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AfricaLoungeAuthor: AfricaLounge
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Ep.46 郝宇骢:亚非文艺交流中的「具身相遇」
Episode 1
Friday, 6 February, 2026
当我们讨论万隆会议后的亚非团结,我们到底在讨论什么?这种团结在国家和个人层面上是如何被展演和理解?舞蹈以及歌舞团在其中扮演了怎样的角色?这对我们当下理解亚非连结有什么启发?本期我们有幸邀请到了范德堡大学的助理教授郝宇骢从个体的具身经验出发,超越或支持或反抗宏观叙述的二分框架,来聊一聊具身经验在理解“非亚“(Afro Asia)的重要性,以及关注非洲对于中国研究的意义。内容提要:塔什干的亚非文学会议的中国作家从东方歌舞团到基层的“克隆的艺术”亚非舞蹈在中国的系统化东方歌舞团的成立《赤道战鼓》的具身性关于表演的正当性中国当代流行舞蹈的非洲元素相关文献郝宇骢:《万隆时代的中国舞蹈艺术——以非洲舞表演为中心》,《北京舞蹈学院学报》2023年第6期,第124~129页。Yucong Hao, “Afro-Asian resonances: Staging the Congo Crisis in 1960s’ Chinese theatre,” Modern Asian Studies, vol. 57, no. 6 (November 2023), pp. 1984~2001.魏美玲、刁淋:《“表演”万隆:中国与印度、印度尼西亚和缅甸的舞蹈外交(1953-1962)》,《北京舞蹈学院学报》2009年第05期,第86~99页。Clare Croft, Dancers as Diplomats: American Choreography in Cultural Exchange, Oxford University Press, 2015.Joan Kee, The Geometries of Afro Asia: Art beyond Solidarity, University of California Press, 2023.Ignatius G. D. Suglo, “‘Sound of Friendship’: Music Iconography in Twentieth-Century Africa–China Relations,” Verge: Studies in Global Asias, vol. 8, no. 1 (2022), pp. 195~216.Yang Wang, “Envisioning the Third World: Modern Art and Diplomacy in M. China,” ARTMargins, vol. 8, no. 2 (June 2019), pp. 31~54.相关表演东方歌舞团《东方之花》纪录片 (B站:BV19W411P7xK)话剧《赤道战鼓》舞剧《战斗,前进!刚果河在怒吼》









