ABSTRACT This essay examines quadrille dancing in the Caribbean and the Mascarene archipelagos to theorize creolization as cultural process. Through close reading of French, Creole, and English sources, fieldwork, and attentiveness to the pleasures of social dance, I analyze the creolized quadrille as a balancing act between choreogenesis, or the emergence of new segments within the quadrille’s multi-part structure, and their fractal incorporation within that structure. An incompatibility with the logic of the market results, which, over the longue durée, is balanced by the creolized quadrille’s postcolonial memorialization within a festival economy, even as the commercialization of creolized partner dances became its circum-Atlantic legacy. The transoceanic frame of my argumentation reveals convergences as well as divergences between the Indian and Atlantic Ocean worlds that connect Europe and its (post)colonies. The creolized quadrille then emerges as a transoceanic leisure form that demonstrates creolization as an economic and cultural force within global modernity.

中文翻译：

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在跨洋四方鸟中作为平衡行为的甲酚化：编排，整合，记忆，市场

摘要本文探讨了加勒比海地区和马斯卡林群岛的四层非洲舞，以将克里奥尔化理论作为文化过程。通过仔细阅读法语，克里奥尔语和英语的资料，田野调查以及对社交舞蹈乐趣的关注，我分析了带齿的四边形作为平衡编排或四边形多部分结构中新片段的出现之间的平衡行为，并且它们在该结构中的分形结合。与市场结果的逻辑不兼容，纵观长久以来，在节日经济中，以方尖石为代表的四分体的后殖民纪念活动得以平衡，尽管以方尖石为代表的伴侣舞的商业化已成为其环大西洋地区的遗产。我的论断的跨洋框架揭示了连接欧洲及其（后）殖民地的印度洋和大西洋世界之间的趋同和分歧。然后，带齿的四边形出现为一种越洋休闲形式，表明带齿的是全球现代性中的一种经济和文化力量。