abstract Shifting arenas of dance performance and youths’ counterculture have brought the twerk to the internet, thus exposing it to the discourse of cultural imperialism, appropriation, and cultural resistance. This has changed the symbolism of the art form: from a performance meant for celebration, to a dance of sexual rage. The media associates the dance with bottom provocation, prostitution or celebrity achievement stories − rarely celebrating the intellect, aesthetics or the expression of freedom in it. From a western point of view, twerking is overly sexualised and the performers participants in a cultural notoriety – thus, objectifying it. However, in its original context it is primarily a dance for festive celebrations. As a form of artistic expression resisting cultural destruction in Kenya, twerk is a way of re-politicising the African female body, and decolonising it from the male, western influenced gaze. Sexual expression in it is therefore a dialogue, not simply an invitation to sex.

中文翻译：

---

性化表演，客观化表演者：肯尼亚的 twerk 舞

摘要 舞蹈表演和青年反主流文化的不断变化的舞台将 twerk 带到了互联网，从而将其暴露在文化帝国主义、挪用和文化抵抗的话语中。这改变了艺术形式的象征意义：从一场旨在庆祝的表演，到一场性狂暴的舞蹈。媒体将舞蹈与底层挑衅、卖淫或名人成就故事联系起来——很少庆祝其中的智慧、美学或自由的表达。从西方的角度来看，twerking 过于性感，表演者是文化恶名的参与者——因此，将其客观化。然而，在其最初的背景下，它主要是一种庆祝节日的舞蹈。作为一种在肯尼亚抵抗文化破坏的艺术表现形式，twerk 是一种将非洲女性身体重新政治化的方式，并将其从受西方影响的男性凝视中解放出来。因此，其中的性表达是一种对话，而不仅仅是对性的邀请。