In my ethnographic fieldwork in the contemporary dance scene in Brussels, I followed closely which struggles Moya Michael had to overcome as a South African maker in the European contemporary dance sector trying to sell her work. As a female artist of color, she cannot escape the fetishistic gaze emphasizing her exoticized body, a body imagined as exotic vis-à-vis institutional whiteness. This article examines how the work environment in the continental European contemporary dance sector forms a breeding ground for the fetishization of Afrodiasporic artists. After unpacking the general issues related to identity in the European contemporary dance sector, this article continues to discuss the dance solo Khoiswan, which Michael created in 2018 as the first part of an ongoing series called Coloured Swans. In this choreographic work, Michael centers and explores her multilayered identity on her own terms.

在布鲁塞尔当代舞蹈界的民族志田野调查中，我密切关注 Moya Michael 作为欧洲当代舞蹈领域的南非制作人试图出售她的作品时必须克服的困难。作为一名有色女性艺术家，她无法逃脱强调她异国情调的身体的恋物癖凝视，这种身体被想象成异国情调的身体与制度性的白人相比。本文探讨了欧洲大陆当代舞蹈界的工作环境如何形成了对非裔艺术家的迷恋的温床。在解开欧洲当代舞蹈界与身份相关的一般问题之后，本文继续讨论舞蹈独奏Khoiswan，这是迈克尔在 2018 年创作的，作为正在进行的系列的第一部分，名为彩色天鹅。在这部编舞作品中，迈克尔以自己的方式集中并探索了她的多层次身份。