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dc.contributor.advisorWelsh-Asante, Kariamu
dc.creatorDavis, Omilade
dc.date.accessioned2020-10-16T13:35:26Z
dc.date.available2020-10-16T13:35:26Z
dc.date.issued2019
dc.identifier.urihttp://hdl.handle.net/20.500.12613/534
dc.description.abstractThis dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
dc.format.extent243 pages
dc.language.isoeng
dc.publisherTemple University. Libraries
dc.relation.ispartofTheses and Dissertations
dc.rightsIN COPYRIGHT- This Rights Statement can be used for an Item that is in copyright. Using this statement implies that the organization making this Item available has determined that the Item is in copyright and either is the rights-holder, has obtained permission from the rights-holder(s) to make their Work(s) available, or makes the Item available under an exception or limitation to copyright (including Fair Use) that entitles it to make the Item available.
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/
dc.subjectDance
dc.subjectAfrican Studies
dc.subjectAfrican Aesthetics
dc.subjectAfrican Dance
dc.subjectContemporary African Dance
dc.subjectEmbodiment
dc.subjectSenegal
dc.titleModernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975
dc.typeText
dc.type.genreThesis/Dissertation
dc.contributor.committeememberDodds, Sherril, 1967-
dc.contributor.committeememberTalton, Benjamin
dc.contributor.committeememberLawal, Babatunde, 1942-
dc.description.departmentDance
dc.relation.doihttp://dx.doi.org/10.34944/dspace/516
dc.ada.noteFor Americans with Disabilities Act (ADA) accommodation, including help with reading this content, please contact scholarshare@temple.edu
dc.description.degreePh.D.
refterms.dateFOA2020-10-16T13:35:26Z
dc.embargo.lift05/17/2021


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