Embodied Cultural Knowledge Through the Development and Presentation of Ethio-Modern Dance
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Bridging Horizons: Embodied Cultural Knowledge Through the Development and Presentation of Ethio-Modern Dance Michael William Lucas Courtney (RAS Mikey C) Doctorate of Philosophy Irish World Academy of Music and Dance University of Limerick Supervisor Dr. Catherine E. Foley Submitted to the University of Limerick November 2017 1 2 Bridging Horizons: Embodied Cultural Knowledge Through the Development and Presentation of Ethio-Modern Dance Michael William Lucas Courtney (RAS Mikey C) Abstract This practice-led research explores Ethio-Modern Dance as a movement concept and as a medium for cultural knowledge exchange. By using artistic practice as the primary method of investigation the author analyses the development and presentation of two major Ethio- Modern Dance choreographic works, የቡና ዓለም YeBuna Alem/A Coffee World (2015) and Common Threads (2016). This thesis is comprised of five chapters in which the research is situated. It includes qualitative research and illuminates the methodologies, theoretical underpinnings, and conceptual understandings of the author’s artistic practice. Ethio-Modern Dance, a concept put forth by the author, is an exploration into the promotion of embodied Ethiopian and other world dance cultures. It is presented through the lens of a Western urban contemporary dance artist and lifist, the latter stemming from the author’s philosophy on valued aesthetics referred to as Lifism. Other theoretical concepts explored in this thesis are embodiment, ‘the self’, metaphor, the soma, and ritual. This thesis is accompanied by audio/visual recordings of the author’s two major Ethio- Modern Dance choreographic works, which are analysed in separate chapters in relation to the central research questions of the investigation: What is my understanding of Ethio- Modern Dance? What is the importance of Ethio-Modern Dance to me? And, Can Ethio- Modern Dance be used as a medium for embodied cultural knowledge exchange by the performance participants in my two major choreographic works at the University of Limerick, Ireland and in Addis Ababa, Ethiopia? This research employs various methods of investigation including, but not limited to, artistic practice, forms of autoethnographic writing, personal journaling, narrative enquiry, literature review, and internet-based resources in order to compile qualitative data that will assist in the analysis of the two major choreographed works. The analysis of these choreographed works also examines the abovementioned concepts and their roles within in the creative processes and performances of these works. This thesis incorporates the perspectives of the various participants in order to illustrate their embodied cultural knowledge as well as the impact of these bodies of choreographic works on the dance communities in which they were presented. As a result of this practice-led research and choreographic analysis, the author gains a deeper sense of himself as an artist and lifsit, and also refines his understanding of Ethio-Modern Dance as a concept while exemplifing ways in which it can be used as a medium for cultural knowledge exchange. This thesis is the foundation of the author’s ongoing investigation into his embodied understanding of Ethio-Modern Dance as a concept and illustrates the important contribution this research makes to the field of arts practice-led studies. i Declaration I hereby declare that the following thesis is my own original material. Prior to this submission, none of the materials have been used for publication, degrees, and/or awards from a university or Third Level Institution. The University of Limerick Ethics Committee, has granted the permission for me to conduct the research herein, and all informants named have given their consent. Doctoral Candidate: Michael William Lucas Courtney (RAS Mikey C) Signed: _______________________________ Date: ___________________________ Course Director: Dr. Helen Phelan Signed: _______________________________ Date: ___________________________ Supervisor: Dr. Catherine E. Foley Signed: _______________________________ Date: ___________________________ ii Acknowledgements To mention all those who have had an impact on this PhD journey would be an on-going process, but I would like to name a few: I must first Give Thanks to His Imperial Majesty Haile Selassie I, as without HIM as the foundation of my faith, I would not be on the path that has been put before me. I would like to thank my mother for her continuous support and encouragement with my choices to pursue this path. My father for being a part of my life. My wife and children for being the primary motivation for my post-graduate pursuits and for making the sacrifices for me to reach this point of completion. To my brothers and sisters for their love and strength. I would also like to thank my University of Limerick Irish World Academy family, especially my course director Dr. Helen Phelan, supervisor Dr. Catherine Foley, Dr. Sandra Joyce, and Dr. Niall Keegan for all your support, guidance and assistance over the past five years. I appreciate you for keeping me on task and for giving me the platform to share and learn with ‘ye’ all. You all make me proud to call Limerick home. I am forever grateful for my extended friends and family in the US, Ethiopia, and Ireland you all have inspired me and influenced the life’s purpose I pursue. Finally, a special thanks to all who have assisted me in various ways throughout this journey, those who have believed in me and my mission to bridge cultural gaps through movement. I appreciate your support and though I may have not mentioned you by name, you are not forgotten. With Honors and Respect Live, Love, and Give Thanks iii Table of Contents Abstract……………………………………………………………………i Declaration……………………………………………………………......ii Acknowledgements………………………………………………………iii Table of Contents………………………………………………………...iv List of Figures…………………………………………………………...vii USB……………………………………………………………………......ix List of Appendices…………………………………………………….......x Introduction………………………………………………………………xi Chapter One……………………………………………………………….1 Arts Practice Research, Methods, and Situating the Self………………1 Introduction…………………………………………………………………….1 Part One: Methodologies and Theoretical Underpinnings………………….2 Research Rationale………………………………………………………2 Research Questions and Objectives…………………………………......3 Arts Practice Research………………………………………………......4 Practice as Research Challenges…………………………………….......6 The Practice of Visual and Written Documentation…………………….8 The Performance Practice Paradigm…………………………………...10 Valued Aesthetic……………………………………………………….11 Part Two: Situating the Self………………………………………………….12 My Foundation………………………………………………………....12 Youthful Daze………………………………………………………….13 “Hit me with Music”…………………………………………………...16 An Artist Emerges……………………………………………………...18 Building Artistic Awareness…………………………………………....21 ‘Piloboland’…………………………………………………………….23 Finding my Home and Honing My Craft……………………………....25 My Return to Academia……………………………………………......27 Overview of Chapters………………………………………………….28 Chapter Two…………………………………………………………......30 Contextual and Theoretical Development…………………………......30 Introduction…………………………………………………………………..30 Conceptual Overview………………………………………………………...30 Embodiment: Theory, Concept, and Metaphor……………………………32 Theoretical Perspectives on the Concept of Embodiment…………......32 Metaphorical Concept……………………………………………….....37 iv Embodied Metaphor………………………………………………….39 Ritual Metaphor……………………………………………………....41 Somatic Self: Body, Mind, Spirit……………………………………..42 Embodied Cultural Identity………………………………………………...47 Ethio-Modern Dance: The Two Side of the Coin………………………….53 Chapter Summary…………………………………………………………...54 Chapter Three…………………………………………………………..56 Performance One: የቡና ዓለም YeBuna Alem/A Coffee World…….....56 Introduction………………………………………………………………….57 The Reason…………………………………………………………………...54 From Kaffa to Café: A Concept of Coffee……………………………….....59 The Legend of Kaldi……………………………………………………….....61 Embodied Ritual Elements………………………………………………….62 In the Midst…………………………………………………………………..67 Narrative in the Creative Process…………………………………………..69 An Addis (New) Community Connection…………………………………..72 Embodied Interpretations…………………………………………………..74 Reflections of Performer Participants……………………………………..75 The Stumbles and the Building Blocks…………………………………….78 The Impact of YeBuna Alem………………………………………………..81 The Emic and Etic Documentation………………………………………...84 Chapter Summary…………………………………………………………..85 Chapter Four…………………………………………………………...87 Performance Two: Common Threads………………………………....87 Introduction………………………………………………………………….88 Ethiopia: The Backstory………………………………………………….....89 The Reasons………………………………………………………………….89 Inspiration in the Creative Process………………………………………...91 One Tribe: Embodied Ritual Culture……………………………………....92 Dark Trade: Embodied Narrative…………………………………………..98 Pulse: A Cross-Cultural Connection……………………………………...106 Other Cultural Influences and Performer Participant Collaborations...109 The Community Engagement and Participant Responses……………....112 Chapter Summary………………………………………………………….117 Chapter Five…………………………………………………………...119 Final Reflections and Conclusions…………………………………....119 Introduction………………………………………………………………....119 Methodological Effectiveness………………………………………………119 v Emerged Conceptual Understandings……………………………………...122 ‘YeBuna Alem’ Reflections…………………………………………..122 ‘Common Threads’ Reflections……………………………………...124 Performer Process and Audience Product Interpretations……………….126 Final Discoveries……………………………………………………………..128 Conclusions……………………………………………………………….......131