MODERNISM, MÉTISSAGE AND EMBODIMENT: GERMAINE ACOGNY’S MODERN AFRICAN DANCE TECHNIQUE 1962-1975 A Dissertation Submitted to the Temple University Graduate Board In PartiaL FulfiLLment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by OmiLade Davis May 2019 Examining Committee Members: Dr. Kariamu WeLsh, Advisory Chair, Dance Dr. SherriL Dodds, Dance Dr. Benjamin TaLton, History Dr. Babatunde LawaL, ExternaL Member, Virginia CommonweaLth University © Copyright 2019 by OmiLade Davis ALL Rights Reserved ii ABSTRACT This 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. iii I dedicate this dissertation to my son Jádesolá Omosùnlóyé. The one who goes out into honor. The child who sleeps with title. You are the inspiration for everything that I do. Rise up my sweet, sweet boy. Go far. iv ACKNOWLEDGEMENTS Pátáìkò abèyìn bòlòjò. The hard wood is the one with the smooth surface. -Odù Ogbèsá I thank OLódùmárè, Ifá, the Òrìsà, my Egbé and Egúngún for blessing me with the vision and abiLity to come this far. I succeed because of my mothers’ prayers. To my birth mother, Sarah, your strength has carried me aLL my life. Without your constant support and prayers, I might have given up long ago. My precious lady, I love you. May you aLways have sunshine in your eyes. To Maman Germaine, you are not only the subject of my research, but you are aLso a shining example of artistry, fearlessness and courage in the face of obstacLes. May your legacy be feLt by lovers of dance worldwide. To Dr. Kariamu WeLsh (Mama K), for the sacrifices you have made to guide me, I thank you. As hard wood is polished smooth, you cultivated my thinking with a loving spirit that only a mother is able to understand and give. I pray that I can make you proud in the years to come. “Taa Maman” Fatim Faye, bless you for giving me a place to live for 4 consecutive years. Because of you, I know I aLways have a home in SenegaL. Thank you aLso for aLL your assistance with transLations/interpretations and the faciLitation of meetings during my years of research. To my other mothers—Esther Jones, MeLza Doores Sykes, Aunt SAC—I love you aLL and pray aLways for your weLL- being and happiness. I am grateful aLso to my fathers…Papa HeLmut (your hugs have carried me a long way), Grandpa Jones (my adopted father) and a number of others, I thank you. v Team thanks! The team at École des Sables is among the most dedicated, compassionate group of professionaLs to be found. I appreciate your consistent and prompt responses to my never-ending requests for assistance. To my dissertation committee, I am truly grateful for your patience and guidance. Dr. TaLton (Dr. T), I’lL aLways remember your advice that since there are no gurneys in the haLLway, my research is not a traumatic event, and I can therefore reLax and just write. Dr. SherriL Dodds, your cLarity has been cruciaL to my success. Dr. Babatunde LawaL, you are the first wind beneath my academic wings. My first teacher of Yoruba language, and the first to teLL me that I must continue aLL the way to doctorate studies. I deeply thank you. HeartfeLt thanks to a seLected few who have been instrumentaL in this journey. Dr. Pegge Vissicaro, thank you for teaching me to create that which I cannot find. Dr. Mark Sunkett, Dr. M. Njeri Jackson, and “Sekouba” Sekou Camara, I send my gratitude to you where you reside in the spirit world. Only you and I understand your profound influence on my academic journey. I thank you. ALso to the team at the Archives NationaLes du SénégáL, I appreciate your patience and diLigence. To IsmaiLa Badji, sama chamoon, thank you for accompanying me any and every time I needed heLp in Dakar and Tëngeen. But none of this, especiaLLy the past two years, could have been completed without my dear husband, OLaifakiitan, because I would have simply lost my mind were it not for his constant support and encouragement. Thank you for the countLess hours of diaLogue, your insightful feedback, and for understanding my vision and my passion. You are a blessing to me, and I Love you dearly. vi TABLE OF CONTENTS Page ABSTRACT .................................................................................................................... iii DEDICATION ................................................................................................................ iv ACKNOWLEDGEMENTS ............................................................................................. v LIST OF TABLES ......................................................................................................... xii LIST OF FIGURES ....................................................................................................... xiii LIST OF ILLUSTRATIONS ........................................................................................ xiv LIST OF VIDEO LINKS ............................................................................................... xv ORTHOGRAPHIC NOTE ............................................................................................ xvi CHAPTER 1. INTRODUCTION: SETTING THE STAGE ............................................................ 1 PersonaL Narrative: Le Fromager ......................................................................... 1 PersonaL Narrative: Le Palmier .......................................................................... 10 Scope of Research .............................................................................................. 16 Research Questions ................................................................................ 17 MethodologicaL Brief .......................................................................................... 18 DeLimitations ...................................................................................................... 22 Limitations of the Study ..................................................................................... 24 Significance ........................................................................................................ 25 OutLine of Chapters ............................................................................................. 26 Summary ............................................................................................................. 28 vii 2. PROGRAM NOTES: LITERATURE REVIEW AND THEORETICAL FRAMEWORK ........................................................................................................ 30 West African Vernacular Dance Aesthetics ....................................................... 31 SociaLLy Constructed Bodies ............................................................................... 36 Embodiment ........................................................................................... 38 Anlo-Ewe Understandings of Embodiment: Seselelame ........................ 39 Dance Technique ................................................................................................ 41 Martha Graham Technique ..................................................................... 45 Katherine Dunham Technique ................................................................ 47 UmfundaLai Technique ........................................................................... 49 Embodied KnowLedge ........................................................................................ 51 SeLected African ConceptuaLizations of Embodied KnowLedge ............. 54 TheoreticaL Framework: Wòrándá .......................................................... 56 Summary ............................................................................................................. 64 3. INTRODUCING GERMAINE ACOGNY AND LA TECHNIQUE ACOGNY ....... 65 The Dancer: Enter Germaine Acogny ................................................................ 65 HerStory: Maman ALoopho .................................................................... 66 HerStory: Humble Beginnings ............................................................... 68 The Duet: Acogny