ABSTRACT In the rural Haitian community of Ti Rivyè, dancers and musicians perform kontredans, a dance based on 18th-century European social dances and strongly influenced by African musical sensibilities and movement vocabulary. Those who perform it today are the descendants of enslaved persons who overthrew their colonial masters in an unprecedented revolutionary war. This article presents a specific kontredans and accompanies a documentary film that intends to increase the dance’s visibility in Haiti and abroad. While kontredans may not be as present as it once was in Haitians’ lives, it has not entirely disappeared, despite claims to the contrary. I address the tensions between efforts to archive and conserve a cultural practice while remaining mindful of the detrimental premises of salvage anthropology. The fact that kontredans emerged in a context of colonial violence and that its practitioners continue to suffer from the effects of systemic racism raises a number of questions in regard to representation and authenticity.

中文翻译：

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捕捉kontredans：海地舞蹈形式的跨国曝光

摘要在TiRivyè的海地农村社区，舞者和音乐家表演kontredans，这是一种基于18世纪欧洲社交舞蹈的舞蹈，受到非洲音乐敏感性和运动词汇的强烈影响。今天执行这项任务的人是被奴役的人的后代，他们在一场空前的革命战争中推翻了他们的殖民统治者。本文介绍了一个特定的kontredans，并伴随着一部纪录片，旨在提高该舞蹈在海地和国外的知名度。尽管kontredans可能不像海地人的生活中的那样存在，但尽管有相反的说法，它并没有完全消失。我要解决在保存和保护文化习俗的努力之间的紧张关系，同时要注意挽救人类学的有害前提。