Encyclopedia of Music and Culture by Chikukwango Cuxima-Zwa
The Sage International Encyclopedia of Music and Culture (edited by Janet Sturman) , 2019
The Sage International Encyclopedia of Music and Culture (edited by Janet Sturman), 2019
The Sage International Encyclopedia of Music and Culture (edited by Janet Sturman), 2019
Oral history can be considered as oral testimony and spoken remembrances, which is first hand rec... more Oral history can be considered as oral testimony and spoken remembrances, which is first hand recollection of people unique memories, customs and life styles. The study of oral history and music explores the understanding of the collection and preservation of the voices of musical figures and groups of specific time and period of history. It captures the musicians' narratives and reflections in their own words through in-depth interviews.
The Sage International Encyclopedia of Music and Culture (edited by Janet Sturman), 2019
The Sage International Encyclopedia of Music and Culture (edited by Janet Sturman), 2019
The purpose of this study on Angolan modern contemporary performance is to provide an introductor... more The purpose of this study on Angolan modern contemporary performance is to provide an introductory understanding of the production of music and creative practice in the development of Angolan history and its narrative in the postcolonial context. This contribution represents a groundbreaking creative investigation of Angolan performance and its understanding in ethnomusicology.
Encyclopedia of African Religion by Chikukwango Cuxima-Zwa
Encyclopedia of African Religion (eds., Prof. Molefi Kete Asante and Dr. Ama Mazama), 2009
Encyclopedia of African Religion (eds., Prof. Molefi Kete Asante and Dr. Ama Mazama), 2009
Chapter in Books by Chikukwango Cuxima-Zwa
Narratives in Black British Dance (edited by Adesola Akinleye), 2018
The Handbook of African Theatre and Performance by Chikukwango Cuxima-Zwa
The Handbook of African Theatre and Performance (edited by Kene Igweonu), 2024
Articles by Chikukwango Cuxima-Zwa
Butcher Boys, 1985Boys, -1986. Natiomal Gallery of Arts, Cape Town. With this work the artist (Ja... more Butcher Boys, 1985Boys, -1986. Natiomal Gallery of Arts, Cape Town. With this work the artist (Jane Alexander) produced a feeling of discomfort and disgust representing human bestiality in violence.
The African Diaspora USA, PhD, Tumblr (eds. Kidada Williams and Jessica Marie Johnson), 2014
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Encyclopedia of Music and Culture by Chikukwango Cuxima-Zwa
Encyclopedia of African Religion by Chikukwango Cuxima-Zwa
Chapter in Books by Chikukwango Cuxima-Zwa
The Handbook of African Theatre and Performance by Chikukwango Cuxima-Zwa
Articles by Chikukwango Cuxima-Zwa
I am a researcher and performance artist. Having a background of a past experience of civil war (Angola) and being a dislocated and displaced individual, I use my body as a way of artistic intervention to investigate my broken diaspora identity in a fictional manner. After I arrived in London in the 1990s, I felt a lack of identity/sense of belonging; this was to do with my experience of growing up in a country under a turbulent experience. The traumatic past I had made a tremendous impact in my new environment (London). It revealed my experiences of post-colonialism and post-civil war (Adebayo, 2007: 20). However, this manifests in the way I perform/construct performances/engage with an audience, where I normalise feelings of memory, trauma, fear and insecurity (Bushra, 2004: 12-3).
One of my objectives in my presentation for this conference is to show the connection I made with my country of origin through my performance practice; whereby I link with the richness of the cultural tradition and religion as a way of intervention of performance and visual arts (Cordell, 2003: 240). In other words, my performances creatively use my body as a vehicle of conveyance to symbolically and fictionally compose movement, gesture, dance and ritual (Harrison, 2002: 2). Furthermore, in my practice I scrutinize “memory and trauma" to re-create (re-act) my diasporic identity and negotiate cultural space within the British environment (Tulloch, 2004: 11).
The fundamental base that underlines my presentation is to demonstrate how I deliberately make some of my performance of painted body visible by performing in public spaces. Indeed, I do this as a methodological strategy to make my practice noticeable and as a process of openly sharing my traumatic past. In other words, I want to show how I make urban public spaces and site-specific spaces a manifesto of performing and narrating life/history/identity (Doy, 2000: 209).
In this paper, for the purpose of the conference I also want to show that, as a diaspora artist my practice indicates an interdisciplinary dialect, through which religion and spirituality are very strong sources of references (Thompson, 1984: 179-80).
Nonetheless, as part of my presentation I intend to show an illustration of slide images of my practice. The purpose of the slide is for a better perception of my ideas, concepts, principles and articulations I deploy."
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