Please use this identifier to cite or link to this item:
https://doi.org/10.48548/pubdata-1558
| Resource type | Master Thesis |
| Title(s) | Decolonisation of Arts & Culture in Jamaica through Dance Theatre |
| Subtitle(s) | From Colonial Imposition to Cultural Liberation: A Journey through Jamaican Dance Theatre |
| DOI | 10.48548/pubdata-1558 |
| Handle | 20.500.14123/1636 |
| Creator | Wanliss, Adrian J. |
| Study programme | Arts and Cultural Management |
| Advisor | Henze, Raphaela  0000-0001-6257-6871Thomas, Fabian |
| Abstract | The thesis explores the process of decolonising art and culture in Jamaica through dance theatre. It focuses on traditional and contemporary dance forms, particularly on L'Antech, a Caribbean modern dance technique developed by Dr. L'Antoinette Stines. The study begins with an overview of traditional Jamaican dances and their role in cultural preservation and resistance against colonial oppression, emphasising their significance in maintaining cultural continuity and fostering a sense of community. The emergence of contemporary dance theatre in Jamaica is examined, focusing on the work of the National Dance Theatre Company (NDTC) and L’ACADCO: A United Caribbean Dance Force. These companies are analysed to demonstrate how modern dance practices have contributed to the decolonial process, challenging Eurocentric norms and creating unique dance languages that reflect Jamaica's rich cultural heritage. The thesis also delves into a detailed examination of L'Antech as a method of decolonisation. L'Antech blends traditional Jamaican dance forms with classical ballet and contemporary techniques, offering a dynamic platform for cultural expression and education. The technique's emphasis on spirituality, synerbridging and cultural symbolism is explored, showcasing how it reconnects dancers with their ancestral roots and promotes holistic, spiritual, and physical engagement with dance. However, the challenges associated with using L'Antech as a decolonial practice are also acknowledged. Issues of authenticity, cultural hybridisation, commercialisation, and institutionalisation are critically examined, drawing on the theoretical perspectives of scholars such as Margaret Kohn and Keally McBride. These challenges underscore the complexity of decolonisation in the arts and highlight the need for ongoing reflection and adaptation. In conclusion, the thesis asserts that decolonising art and culture in Jamaica through dance theatre is a continuous and dynamic process. It emphasises that techniques like L'Antech are crucial in reclaiming cultural heritage, challenging oppressive structures, and promoting inclusive artistic expression. The study offers a hopeful vision for the future of Jamaican culture and identity, emphasising the transformative power of dance on the decolonial journey. |
| Language | English |
| Keywords | Decolonisation; Dance; Jamaica; Afro-Caribbean; Cultural Identity; Dance Education |
| Date of thesis submission | 2024-09-30 |
| Year of publication in PubData | 2025 |
| Publishing type | First publication |
| Date issued | 2025-01-13 |
| Creation context | Study |
| Granting Institution | Leuphana Universität Lüneburg |
| Published by | Medien- und Informationszentrum, Leuphana Universität Lüneburg |
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|---|---|---|---|---|
Wanliss_Decolonisation_of_Arts_and_Culture_in_Jamaica_through_Dance_Theatre_MA.pdf License: 
open-access | 1.16 MB | Adobe PDF | View/Open |
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