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Bigidi

Bigidi

Chapter:
(p.175) Coda Bigidi
Source:
Creolized Aurality
Author(s):
Jérôme Camal
Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226631806.003.0007

Although the rhetoric surrounding gwoka has emphasized a narrative of resistance and escape, the sounds of the music and the overall sociality that emerges around the drum, tell a different story. From the margins of the plantations to the margins of Europe, it is a story of conviviality, of finding ways to exist in a (post)colonial system that denies existence: the existence of its subaltern subjects but also its own enduring existence as an imperial nation-state. The drum makes audible what colonial histories and (post)colonial politics have tried to silence. Gwoka is a practice of fugitivity if we understand fugitivity not only as escape but as dwelling in movement and instability. Choreographer Lenablou has long argued through her work that gwoka dance captures a way of being-in-the-world that is specific to the Caribbean experience of French (post)coloniality. French (post)coloniality, for Blou, is captured in the bigidi, a stumbling gesture typical of the l踲‎z rhythm. Creolized Aurality concludes by proposing the bigidi as an embodiment of the d賯‎ur. In the bigidi, in the embodied experience of gwoka's aurality, the antinomies of Antillean (post)coloniality can be reconciled.

Keywords:   fugitivity, detour, bigidi, Lena Blou, postcolonialism

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