In the wake of the global Black Lives Matter protests and the statue toppling that marked the summer of 2020, this article reappraises the idea of dance in the museum as a form of “radical archaeology” (Crawley, 2020). It presents dance in the museum as a radical historiography for those bodies of colour previously rendered invisible, or only partially visible, by an oppressive curating of history. From a dance scholarship perspective, the article examines a central case study, Beyoncé and Jay-Z Carter’s music video APESHIT (2018), filmed in the Musée du Louvre (France), offering a close analysis of its complex choreographies of movement and stillness to argue for dance in the museum as a metaphorical form of statue toppling, one that can powerfully challenge the art historical status quo.
|Number of pages||14|
|Journal||Danza e Ricerca|
|Publication status||Published - 31 Dec 2020|
Bibliographical notePublished under a Creative Commons Attribution NonCommercial 3.0 Unported licence (Authors retain copyright in their articles, permission to reuse third party copyrighted content is not included).
ASJC Scopus subject areas
- Visual Arts and Performing Arts