AFRICAN SIGNS AS TOOLS OF RESISTANCE USED BY THE AFRICAN BRITISH IN KWAME KWEI-ARMAH'S FIX UP | ||||
| هرمس | ||||
| Article 6, Volume 4, Issue 1, January 2015, Page 83-125 PDF (478.37 K) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/herms.2015.396409 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Sameh Saad | ||||
| Assistant Lecturer of English Department of English Language and Faculty of Arts and Humanities, Suez Canal University Egypt | ||||
| Abstract | ||||
| The main aim of this paper is to examine African signs as tools of resistance used by the African British in Kwame Kwei-Armah's play Fix Up. Dramatic signs (visual, verbal, and acoustic) are invaluable tools that are employed in the play to convey its message and achieve the desired communication. African Kentes, for example, are employed in Fix Up as significant visual signs in the expression of African identity on different levels of iconicity, indexicality and symbolicity. Fix Up, premiered at the National Theatre in December 2004, records the African experience in Britain at the beginning of the twenty-first century. The African British, like other black communities in Britain today, suffer from racism as a social and historical practice. Concepts and methods of semiotics are used in this paper to explore signs of racism against characters of African descent as well as signs of ethnic African identity such as African language, songs and dances, costume, hairstyle, and icons of the Black culture as dramatic tools of resistance. The play is meant to assert the importance of African history and ethnic pride to the African British in their resistance against white racism. | ||||
| Keywords | ||||
| Semiotics; Iconicity; Indexicality; Symbolicity; Signs of Identity; Resistance; Racism; African-British Drama; Kwame Kwei-Armah | ||||
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