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colonialism, of colonization and post-colonization, of racism and its interpellations, of racism and its capacities to produce bodies and movement- effects are constantly being ‘forgotten’ from critical discourse and from choreo- graphic practices? Is it possible that the political unconscious of European dance and European Dance Studies be the repressed strata of its recent and its current colonizing histories and colonizing modes of subjectivation? As if post-colonial theory was a matter exclusive to former or currently colonized populations; as if post

racist scheme that debased ‘blackness’ and assigned Africans to the lowest social strata (Alleyne 2002: 84). Furthermore, the trauma of the Middle Passage, of slavery and the internalization of colonialist racism resulted – according to Martin- iquan psychiatrist Frantz Fanon – in a psycho-pathological personality complex. In his influential study Black Skin, White Masks (1952), Fanon has thus described the diaspora’s psychological trauma in terms of a “black skin, white mask” dichotomy. In this work, he first addressed the paradoxical absence of an African

immanent threat to both ‘normalized’ knowledges and disciplinary powers (1994: 86). Presenting “at once resemblance and menace,” colonial mimicry may therefore evolve as the site of an anti-essentialist articulation of iden- tity, which dismantles colonialist racism as much as it defies pre- 12 Selections in terms of the NDTC repertoire have naturally been privileg- ing those works, which I have seen in live-performance in London 2001, as well as in Kingston in January 2003, and during the NDTC’s 41st dance season

: Verhaltenstherapie & psychosoziale Praxis Jg. 47 Nr. 1, S. 113-124. Jäger, Ulle (2014): Der Körper, der Leib und die Soziologie. Entwurf einer Theorie der Inkorporierung, Sulzbach/Taunus: Ulrike Helmer Verlag. Johnson, Rae (2014): Contacting Gender, in: Gestalt Review Jg. 18 Nr. 3, S. 207-225. Johnson, Rae (2018): Embodied Social Justice, New York: Routledge. Kilomba, Grada (2008): Plantation Memories. Episodes of Everyday Racism, Münster: Unrast. Lachner, Gabriele (2007): Ethik und Werte in der Integrativen Therapie, in: Sieper, Johanna/Orth, Ilse/Schuch, Waldemar (Hg

- tionary, this figurative invocation of dance suggests, “to lead, rarely give (a per- son) a dance; fig. to lead (him) in a wearying, perplexing, or disappointing course; to cause him to undergo exertion or worry with no adequate result” (cf. A casual scan across the digital horizon would yield such phrases as “The Reconciliation Dance” (on politics and crime); “Wild Finance: Where Money and Politics Dance” (on the financial bailout); “The Dance of the Apolo- gists” (on the persistence of racism in response to Obama’s election) (cf., December 2

reenactment that, as Linyekula commented himself, deliberately wanted to have the two dozen white dancers confront or be confronted by the black protagonist, thus pointing to the hidden dimension of racism: the veritable erasure of individual and collective identity. Linyekula was able to identify this previously unacknowledged meta-nar- rative behind the fairytale-like story of the original ballet – an assumedly Edenic or pristine origin of mankind in an African myth (supposedly told by the Fang people of Gabon). While Linyekula succeeded splendidly in a very

»shifting ideologies« of race in Hollywood film, the continued dominance of black gangsters and sexualized dancers makes apparent that bodily discourses are not shifting progressively. Instead, it seems that changes are characterized by co-existing improvements and setbacks, by unfettered cultural expression and stereotyping.17 In this vein, the bodily discourse in Stormy Weather contains both stereotypes and challenges to those stereotypes, is a site of resistance and a manifestation of racism and can ask hard questions and give easy answers all in 78 minutes of

dance and how not to tango. As you will soon discover, however, tango (the parodic target) will be a device, an intertextual metaphor, that enables the audience to address an array of associated emotional, social and political issues from dance pedagogy to love and sexuality, racism and xenophobia, class and gender stereotypes, prejudices concerning physicality as well as double moralities, and fantasies of globalization linked to actual third- and first-world-ish differences. I will be paying close attention to the context and historicity of these parodies so

projecting and imagining collectivity both in the arts and in society.74 Against this backdrop, I would like to present evidence from the 73 As an example, Majdalanie (2017) refers to her position as a leftist in the intellectual and artistic circles of Beirut in the 1990s. In this context, control over discourse represented, according to her, a vital source of power at a moment when addressing intra-Arab nationalisms and racisms seemed largely impossible. 74 For an overview of the role of dance in the