BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news288@ethnologie.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230215T103019 DTSTART;TZID=Europe/Zurich:20230315T161500 SUMMARY:Book Roundtable: Congo’s Dancers: Women and Work in Kinshasa DESCRIPTION:Dance music plays a central role in the cultural\, social\, rel igious\, and family lives of the people of the Democratic Republic of the Congo. Among the various genres popular in the capital city of Kinshasa\, Congolese rumba occupies a special place and can be counted as one of the DRC’s most well-known cultural exports. The public image of rumba was hi storically dominated by male bandleaders\, singers\, and musicians. Howeve r\, with the introduction of the danseuse (professional concert dancer) in the late 1970s\, the role of women as cultural\, moral\, and economic a ctors came into public prominence and helped further raise Congolese rumba ’s international profile. In Congo’s Dancers\, Lesley Braun uses the prism of the Congolese danseuse to examine the politics of control and the ways in which notions of visibility\, virtue\, and socio-economic oppo rtunity are interlinked in this urban context. The work of the danseuse  highlights the fact that public visibility is necessary to build the socia l networks required for economic independence\, even as this visibility in vites social opprobrium for women. The concert dancer\, therefore\, exempl ifies many of the challenges that women face in Kinshasa as they navigate the public sphere\, and she illustrates the gendered differences of local patronage politics that shape public morality. X-ALT-DESC:

Dance music plays a central role in the cultural\, social\, r eligious\, and family lives of the people of the Democratic Republic of th e Congo. Among the various genres popular in the capital city of Kinshasa\ , Congolese rumba occupies a special place and can be counted as one of th e DRC’s most well-known cultural exports. The public image of rumba was historically dominated by male bandleaders\, singers\, and musicians. Howe ver\, with the introduction of the \;danseuse \;(professi onal concert dancer) in the late 1970s\, the role of women as cultural\, m oral\, and economic actors came into public prominence and helped further raise Congolese rumba’s international profile.

In \;Congo’s Dancers\, Lesley Braun uses the prism of the Congolese&nbs p\;danseuse \;to examine the politics of control and the ways in which notions of visibility\, virtue\, and socio-economic opportunity are interlinked in this urban context. The work of the \;danseuse< /em> \;highlights the fact that public visibility is necessary to buil d the social networks required for economic independence\, even as this vi sibility invites social opprobrium for women. The concert dancer\, therefo re\, exemplifies many of the challenges that women face in Kinshasa as the y navigate the public sphere\, and she illustrates the gendered difference s of local patronage politics that shape public morality.

DTEND;TZID=Europe/Zurich:20230315T180000 END:VEVENT END:VCALENDAR