« Le poids du succès » : construction du corps, danse et carrière à Dakar

Abstract

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Biocultural determinants of overweight and obesity in the context of nutrition transition in Senegal: a holistic anthropological approach

“…Young people value a processed, high-calorie diet but not body fat, unlike middle-aged and elderly people. Besides, by eating an obesogenic diet, young people, unlike older age groups, tend to undertake regular moderate and/or high-intensity physical activity in order to maintain a thin body (Baller, 2007;Neveu Kringelbach, 2007).…”

Nutrition Transition and Biocultural Determinants of Obesity among Cameroonian Migrants in Urban Cameroon and France

“…This is in accordance with the high prevalence of obesity (32.0%) and its association with hypertension found in the study, which is similar to previous survey [ 34 ]. Migration from West Cameroon to Yaoundé sees the transfer of both: (i) the traditional ritual of the corpulent male ruler after the fattening ritual in the lacam [ 45 ] to the modern ritual of the household head with his “administrative belly” [ 63 ] acquired through his high professional status; and (ii) the traditional ritual of the fat mezin woman [ 64 ] nurturing, soothing and idle with age in marriage, to the modern ritual of an obese housewife expressing the economic success of her husband through her corpulence [ 65 ], which sheds light on the reasons behind the quantitative results.…”

‘Create Your Space!’ Locating Contemporary Dance in Ouagadougou

“…This includes opportunities to travel abroad as well as locally based livelihood strategies, since contemporary dance styles are used increasingly in popular video clips or integrated in large-scale public events like the opening and closing ceremonies of the Festival Panafricain du Cinéma et de la Télévision de Ouagadougou (FESPACO) 6 . In the domain of contemporary choreography ‘new figures of success’ (Neveu Kringelbach 2007: 88) have emerged from a generation of professional performing artists, now in their thirties or forties, who are strategically using transnational resources in their search for means to articulate, reflect and act upon the rapid social and cultural processes transforming their lifeworlds. For those who have not yet made it and are still struggling for recognition and economic success, if not ‘survival’, 7 in the artistic field, these transformation processes coincide with the experience of insecurity, engendering a permanent quest for balance and stability.…”

“…Performing a particular dance can indicate social status (Heath 1994). This goes along with a widespread social stigmatization of dancing on stage, especially when it comes to women (Neveu Kringelbach 2007: 97–8). Most conventional performance patterns of locally established cultural practices are gendered, and many songs and dances reserved for only one of the sexes exist.…”