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Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009

机译:分阶段的真实性是对2009年国家艺术节主要节目中amaXhosa文化表现的探索

摘要

This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms.
机译:本文研究了AmaXhosa传统舞蹈和音乐在2009年南非国家计划国家艺术节(National Arts Festival)舞台上的呈现情况。以AmaXhosa传统舞蹈和音乐为特色的四部作品以及一场美术展览都在这里进行。进行分析,以确定如何刻画AmaXhosa文化,被认为是真实的东西以及这些产品如何影响AmaXhosa民族的记忆。为了了解这些作品在NAF中的地位,我们对南非文化背景和NAF进行了研究。讨论了种族隔离之后,彩虹之后的国家,南非的文化背景以及NAF如何为建立更统一的南非身份做出贡献。纳入和题写的记忆类别与如何确定传统土著产品的真实性有关。关于合并记忆的注意事项与功效有关,而在AmaXhosa社会中合并记忆的丧失可能导致仪式行为以娱乐为导向。如果私人文化在公共领域中得到持续展现,那么不可避免地会改变AmaXhosa回忆其历史的方式。剧院和舞台的过渡空间对舞台设计和表演者记忆的贡献与AmaXhosa的集体回忆有关。考虑到这一点,本论文表明NAF在AmaXhosa的进化中起着双重作用。它既对促进一部分人口的经济发展做出了积极贡献,又使人们接触到这种丰富而多元的文化。但是,这也影响了私人文化的功效,并通过辅助其表演形式的铭记而破坏了AmaXhosa的传统知识。

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