: Literary and Theoretical Postcolonial Re-choreographies……….............................................................50 5.1. Frantz Fanon: Dance, the “Occult,” and Anti-colonial Violence………………………………………………………….....................50 x 5.2. Wole Soyinka: Dance and Yoruba Cosmology……………………...57 5.3. Wilson Harris: Limbo Dance and the Philosophy of History…………………………………………………......................62 5.4. Arundhati Roy’s The God of Small Things: Dance and Neo-colonial Commodification……………...………….....................72 Chapter 1: Oriental Dance and the Erotic: Stavros Karayanni and Audre Lorde……………………………………………....................85 1.1. Stavros Karayanni: Oriental Dance and Eroticism……………...........86 1.2. Karayanni: Oriental Dance and the Elusive Dancing Body…………90 1.3. Karayanni: Oriental Dance and the Ambivalent Colonial Desire……93 1.4. Karayanni: Male Eastern Dance and Orientalist Homoeroticism……97 1.5. Karayanni and the Oriental Dancing Body: The Critical Stakes…….101 1.6. Postcolonialism and the Eroticisation of the Oriental Body…….......108 1.6.1. Malek Alloula and Edward Said……....................................108 1.7. The Oriental Body, Dance, and Postcolonial Fetishism……….........116 1.8. Audre Lorde: The Erotic, the Pornographic, and Dance……………122 1.8.1. Audre Lorde: The Erotic and the Pornographic……………..122 1.8.2. Audre Lorde: Dance and the Erotic………………….............127 1.9. Dunia: Oriental Dance and the Power of the Erotic…………….....132 Chapter 2: Choreography,
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