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French MovesThe Cultural Politics of le hip hop$
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Felicia McCarren

Print publication date: 2013

Print ISBN-13: 9780199939954

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199939954.001.0001

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Hip Hop as Postcolonial Representation

Hip Hop as Postcolonial Representation

Farid Berki’s Invisible Armada and Exodust

Chapter:
(p.74) Chapter 3Hip Hop as Postcolonial Representation
Source:
French Moves
Author(s):

Felicia McCarren

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199939954.003.0004

Chapter 3 considers how hip hop choreographies express this cultural difference in France. This dance has been “used” for integration under the banner of its universalism, serving as a visible reminder of difference even as it emphasizes the non-visible complexity of cultural, ethnic, or religious identity. Two choreographies by autodidact dancer and choreographer Farid Berki stage thinking about colonial encounter and conquest, and about post-colonial exodus and emigration, about mobility and identity. Drawing from a range of moves, both from within the hip hop dance vocabulary and from outside of it—modern dance, capoiera, Latin popular dance—Berki’s choreography is among those that expand the hip hop dance idiom into a choreographic language. One of the works considered here is also one of few to consider the history of colonial domination and slavery, set in a tropical landscape; and his work over two decades provides a continuity between that imagined history and the contemporary, global, state of exiles, the subject of a more recent piece.

Keywords:   HIP HOP DANCE—FRANCE—Cultural Pluralism—North Africans—France—ethnic identity, FARID BERKI—MELTING SPOT PRODUCTIONS—Invisible Armada (2000)—Exodust (2006) DANCE FESTIVALS, LA VILLETTE Rencontres Urbaines-DANCE CRITICISM

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