Racconti e storie per tutte letagrave; e per tutti i gusti. La prima antologia di autori esordienti con i migliori racconti selezionati da tutti i partecipanti della seconda edizione del Premio Elison 2016. In questa raccolta troviamo i lavori di Laura Usai; Giuseppe Cinieri; Elio Errichiello; Vincenzo Di Francesco; Elisa Taddia; Lucia Cosci; Luigi Nalli; Aurora Paglialonga; Saya Marimpietri; Veronica Cani; Sara Comuzzo; Vittorina Dal Santo; Patrizia Gazzotti; Gianmarco Dosselli; Carmen Cillo; Santi Maimone; Laura Sergi; Conchita Tiron; Elena Moretti; Silvia Luscia; Riccardo Montanaro; Lalla Conti; Antonella Tamiano; Massimo Degano; Diana Sinigaglia; Sara Rosa Napolitano; Alberto Gorrani.
#3100459 in eBooks 2010-10-01 2010-10-01File Name: B01M137C2I
Review
2 of 2 people found the following review helpful. Good observations about dance in Senegal and its relation to the WestBy faringtonLike the author. I saw the National Ballet of Senegal perform in 1995 and again at the Irvine Barclay Theater in 1998. In between. I traveled to Senegal to study with musicians of the Ballet. but my stay was not as long-term or in-depth as that of the author. This book provided a lot of details about the historical and social context of the Ballet. and Senegalese dance in general. that really supplemented the knowledge I got from my time over there. There are good discussions about the relationship between the Ballet and traditional dance. about the contrast between professional groups like the Ballet and "street" dance like sabar gatherings. about the interface between Senegalese performers and Western audiences. and about the role of Senegalese dance in establishing African cultural identity. Interestingly. she concludes that continued adherence to the ideas of Senghor. who established the Ballet. would be counterproductive to the development and vitality of Senegalese dance and culture in general.The book is generally well-written and engaging. particularly when the author is describing her field research. but I found it tough to stay interested through a lot of the anthropological/sociological/enthnographic jargon-filled discussions. It often seemed to be an exercise in stuffing simple notions into technical categories to be plugged into some over-arching conceptual machinery--rather than just discussing the matter at hand. For instance. when Bouly Sonko. director of the Ballet. describes how his passion for dance developed in his youth. saying it was like a "virus" that just took him over. the author finds this "quite telling". saying that "the biomedical conceptualization of disease contrasts with indigenous conceptualizations. which tend to stress the somatic element in any sickness and the links between the physical body and the social body." This seems to overwork what is a fairly innocent remark made by Mr. Sonko.And Im not sure what the chapter "Tales of Betrayal" adds to the discussion. The authors explanation doesnt help: "These Tales of Betrayal are configured as the staging of a series of antagonisms intending to rupture essentialist assumptions of gender."Well. for all I know the author may be making contributions to ethnography and anthropology that are missed on me but appreciated by professionals in the field. In any event. interest in African dance seems to have continued to grow in the U.S.. and this book would be of value to anyone interested in African music. dance. and culture in general.
