ZINLI: ORIGIN AND CULTURAL RESISTANCE IN GLOBALIZATION
Volume 6 - Issue 1, January 2023 Edition
[Download Full Paper]
Author(s)
TAOUEMA B., AKOUETE C. D., SAMADI D. E
Keywords
Dance, Zinli, origin, culturality, globalization, acculturation.
Abstract
ZINLI is an artistic sports physical activity (APSA), dance and music. It is a great cultural richness of Benin, in particular of the people of Abomey. This empress dance was once reserved for the monarch alone and its music was only sung in special situations. This is why the kingdom of Abomey destroyed and the royalty scattered, this dance was destined to disappear! But it has withstood adversity, time and globalization. This study while describing the Zinli, explains its anthropological scope to lead to the main factors that hinder its promotion and the realistic management that must be executed on it in order to guarantee its safeguard in the context of globalization. A retrospective cross-sectional study of a qualitative nature, its population was that of: a youth, potential succession for the sustainability of the zinli; connoisseurs of Zinli dance and singing (current support of this APSA); customary leaders who are the guardians of the tradition. The results of this study showed that the "acculturating" effects of globalization and the new modern dances, as well as the non-existence of a model for the management of cultural heritage: traditional dances and songs, are the main factors threatening the Zinli dance survival. However, the Zinli song, conservative of orality and pledge of biography, would benefit from retaining all its basic richness while enriching itself with a relative acculturation through other dances and songs: Beninese, Africans or even Westerners who would leave it, in the end and despite everything, strong in its identity.
References
[1]. Amselle, J.L. (2001). Anthropology branch of the University of Cultures. Flammarion.
[2]. Balandier, G. (1982). Current sociology of black Africa. PUF (315-330).
[3]. Chevé, D., Barthlelemy, M. and Seck, D. (2012). Bodies in struggle in Dakar between tradition and modernity: an anthropobio-cultural approach. Anthropo, 27, 73-79.
[4]. Chifford, J. (1996). Unease in the culture. Ethnography, Literature and Art in the Twentieth Century (trans.). The fine arts. (Original work published in 1988 under the title the predicament of culture. Harvard: University Press).
[5]. Cohan, R. (1986). Dance. Robert Laffont.
[6]. Dunham, K. (1966). The arts of representation in Africa in colloquium on Negro art, report. African Presence.
[7]. Entiope, G. (1996). Negroes, dance and resistance, The Caribbean from the 17th to the 19th century. The Harmattan.
[8]. Garaudy, R. (1973). Dance his life. Threshold.
[9]. Guellouz, M. (2013). Contemporary dance in the Maghreb to contemporary Maghreb dance. Margin 16, 60-72.
[10]. Hall, S. (1995). New cultures for old. In D. Massey, P. Jess, (Eds.), A Place in the world? Places, cultures and globalization (p. 175-211), Oxford University Press.
[11]. Koné, Y. (2013). “Modern Africas” or the art of reinventing tradition. A sociological approach to Ivorian dances”. Staps, 3 (101), 81-101. DOI 10.3917/sta.101.0081
[12]. Latouche, S. (1989). Westernization of the world. Essay on the meaning, scope and limits of planetary uniformity, La Découverte.
[13]. Le Boulch, J. (1971). Towards a science of human movement. East.
[14]. Marceau, A. (2014). Aboriginal youth: sport, play and race relations in the Kimberley (Western Australia). (Master's thesis, Laval University, Quebec, Canada). http://hdl.handle/20.500.11794/25212.
[15]. Nakou, S.A. (1990). The cultural integration of difference: the status of the body and sports practices in the province of Borgou in Benin (Unpublished doctoral thesis. University of Bordeaux II, France.
[16]. Nakou, S.A., Gouda, S. and Abalot, E. (2012). The “tèkè” dance at the “Bargu” and the preservation of the “batonu” heritage in Bénn. Language and duty, 20 & 21, 107-117.
[17]. United Nations Educational, Scientific and Cultural Organization (UNESCO). (2013). Convention for the Protection and Promotion of the Diversity of Cultural Expressions. Author.
[18]. Ouedraogo, R. (2006). Dance and its Meanings in the Crying-Laughing of Henri Lopès (Unpublished master's thesis), University of Ouagadougou, Burkina Faso.
[19]. Parenteau, D. (2007). Cultural diversity and globalization. Politics and Societies, 26(1), 133-145. Doi: 10.7202/016443ar
[20]. Tokpanou, M. (2008). Contribution of traditional physical games to the education of children in a goun environment. (Unpublished master's thesis, University of Abomey Calavi, INJEPS, Porto-Novo, Benin.
[21]. L. Hubert and P. Arabie, “Comparing Partitions,” J. Classification, vol. 2, no. 4, pp. 193-218, Apr. 1985. (Journal or magazine citation)
[22]. H. Poor, “A Hypertext History of Multiuser Dimensions,” MUD History, http://www.ccs.neu.edu/home/pb/mud-history.html. 1986. (URL link *include year)
[23]. H. Goto, Y. Hasegawa, and M. Tanaka, “Efficient Scheduling Focusing on the Duality of MPL Representation,” Proc. IEEE Symp. Computational Intelligence in Scheduling (SCIS ’07), pp. 57-64, Apr. 2007, doi:10.1109/SCIS.2007.367670. (Conference proceedings)