| Summary: | Includes abstract. === Includes bibliographical references (leaves 60-63). === My research has been preoccupied with the playing of memory with reference to narratives of loss. This loss has been represented by a loss of language, place and family, resulting in the playing of unnerving memory fragments. The primary driving force of this loss has been the notion of a disrupted or uprooted childhood. The subject of this enquiry is black girlhood; in particular, the relationships between black girls/women. Consequently a large part of 'piecing together a girlhood' involves engaging with what Quashie (2004) calls the 'girlfriend aesthetic'. Quashie's 'girlfriend aesthetic' offers a methodology for re-membering by providing a reflective surface; you see in the experience of the girlfriend other something that triggers or incites your own memory that aids you in working towards completion of self. This explication traces my interest in this subject matter as a direct result of feeling that black girlhood as a topic is under-represented, explores my development of a viable creative methodology for this kind of work, interrogates the meaning of 'site' in this context, maps out the origin of nostalgia and how it affects the afficted in relation to lost 'site', unpacks the girlfriend aesthetic as a practice and reveals how the nostalgic searcher's obsession with the irrecoverability of the past manifests in corporeal ways. Whether or not completion of self is possible, what is discovered is theatre's ability to aid in coping with a feeling of placelessness or atopia. Although nostalgia may indicate a fixation with the past, it can be a valuable and restorative way of emancipating oneself from it.
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