Abstract
This chapter analyses contemporary African Dance Theatre aesthetics with particular emphasis on three male dancer/choreographers from the Democratic Republic of Congo, Ivory Coast and South Africa. Methodologically, the choreographic analysis examines how the theatricality of popular dance forms lends itself to constitute (a) a repository of lived cultural memory and (b) a lived performance archive that creatively deconstruct the white colonial gaze through contemporary dance theatre aesthetics and dramaturgy countering the politics of white supremacy. By example of Faustin Linyekula’s More, more, more … future (2009), Frank Edmond Yao’s Logobi #1-5 (2005) in collaboration with Gintersdorfer/Klassen, and Gregory Maqoma’s solo performance Exit/Exist (2011), the chapter further explores the way in which contemporary African dance theatre aesthetics make a powerful statement against global capitalist necropolitics.
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