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A Rhetorical Study of Kwame Nkrumah's ABSTRACT PETTIWAY, KEON MANDELL. A New African in the World: A rhetorical Study of Kwame Nkrumah’s visual strategy for shaping postcolonial nationhood. (Under the direction of Dr. Victoria Gallagher). During the “Year of Africa,” a significant period in African history that began in 1957 (and continued on for several decades), African nations faced the herculean task of decolonization: they had to build postcolonial national identities that displayed African modernity, reimagine colonial identities, and collectivize publics toward a vision of Pan- Africanism. Scholars agree that visual culture and mass media were central to these tasks of nationalism and nation building. Recent scholarship indicates that the Ghanaian nation-state, the first African nation to gain independence from colonial authority, employed a strategic, multifaceted visual and mass media campaign during its process of national identity formation. Ghana based its campaign on the Pan-African ideology, propaganda, and “cult of personality” of Kwame Nkrumah, the first prime minister and president of Ghana. Nkrumah announced “Operation Psychology,” a multi-fronted campaign including “visual aids...interpreting the soul and spirit of [Ghana’s] independence,” in the June 22, 1957 issue of the Evening News. The campaign included national currency, stamps, documentaries, body performance, art, architecture, and the Ghanaian press. Historians have studied the visual politics of Nkrumah's campaign as “symbolic nationalism,” and rhetorical scholars interested in public address have considered Nkrumah’s visual strategies as an extension of his “Midnight Speech.” These studies contribute multiple perspectives for understanding the nation building in postcolonial Africa, and provide critical frameworks for investigating Ghanaian visual culture during and after Nkrumah's regime. Despite these insights, scholars have understood the influence of Nkrumah's visual strategies as either propaganda or rhetoric, and there is a gap in understanding how the circulation of official portrait photographs of Kwame Nkrumah served as a central rhetorical strategy of identification for constituting the postcolonial public through a process characterized by both addressivity and propagation. Studying postcolonial visual culture as constitutive offers scholars a more nuanced understanding of nation building following African independence, and contributes to historical studies on Nkrumah, rhetorical theories of identity formation, methods for studying visual culture, and strategies for nation branding. This dissertation argues that official portraits of Nkrumah were central to the ongoing constitution of the “new African” that took shape through a system of identity that was simultaneously and somewhat paradoxically both open and closed. The portraits addressed and invited people to witness and adopt postcolonial identities and also propagated and forced identities upon individuals through Nkrumah’s efforts to control the media and repress contestations of the state, particularly through the Prevention Detention Act. This study uses constitutive rhetoric to (a) investigate how portrait photographs of Kwame Nkrumah constituted national identity, and it (b) proposes a new visually informed model of constitutive rhetorical criticism. This study draws upon the following: Jasinski’s conceptually oriented rhetorical criticism, which offers a framework for developing a set of terms and key concepts that dynamically emerge through critical analysis; Jasinski and Mercieca’s (2010) approach for analyzing exterior rhetoric, which facilitates a contextual study of a text as it circulates and articulates across multiple audiences and situations; and Carole Blair’s (1999) theory of material rhetoric, which provides a framework for investigating the symbolicity and consequence of texts. By examining Ghana’s visual culture as constitutive, the study interprets Nkrumah’s “Operation Psychology” as an early example of “re-branding” Africa, a reading that has implications for understanding the rhetoric of branding in recent campaigns focusing on or drawing from African nations. Further, this study contributes a model for investigating visual strategies of identification in postcolonial nation branding. Finally, the study provides a way for designers and design scholars to incorporate the insights of constitutive rhetorical theory and criticism into their work. By doing so, it also provides rhetorical scholars with an expanded visually informed perspective on the relation between instrumental and constitutive rhetorics. © Copyright 2016 Keon Mandell Pettiway All Rights Reserved A New African in the World: A Rhetorical Study of Kwame Nkrumah’s Visual Strategy for Shaping Postcolonial Nationhood by Keon Mandell Pettiway A dissertation submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy Communication, Rhetoric, and Digital Media Raleigh, North Carolina 2016 APPROVED BY: _______________________________ _______________________________ Dr. Victoria Gallagher Dr. Melissa Johnson Chair of the Advisory Committee _______________________________ _______________________________ Dr. Sarah Stein Dr. Rebecca Walsh DEDICATION To Charlene, for being my best friend, confidant, and inspiration. To my family, for being understanding and encouraging me to reach for the stars. ii BIOGRAPHY Keon Pettiway is a rhetorical scholar whose primary interests include racial and postcolonial contexts of public address, visual culture, design culture, and digital media. His current research focuses on the role of portraiture in constituting postcolonial nationhood leading up to and following African independence and liberation, and the implications for cultural intermediaries involved in contemporary nation branding. After graduating from North Carolina State University with a Bachelors of Art in Multidisciplinary Studies with a concentration in Africana Studies, he worked professionally as a graphic and web designer for a number of institutions and organizations, including one of the largest financial services holding companies in the U.S. Prior to pursuing doctoral studies in the Communication, Rhetoric, and Digital Media program at North Carolina State University, he received his Master of Fine Art in Graphic Design from East Carolina University. His work has been published in Across the Disciplines, Media-N: Journal of the New Media Caucus, and Communication and Global Engagement Across Cultural Boundaries. iii ACKNOWLEDGMENTS It takes a village to finish doctoral studies and complete a dissertation project. First, I would like to pay homage to my village in Eastern North Carolina, especially Ella Jenkins, Thomas Jenkins, Johnny Pettaway, Edna Marie Pettaway, and Gladys Pettaway. I thank my parents for laying the foundation to live life abundantly through love and compassion. I will forever remember my days spent in rural North Carolina as a training ground for excelling towards greatness and doing for others. Second, I thank my dissertation committee. To Dr. Melissa Johnson, Dr. Rebecca Walsh, Dr. Sarah Stein, and Dr. Owen Kalinga, I could not have imagined a better group of scholars to assist me in this journey. Your insights and motivation made this dissertation project truly interdisciplinary. I am greatly indebted to my advisor, Dr. Victoria Gallagher. I became interested in the Communication, Rhetoric, and Digital Media program because of her work on rhetoric and design. It has been a wonderful experience to blossom under her tutelage. During my time as her research assistant, she has modeled how to be a great scholar, teacher, leader, community member, and lifelong learner. Most importantly, her genuine concern for improving the human condition continues to inspire me. Last, I pay special homage to my CRDM cohort: Larissa Carneiro, Chelsea Hampton, Molly Hartzog, Emily Jones, Alex Monea, Elizabeth Pitts, Hector Rendon, and Eli Typhina. You are truly friends for life. iv TABLE OF CONTENTS CHAPTER ONE .................................................................................................................. 1 Rebirth of the New African: Transforming Identities After African Independence and Liberation Movements ............................................................................................................ 1 Setting the Scene of Public Address and Ghana’s Impact on African Independence .......... 3 Purpose .................................................................................................................................. 8 Official Portraits Photographs of Kwame Nkrumah: An Overview ................................... 16 Critical and Theoretical Foundations: Constitutive Rhetoric ............................................. 28 Method: Visually Oriented Constitutive Criticism from the Archive ................................ 33 Conceptually Oriented Criticism of Constitution: A Thick Rhetorical Lexicon ............ 34 Constitutive Critical Analysis of Interior Rhetoric: Symbolicity and Materiality .......... 36 Constitutive Critical Analysis of Exterior Rhetoric: Circulation and Articulation ......... 38 The Postcolonial Archive ................................................................................................ 41 Summary and Structure of Chapters ................................................................................... 42 Contributions .....................................................................................................................
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