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Danser, c'est manger : pour une ethnographie de la créativité artistique chez les Gun de Porto-Novo (Bénin)

Abstract : The importance of Gun dance is not the beautiful choreography on which the spectators are often focused, but rather the activity of blood in the dancing body, including the cultural dynamics aroused by the endogenous knowledge to which the endogenous knowledge refers ancestral traditions among the Gun people. Indeed, the movements observed during the Gun dance are contractions of muscles each time accompanied by relaxations of the body, as if it were a renewed alternation between a cumulative and an expenditure of energies. As a result, dance feeds on energy. On the one hand, it feeds on a physical energy under the impulse of the heart that rhythms the proper circulation of blood irrigating the body dancing with nutrients. On the other hand, dance feeds on emotions aroused by knowledge that awakens memory to joy, to the sense of hope that sustains life. Hence, the dance consists in the hatching of the body through the beautiful ultrasound; it reveals both an opening of the heart punctuating life and an awakening of memory to the beauty of paradise, in the sense of forgetting the miseries of men and their history. As part of this thesis, I argue that dance is not only an art, but it is also a form of food. Dance is an art in which the dancing body eats life. Gun dance has nutritional characteristics of emotions, both performative and communicative, which help to express the most fundamental relationships of the Gun people with each other, including with their Vodǔn.
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Assomption Padonou. Danser, c'est manger : pour une ethnographie de la créativité artistique chez les Gun de Porto-Novo (Bénin). Sociologie. Université de Strasbourg, 2019. Français. ⟨NNT : 2019STRAG045⟩. ⟨tel-02504874⟩

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