机器人和积极的编舞

J. L. Perillo
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引用次数: 0

摘要

本章以舞蹈戏剧为中心,将其作为切入点,探讨基于种族的招生政策(平权行动)与基于舞蹈的种族代理表达之间的关系。这一章的重点是菲律宾文化之夜(pcn),这是一种由学生制作的年度表演,通常通过表演传统的民间形式来肯定与祖国的联系。然而,在加州大学伯克利分校的PCN作品《Home》(2000)中,舞者和编舞用嘻哈来强调美国的文化形态。虽然现有的学术研究主要集中在文化之夜类型中传统民间舞蹈的“重生”模式,但分析集中在菲裔美国人对街舞风格(跳跳舞和机器人舞)的使用上。这些元素的配置夸大了多元文化主义和后种族主义的意识形态,是对模范少数民族刻板印象的创新回应。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Robots and Affirmative Choreographies
This chapter centers dance theater as an entry point into the relationship between race-based admissions policies (affirmative action) and dance-based articulations of racial agency. The chapter focuses on Pilipino culture nights (PCNs), student-produced annual performances that typically work to affirm a connection to the homeland through the performance of traditional folk forms. However, for Home (2000), a University of California–Berkeley PCN, the dancers and choreographers used hip-hop to emphasize U.S.-based cultural formations. While existing scholarship focuses on the “born again” mode of traditional folk dance within the culture night genre, the analysis centralizes Filipino American use of street dance styles (popping and robotic dancing). The configuration of these elements exaggerates ideologies of multiculturalism and post-raciality in an innovative response to the model minority stereotype.
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