1. Voodoo, Nationalism, And Performance: The Staging Of Folklore in Mid- Twentieth-Century Haiti By: Mark Hofmeyer and John Anderson and Edited By: Laura Pratt and Dr. Kay Picart

2. Folklore ► The young Haitian literary community began to write new publications. Dedicated to the “indigenization” of Haitian poetics and “systematic use” of neglected folkloric, national and popular themes. (350) ► Refocused on the country’s African ___________. ► Isolation of the nation’s authentic cultural and revolutionary heritages. (350)

3. Folklore is booming and Vodou is slumming. ► Elite intellectuals either denied the existence of Vodou, ________ it, or ___________ it. ► Leon Audian said that the religious aspects of Vodou be taken out and have it become a _________________________________ ► Anti-_____________ campaign.

4. Folklore and tourism ► Official “uses” of folklore increased as Haiti tried to develop an international tourist industry.(358) ► ________ stereotyping. ► A Puritan in Voodoo land and Cannibal Cousins.

5. 1940s and 1950s tourism picks up ► Many begin to see ________ in Haiti ► Sip rum punches, dance the meringue, watch native dances. ► The ________ government exerted control over how Haiti’s identity was represented.

6. Jean Leon Destine ► Put together dance troupe ► Dancers who specialized in particular regional traditions. (363) ► Then proceeded to include choreography according to ________ ___________ figures and patterns

7. Michel Lamartiniere Honorat ► Observed staged demonstrations and wrote book explaining the _______ folklore. ► “It was more like a study of the staged folklore tradition of the forties and early fifties than of Haiti’s indigenous dance cultures

8. Voodoo Tourism ► Alfred Metraux denounced _____________ ► “Artists were irresponsibly transforming and misinterpreting traditional folkloric forms.” (369)

9. Dance Ethnography And The Limits Of Representation ► By Randy Martin ► Talks about “the distance between ________ and ______” ► My Pal Randy thinks that ► “the distance has engaged the intellectual energies of those writing on dance as kind of bricolage where the dance event appears to occasion writerly structure”. ► What do you guys think he means by this?

10. The Structural Autonomy of Dance Practices ► A different sort of dance writing ► It is more visibly _________ and more comfortable with the __________ theory of representation. (329) ► Refers to _________-, but in a way that attempts to foreground the subject. (329)

11. Susan Foster ► Her theory of dance representation produces different modes of reading autonomous dance practices. (330) ► Hence, each particular instance is normalized and made familiar through an explicit theoretical procedure that accepts ______ tropes or figures, of speech derived from literary theory.

12. Four tropes of Speech ► Metaphor: ► Metonymy: ► Irony:

13. Two elements of democratization define the problematic of Herbert Blau’s study The Audience ► Blau conceives of audience as a kind of _____ movement precipitated by and further constituted in _________.

14. ► Thus, the audience is a _____body that appropriates by its gaze a subject that, in turn marks its own tendency to disappear. ► The audience simulates the presence mobilized in history, but within the vulnerable and elusive constitution of the ________ _______ sphere.

15. Almost done ► Blau’s study can be seen as contributing to an ethnographic procedure that highlights the disruptive effects of the exotic Other it “______” and “_______” through representation. (337)

16. ► Even under conditions of a globally mediated culture, the unstable audience may be said to stand for ____________________________________ ____________________________________

17. Works Cited ► Kate Ramsey, "The Staging of Folklore in Mid-Twentieth-Century Haiti," MM, pp. 345- 378 ► Randy Martin, "Dance Ethnography and the Limits of Representation," MM, pp. 321-344

18. ► johnbobanderson@yahoo.com