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Dancing the Kleptocene

  • Special issue: Legacies of medieval dance
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A Correction to this article was published on 18 January 2024

This article has been updated

Abstract

Dance writings appear widely in early colonial documents. This essay studies danceways and land as I turn to Kyle Keeler’s neologism ‘Kleptocene’ to examine memory, extraction, and ecology with a focus on ‘New France.’ Following Bitterroot Salish scholar Tarren Andrews’ insights addressing an ‘Indigenous turn’ in medieval studies, ‘Dancing the Kleptocene’ investigates criticism of the Doctrine of Discovery in ongoing acts of protest, decolonising the arts, and history. With the notion of the danceway, I address kinesthetic practices by examining dance writing in claims made by Samuel de Champlain, the Jesuit relations, and Madame de la Peltrie, each commenting on ‘ballets’ in early seventeenth-century Turtle Island in North America. Connected to this, the article then turns to and examines the work of Aquinnah Wampanoag artist Elizabeth James-Perry on Indigenous practices of bead and memory work as well as histories of colonial violence and enslavement.

Résumé

Les écrits sur la danse sont choses fréquentes dans les textes du début de la colonie. C’est en étudiant le néologisme de Kyle Keeler «Kleptocene» que cet article, portant sur le territoire et les façons de danser (danceways), examine les notions de mémoire, d’extractivisme et d’écologie en «Nouvelle-France». Les réflexions de la chercheuse Bitterroot Salish, Tarren Andrews, à propos du «tournant autochtone» dans les études médiévales, permettent à « Danser dans le kleptocène» d’aborder la critique de la «doctrine de la découverte» à travers les gestes de protestations décolonisant l’art et l’histoire. Grâce à la notion de «façon de danser», cet article traite également des pratiques kinesthésiques à travers les Relations des Jésuites, les écrits de Samuel de Champlain et ceux de Madame de la Peltrie au sujet des ballets du début du dix-septième siècle, sur l’Île de la Tortue (Amérique du Nord). Ce texte se tourne finalement vers le travail de l’artiste Aquinnah Wampanoag, Elizabeth James-Perry, pour aborder les pratiques autochtones de perlage et de mémoire ainsi que les histoires de violence coloniale et d’esclavagisme.

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Notes

  1. For a study on the connection between early modern ballet and the extraction of precious metals in the Americas, see Preston (2018).

  2. A ‘comedie’ claimed to have been Corneille’s Le Cid (1636) was recorded as an ‘action’ at the Jesuits’ magasin on New Year’s Eve 1646 (Laverdière and Casgrain 1871, 75). Another ballet for ‘le mercredy gras’ (Fat Wednesday) took place at the same storehouse on February 27, 1647 (78, 380, 387).

  3. See, for example, the internal report gathered in 1978 for the Department of Indian and Northern Affairs, Consolidation of Indian Legislation, volume II: Indian Acts and Amendments, 1868-1975 (73 and 300); Royal Commission on National Development in the Arts Letters and Sciences. 1951, 88 and 201 and Shea Murphy (2007).

  4. Max Liboiron, Red River Métis/Michif, writes in Pollution is Colonialism (2021) of the ‘imperfect methodology’ of identifying Indigenous artists’ and scholars’ nation and affiliation in parentheses—in contrast with settlers’ ‘unmarked’ inheritance. I seek to follow self-identifications in this analysis. See Liboiron 3-4 (n. 10); Younging (2018, 71-3, 92).

  5. See Rosy Simas and Ahimsa Timotéo Bodhrán, eds. (2019) as well as Jacqueline Shea Murphy (2007 and 2022). Also, “Indian Legislation” and “Indian Acts” including dance-ban regulations compiled in Hinge (1978: 83, 147-8, 219-20, 285-6).

  6. J. P. Mallory and D. Q. Adams (2006, 476) and ‘*gwele-’ in Etymology Online, https://www.etymonline.com/word/*gwele-?ref=etymonline_crossreference. Accessed March 4, 2023.

  7. Manuscript FR. 2810 held at the National Library of France (BnF) in Paris.

  8. See History in a New Light at Plimoth Patuxet Museums in 2020.

  9. See ‘Government of Canada recognizes the national historic significance of Olivier Le Jeune.’ https://www.newswire.ca/news-releases/government-of-canada-recognizes-the-national-historic-significance-of-olivier-le-jeune-804001199.html. Accessed June 5, 2023. See also the Canadian Encyclopedia’s entry on Olivier Lejeune. https://www.thecanadianencyclopedia.ca/en/article/olivier-le-jeune. Accessed June 12, 2023.

  10. The company known as the Company of One Hundred Associates (Compagnie des Cent-Associés), or the Company of New France, was founded the next year, in 1627, to increase the population of settlers while controlling almost all colonial trade.

  11. As Daniel J. Ruppel observes (2022, 84 [n. 2]), ‘Mores,’ like its variants ‘Moors, Maures, Moro,’ is a polysemic term that, on one hand, served as a racialized European term for Muslims and, on the other, to persons of African descent without specific reference to religion (2022, 84 [n. 2]).

  12. Champlain could have been among the audiences for early seventeenth-century works. He was also in Paris at the time of the performances penned by de l’Estoile for the winter of 1626–1626 (Fischer 2009, 25, 360–3, 397) and earlier lived at the Louvre as the ‘king’s geographer’.

  13. For a study of the commons and contemporary dance, see Burt (2016).

  14. See Susan Foster (2010) on chorology and choreography.

  15. Permanent exhibition temporarily closed at the time of writing: ‘Where Montréal Began’ (Fort Ville-Marie – Quebecor Pavilion) at Pointe à Callière Montréal Archaeology and History Complex. Champlain reportedly designated this site in 1611 due to proximity to existing Indigenous trade routes, agriculture, and gathering places. See https://pacmusee.qc.ca/en/exhibitions/detail/where-montreal-began/. Accessed April 15, 2023.

  16. ‘[M]any very wealthy ladies,’ collector Alfred Sandham observed (1870, 22), contributed funds to the colonial projects of settlement and missionary work in North America.

  17. For further projects more specific to wampum, see the current touring exhibition Wampum: Beads of Diplomacy in New France on Indigenous material culture and diplomatic materials held in France as well as the GRASAC Great Lakes Research Alliance website. See Núñez-Regueiro and Stolle (2022) and Havard (2019).

  18. See ‘Moved to Action: Activating UNDRIP in Canadian Museums’ (2022).

  19. ‘The rift,’ Diana Taylor writes, ‘does not lie between the written and spoken word, but between the archive of supposedly enduring materials (i.e., texts, documents, buildings, bones) and the so-called ephemeral repertoire of embodied practice/knowledge (i.e., spoken language, dance, sports, ritual)’ (2003, 19).

  20. Paul Scolieri (2013) and Inga Clendinnen (2003) trace dance accounts in Spanish and British archives of Indigenous and colonial Mezoamerica as well as Australia. Housewright (1978) studies dance representation in Florida with particular attention to Indigenous and Afro-diasporic practices as these appear in multiple European-language sources, 1565–1865.

  21. Boaventura de Sousa Santos’ term epistemicide renders what he terms ‘the destruction of an immense variety of ways of knowing.’ See The End of the Cognitive Empire (2018, 8).

  22. According to Monticello’s website, these lilies also served as diplomatic gifts from Thomas Jefferson to the French statesman Guillaume-Chrétien de Lamoignon de Malesherbes (see Monticello.org). Accessed April 18, 2023.

  23. See the entry ‘Lilium canadense L.’ (Canadian Lily) in the Native American Ethnobotany database: http://naeb.brit.org/uses/species/2183/. Accessed 13 April, 2023.

  24. Tobacco offerings and dancing, Champlain continues, culminated in ceremonies or harangues and oral teachings that the explorer described as superstition (1613, 46–47).

  25. See the materials prepared for the festival Jane’s walk, an annual festival of community-led, politically oriented walking conversations, on the enclosure of the islands for electrification, timber milling, and industrialization by Greg Macdougall ‘Sacred Waterfalls Site in Ottawa – Annotated Resource Guide.’ May 30, 2019. https://equitableeducation.ca/2019/sacred-site-guide. Accessed 29 May, 2023.

  26. For critical interventions on the Idle No More movement, see Dylan Robinson (2017) as well as Alanna Gerecke and Laura Levin (2018).

  27. Walk for Reconciliation on May 31, 2015, catalysing the kinaesthetic manifestations of political action into shared movement.

  28. For performance documentation of Mìwàte, in collaboration with the Pikwakanagan First Nation, see https://momentfactory.com/work/destinations/cultural-educational/miwate-the-illumination-of-chaudiere-falls. Accessed April 18, 2023.

  29. See ‘Our History’ on Hydro Ottawa’s website. The company founded in 1921 notes nonetheless that Thomas Ahearn and Warren Y. Soper built Canada’s first water-powered electricity generating station at Chaudière in 1881. https://hydroottawa.com/en/about-us/our-company/our-history. Accessed 7 June, 2023.

  30. A nineteenth-century synopsis of the Jesuit order’s manuscript sources summarizes the events of this period as ‘pestilence, famine, and war’ (Thwaites [1645–56] 1898 28:10).

  31. September 24, 2020 and September 29, 2021 at Concordia University.

  32. The Puritans’ own danceways have also been subjects of historical reconsideration in recent years, suggesting a breadth of practices (see Packard 2012).

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Acknowledgements

The author extends warm thanks to Elizabeth James-Perry for the artist’s photograph of their 1620–2020 Wampum Belt, published with this article, as well as for their transformative engagements with students. I also respectfully thank Wyandot artist, Faithkeeper, and advocate Catherine Tàmmaro for corresponding with me about this project. My appreciation and gratitude as well to Hubert Thériault, Jaime Meier, and Katherine Amelia Carberry for their contributions to the Intangible Baroques project.

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  1. History Department, Concordia University, Montréal, QC, Canada

    VK Preston

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  1. VK Preston
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“The original online version of this article was revised:” The author corrects the dates of Attawapiskat First Nations Chief Theresa Spence’s hunger strike on Asinabka (Victoria) island to December 11, 2012 to January 24, 2013. The original article has been corrected.

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Preston, V. Dancing the Kleptocene. Postmedieval 14, 487–511 (2023). https://doi.org/10.1057/s41280-023-00279-x

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