Voodoo, Nationalism, And Performance: The Staging Of Folklore in Mid-Twentieth-Century Haiti

1. Voodoo, Nationalism, And Performance: The Staging Of Folklore in Mid-Twentieth-Century Haiti By: Mark Hofmeyer and John Anderson and Edited By: Laura Pratt and Dr. Kay Picart

2. Folklore • The young Haitian literary community began to write new publications. Dedicated to the “indigenization” of Haitian poetics and “systematic use” of neglected folkloric, national and popular themes. (350) • Refocused on the country’s African ___________. • Isolation of the nation’s authentic cultural and revolutionary heritages. (350)

3. Folklore is booming and Vodou is slumming. • Elite intellectuals either denied the existence of Vodou, ________ it, or ___________ it. • Leon Audian said that the religious aspects of Vodou be taken out and have it become a _________________________________ • Anti-_____________ campaign.

4. Folklore and tourism • Official “uses” of folklore increased as Haiti tried to develop an international tourist industry.(358) • ________ stereotyping. • A Puritan in Voodoo land and Cannibal Cousins.

5. 1940s and 1950s tourism picks up • Many begin to see ________ in Haiti • Sip rum punches, dance the meringue, watch native dances. • The ________ government exerted control over how Haiti’s identity was represented.

6. Jean Leon Destine • Put together dance troupe • Dancers who specialized in particular regional traditions. (363) • Then proceeded to include choreography according to ________ ___________ figures and patterns

7. Michel Lamartiniere Honorat • Observed staged demonstrations and wrote book explaining the _______ folklore. • “It was more like a study of the staged folklore tradition of the forties and early fifties than of Haiti’s indigenous dance cultures

8. Voodoo Tourism • Alfred Metraux denounced _____________ • “Artists were irresponsibly transforming and misinterpreting traditional folkloric forms.” (369)

9. Dance Ethnography And The Limits Of Representation • By Randy Martin • Talks about “the distance between ________ and ______” • My Pal Randy thinks that • “the distance has engaged the intellectual energies of those writing on dance as kind of bricolage where the dance event appears to occasion writerly structure”. • What do you guys think he means by this?

10. The Structural Autonomy of Dance Practices • A different sort of dance writing • It is more visibly _________ and more comfortable with the __________ theory of representation. (329) • Refers to _________-, but in a way that attempts to foreground the subject. (329)

11. Susan Foster • Her theory of dance representation produces different modes of reading autonomous dance practices. (330) • Hence, each particular instance is normalized and made familiar through an explicit theoretical procedure that accepts ______ tropes or figures, of speech derived from literary theory.

12. Four tropes of Speech • Metaphor: • Metonymy: • Irony:

13. Two elements of democratization define the problematic of Herbert Blau’s study The Audience • Blau conceives of audience as a kind of _____ movement precipitated by and further constituted in _________.

14. Thus, the audience is a _____body that appropriates by its gaze a subject that, in turn marks its own tendency to disappear. • The audience simulates the presence mobilized in history, but within the vulnerable and elusive constitution of the ________ _______ sphere.

15. Almost done • Blau’s study can be seen as contributing to an ethnographic procedure that highlights the disruptive effects of the exotic Other it “______” and “_______” through representation. (337)

16. Even under conditions of a globally mediated culture, the unstable audience may be said to stand for ________________________________________________________________________

17. Works Cited • Kate Ramsey, "The Staging of Folklore in Mid-Twentieth-Century Haiti," MM, pp. 345-378 • Randy Martin, "Dance Ethnography and the Limits of Representation," MM, pp. 321-344

18. johnbobanderson@yahoo.com