- [UNTITLED]
- List of Contributors
- About the Companion Website
- An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change
- Traditional Music, Heritage Music
- An Expanded Theory for Revivals as Cosmopolitan Participatory Music Making
- Antiquarian Nostalgia and the Institutionalization of Early Music
- A Folklorist’s Exploration of the Revival Metaphor
- A Participant- Documentarian in the American Instrumental Folk Music Revival
- Reviving Korean Identity through Intangible Cultural Heritage
- Music Revival, Ca Trù Ontologies, and Intangible Cultural Heritage in Vietnam
- The Hungarian Dance House Movement and Revival of Transylvanian String Band Music
- National Purity and PostColonial Hybridity in India’s Kathak Dance Revival
- Choreographic Revival, Elite Nationalism, and Postcolonial Appropriation in Senegal
- Revived Musical Practices within Uzbekistan’s Evolving National Project
- Two Revivalist Moments in Iranian Classical Music
- Reclaiming Choctaw and Chickasaw Cultural Identity through Music Revival
- Revivalist Articulations of Traditional Music in War and Postwar Croatia
- Cultural Rescue and Musical Revival among the Nicaraguan Garifuna
- Toward a Methodology for Research into the Revival of Musical Life after War, Natural Disaster, Bans on All Music, or Neglect
- Innovation and Cultural Activism through the Reimagined Pasts of Finnish Music Revivals
- Revival Currents and Innovation on the Path from Protest Bossa to Tropicália
- Bending or Breaking the Native American Flute Tradition?
- Toward an Application of Globalization Paradigms to Modern Folk Music Revivals
- Contemporary English Folk Music and the Folk Industry
- Ivana Kupala (St. John’s Eve) Revivals as Metaphors of Sexual Morality, Fertility, and Contemporary Ukrainian Femininity
- Trailing Images and Culture Branding in Post-Renaissance Hawai‘i
- Grassroots Revitalization of North American and Western European Instrumental Music Traditions from Fiddlers Associations to Cyberspace
- Georgian Polyphony and its Journeys from National Revival to Global Heritage
- Irish Music Revivals Through Generations of Diaspora
- Reviving the Reluctant Art of Iranian Dance in Iran and in the American Diaspora
- Musical Remembrance, Exile, and the Remaking of South African Jazz (1960–1979)
- Re-Flections
- Index
Abstract and Keywords
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. This essay examines the uses of revival performance in the politics of nationalism and regionalism in postcolonial Senegal. In the 1960s, President Léopold Sédar Senghor’s regime chose to foster the performing arts as an essential component in nation-building. This was in continuity with French colonial policy, in which educated young men had been encouraged to create a genre of school musical theater drawing on modern European theater, choreography, and regional traditions centered on the performance of historical epics. The National Ballet created in 1961 thus attempted to revive selective aspects of the region’s history to legitimize the politics of the present. The essay then shows how, when the state lost its capacity to act as an exclusive patron of the arts in the 1980s, urban migrants from regions at the margins of the nation, such as the Casamance, appropriated the genre for their own regionalist and transnational agendas.
Keywords: Senegal, Casamance, nationalism, regionalism, National Ballet, musical theatre, choreographic revival, Léopold Sédar Senghor
Hélène Neveu Kringelbach, African Studies Centre Junior Research Fellow, St Anne’s College, University of Oxford, UK
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- [UNTITLED]
- List of Contributors
- About the Companion Website
- An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change
- Traditional Music, Heritage Music
- An Expanded Theory for Revivals as Cosmopolitan Participatory Music Making
- Antiquarian Nostalgia and the Institutionalization of Early Music
- A Folklorist’s Exploration of the Revival Metaphor
- A Participant- Documentarian in the American Instrumental Folk Music Revival
- Reviving Korean Identity through Intangible Cultural Heritage
- Music Revival, Ca Trù Ontologies, and Intangible Cultural Heritage in Vietnam
- The Hungarian Dance House Movement and Revival of Transylvanian String Band Music
- National Purity and PostColonial Hybridity in India’s Kathak Dance Revival
- Choreographic Revival, Elite Nationalism, and Postcolonial Appropriation in Senegal
- Revived Musical Practices within Uzbekistan’s Evolving National Project
- Two Revivalist Moments in Iranian Classical Music
- Reclaiming Choctaw and Chickasaw Cultural Identity through Music Revival
- Revivalist Articulations of Traditional Music in War and Postwar Croatia
- Cultural Rescue and Musical Revival among the Nicaraguan Garifuna
- Toward a Methodology for Research into the Revival of Musical Life after War, Natural Disaster, Bans on All Music, or Neglect
- Innovation and Cultural Activism through the Reimagined Pasts of Finnish Music Revivals
- Revival Currents and Innovation on the Path from Protest Bossa to Tropicália
- Bending or Breaking the Native American Flute Tradition?
- Toward an Application of Globalization Paradigms to Modern Folk Music Revivals
- Contemporary English Folk Music and the Folk Industry
- Ivana Kupala (St. John’s Eve) Revivals as Metaphors of Sexual Morality, Fertility, and Contemporary Ukrainian Femininity
- Trailing Images and Culture Branding in Post-Renaissance Hawai‘i
- Grassroots Revitalization of North American and Western European Instrumental Music Traditions from Fiddlers Associations to Cyberspace
- Georgian Polyphony and its Journeys from National Revival to Global Heritage
- Irish Music Revivals Through Generations of Diaspora
- Reviving the Reluctant Art of Iranian Dance in Iran and in the American Diaspora
- Musical Remembrance, Exile, and the Remaking of South African Jazz (1960–1979)
- Re-Flections
- Index
