ABSTRACT

There are two cognitive dimensions to this chapter; the first being the interrogation of the extent of Africa (cultural) migration to the “third space” and the second, the redefinition of the “space” for theoretical and methodological functions. The chapter postulates that human environment and culture have taken on new nomenclatures and identities reached via a synergy of diverse systemic juxtapositioning of sociological actuality and imaginary conceptual frames operating beyond descriptive or restricted borders. This however is conceptualized as hybridity. As a ‘postcolonial’ concept, “Hybridity” emerged following the migration of humans from one place to another, and the consequential diffusion of human cultures and values toward the creation of a new form of characterization and identification. Therefore, the chapter proposes Trans-Sociological Hybridity (TSH) as an approach for conceptualizing African contemporary dance, and interrogating the extent of African (cultural/artistic) migration. This concept functions in consonance with the theoretical frame of interculturalism which recognizes human intercultural interactions and coexistence, and syncretism which emphasizes the reconciliation or merger of similar or dissimilar tenets in the creation of a work of art. Based on the above, the chapter submits that African contemporary dance is a product of human volitional migration, a merger of different sociological traits, concepts and identities. In focusing on this the chapter adopts “Ijodee” as its first ‘Trans-Sociological Hybrid’ choreographer through a descriptive methodology that dissects and interrogates selected performances from his repertoire as paradigms for the discourse on African contemporary dance experience. It also provides cursory analysis on works like “Aye Asan” and Possessions” and interrogates copiously “Ori” through this budding concept with much emphasis placed on the implication of the emerging identities on the African dance and the continent of Africa as a whole.