Pub Date : 2022-09-02DOI: 10.1080/10137548.2023.2241463
B. Ngcobo
This article employs Practice as Research (PaR) as a paradigm to explicate the specialised research insights produced during the theatre-making process of devising and performing ReTAGS’ Antigone (not quite/quiet). I revisit Sophocles’ original Antigone, reading the circumstances of the titular character alongside the contemporary reality of postapartheid South Africa. I further employ the register of tragedy to develop my earlier conception of mbokodofication and interrogate the transgressive potential of aesthetic distance to mitigate retraumatization in performance and maintain the emotional hygiene of the performer.
{"title":"Aesthetic distance as deus ex machina when the performer’s trauma is (not quite/quiet)","authors":"B. Ngcobo","doi":"10.1080/10137548.2023.2241463","DOIUrl":"https://doi.org/10.1080/10137548.2023.2241463","url":null,"abstract":"This article employs Practice as Research (PaR) as a paradigm to explicate the specialised research insights produced during the theatre-making process of devising and performing ReTAGS’ Antigone (not quite/quiet). I revisit Sophocles’ original Antigone, reading the circumstances of the titular character alongside the contemporary reality of postapartheid South Africa. I further employ the register of tragedy to develop my earlier conception of mbokodofication and interrogate the transgressive potential of aesthetic distance to mitigate retraumatization in performance and maintain the emotional hygiene of the performer.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48207316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10137548.2023.2195423
Lekan Balogun
Dramatists and theatre makers are often drawn to Sophocles’ Antigone hence they reimagine and recruit the Attic tragedy to serve various political and aesthetic purposes. One of such reworkings of the ancient text is Mark Fleishman’s Antigone (not quite/quiet) which addresses grave issues of concern in post-apartheid South Africa. In this essay I will use a mythopoesis woven around Ògún, the Yoruba God of Warfare and Creativity, through Wole Soyinka’s essay, ‘The Fourth Stage’ and its broader relation to other cross-cultural aesthetics as an analytical strategy, to discuss Antigone (not quite/quiet) as a cross-cultural theatre production that engages despicable events such as sexual and gender-based violence and xenophobia in post-1994 South Africa. The essay will stress how ritual and theatre co-exist in the play and are useful to a productive engagement with unfavourable social circumstances in the country.
{"title":"Common backcloth: Fleishman’s Antigone (not quite/quiet) and Soyinka’s ‘The fourth stage’","authors":"Lekan Balogun","doi":"10.1080/10137548.2023.2195423","DOIUrl":"https://doi.org/10.1080/10137548.2023.2195423","url":null,"abstract":"Dramatists and theatre makers are often drawn to Sophocles’ Antigone hence they reimagine and recruit the Attic tragedy to serve various political and aesthetic purposes. One of such reworkings of the ancient text is Mark Fleishman’s Antigone (not quite/quiet) which addresses grave issues of concern in post-apartheid South Africa. In this essay I will use a mythopoesis woven around Ògún, the Yoruba God of Warfare and Creativity, through Wole Soyinka’s essay, ‘The Fourth Stage’ and its broader relation to other cross-cultural aesthetics as an analytical strategy, to discuss Antigone (not quite/quiet) as a cross-cultural theatre production that engages despicable events such as sexual and gender-based violence and xenophobia in post-1994 South Africa. The essay will stress how ritual and theatre co-exist in the play and are useful to a productive engagement with unfavourable social circumstances in the country.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47636079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10137548.2022.2127423
Dalia Saleh Abdel Wahab Farah
The revolution of 23 July 1952 in Egypt was not only a revolution to change political situations; it was a revolution that brought about radical changes in Egyptian society at all levels. In the post-independence Nasserite period, Egypt represented an example of highly significant anticolonial nationalism, aimed to resist first World cultural hegemony. This article seeks to investigate how State theatre in postcolonial Egypt addressed the issue of Egyptian cultural identity, within the cultural project of the new emerging republic. An analytical descriptive study is conducted to identify how the Egyptian cultural project addressed the magnitude and complexity of the predicaments of the colonial experience. Furthermore, this study serves not only to identify authentication literary trends in modern Egyptian theatre, but also investigates how these trends reconciled authenticity and contemporaneity while affirming Egyptian cultural identity. The study reached the conclusion that emerging authentication trends were predominantly Reality and Heritage. The article also offers analytical case studies of State theatre productions during the Nasserite period, affiliated with the mainstreams of authentication. In addition, we examine how State theatre presented society’s visible and underlying needs in the post-independence period. The article thus seeks to bring together two areas of inquiry that are related to postcolonial studies: the question of cultural identity, and the role of theatre production in national liberation movements.
{"title":"State theatre in postcolonial Egypt and its role in affirming Egyptian cultural identity","authors":"Dalia Saleh Abdel Wahab Farah","doi":"10.1080/10137548.2022.2127423","DOIUrl":"https://doi.org/10.1080/10137548.2022.2127423","url":null,"abstract":"The revolution of 23 July 1952 in Egypt was not only a revolution to change political situations; it was a revolution that brought about radical changes in Egyptian society at all levels. In the post-independence Nasserite period, Egypt represented an example of highly significant anticolonial nationalism, aimed to resist first World cultural hegemony. This article seeks to investigate how State theatre in postcolonial Egypt addressed the issue of Egyptian cultural identity, within the cultural project of the new emerging republic. An analytical descriptive study is conducted to identify how the Egyptian cultural project addressed the magnitude and complexity of the predicaments of the colonial experience. Furthermore, this study serves not only to identify authentication literary trends in modern Egyptian theatre, but also investigates how these trends reconciled authenticity and contemporaneity while affirming Egyptian cultural identity. The study reached the conclusion that emerging authentication trends were predominantly Reality and Heritage. The article also offers analytical case studies of State theatre productions during the Nasserite period, affiliated with the mainstreams of authentication. In addition, we examine how State theatre presented society’s visible and underlying needs in the post-independence period. The article thus seeks to bring together two areas of inquiry that are related to postcolonial studies: the question of cultural identity, and the role of theatre production in national liberation movements.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48826915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10137548.2022.2143887
Babatunde Allen Bakare
This study examines the evolutional phases of Ola Rotimi as a dramatist and his contribution to Nigerian, African and world drama. In this study, some of Ola Rotimi’s plays are analysed, to investigate and document how his Yoruba and Ijaw cultural background became an important tool in the craftsmanship of his plays, especially those that comment on social issues. In addition, the study discusses the influence of Western drama on the drama of Ola Rotimi. Rotimi studied at Yale School of Drama and Boston University, in the United States of America. Consequently, his exposure to western dramatic theories, dramatic concepts, epochs in world drama and theatre shows, clearly, in many of his works. Furthermore, this study asserts that Rotimi was also influenced by the cultures of Yoruba Traditional Travelling Theatre, storytelling, rituals and festivals among the Yoruba people. The study relied primarily on secondary literature; and related Rotimi’s drama and theatre to Cremona’s (2007) concept of ‘Theatre as Poly-System’ and Sauter’s (2007) theory of ‘Theatrical Events’. Rotimi, in his dramaturgy, embraced ‘socio commitment’ by dramatizing issues that concern the Nigerian populace, in connection to socio-political and economic mishap, in his plays, such as Our Husband Has Gone Mad Again (1977), If … (1983), Hopes of the Living Dead (1988), the three-act plays: Who is a Patriot? When Criminals Turn Judges, Man Talk, Woman Talk, and Tororo, Torororo-ro-ro (2006).
{"title":"The dramaturgy of Ola Rotimi","authors":"Babatunde Allen Bakare","doi":"10.1080/10137548.2022.2143887","DOIUrl":"https://doi.org/10.1080/10137548.2022.2143887","url":null,"abstract":"This study examines the evolutional phases of Ola Rotimi as a dramatist and his contribution to Nigerian, African and world drama. In this study, some of Ola Rotimi’s plays are analysed, to investigate and document how his Yoruba and Ijaw cultural background became an important tool in the craftsmanship of his plays, especially those that comment on social issues. In addition, the study discusses the influence of Western drama on the drama of Ola Rotimi. Rotimi studied at Yale School of Drama and Boston University, in the United States of America. Consequently, his exposure to western dramatic theories, dramatic concepts, epochs in world drama and theatre shows, clearly, in many of his works. Furthermore, this study asserts that Rotimi was also influenced by the cultures of Yoruba Traditional Travelling Theatre, storytelling, rituals and festivals among the Yoruba people. The study relied primarily on secondary literature; and related Rotimi’s drama and theatre to Cremona’s (2007) concept of ‘Theatre as Poly-System’ and Sauter’s (2007) theory of ‘Theatrical Events’. Rotimi, in his dramaturgy, embraced ‘socio commitment’ by dramatizing issues that concern the Nigerian populace, in connection to socio-political and economic mishap, in his plays, such as Our Husband Has Gone Mad Again (1977), If … (1983), Hopes of the Living Dead (1988), the three-act plays: Who is a Patriot? When Criminals Turn Judges, Man Talk, Woman Talk, and Tororo, Torororo-ro-ro (2006).","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48413248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10137548.2022.2121748
C. Tembo, Allan T. Maganga, Tevedzerai Gijimah
This paper is a comparative explication of selected online Zimbabwean comedies as satire. It pursues the revolutionary character of the comedies against an increasingly limiting and impoverishing politico-economic environment. In our rendition, we depart from the general and simplistic thinking that comedy is solely for entertainment’s sake to view it as a puissant genre of art that is deployed not only to articulate big national issues but revolutionise consciousness given the danger of pacifying the people that goes along with oppression. The paper pursues the revolutionary agenda in the comedies as the comedians are inadvertently committed to the search for a breakthrough against a limiting and impoverishing politico-economic environment. Emerging out of this elucidation of comedies is that steeped in the comedies, is a sharp sense of resistance against oppression as well as an intense interest in liberating reflection and struggle. The centrepiece of the article is to comparatively engage Pepukai Zvemhari’s ‘Border phobia’ and Prosper Ngomashi’s ‘Pastor and his wives’ against the keen interest in lampooning those in charge of the affairs of the state for breeding trepidation and social phobia among the masses while on their part, life is decorated with profligacy and self-aggrandizement. The two comic skirts perfectly fall into the category of revolutionary art.
{"title":"The intersections of comedy and politics in Zimbabwe: analysing Baba Tencen’s ‘Borderphobia’ and Prosper Ngomashi’s ‘Pastor and his wives’","authors":"C. Tembo, Allan T. Maganga, Tevedzerai Gijimah","doi":"10.1080/10137548.2022.2121748","DOIUrl":"https://doi.org/10.1080/10137548.2022.2121748","url":null,"abstract":"This paper is a comparative explication of selected online Zimbabwean comedies as satire. It pursues the revolutionary character of the comedies against an increasingly limiting and impoverishing politico-economic environment. In our rendition, we depart from the general and simplistic thinking that comedy is solely for entertainment’s sake to view it as a puissant genre of art that is deployed not only to articulate big national issues but revolutionise consciousness given the danger of pacifying the people that goes along with oppression. The paper pursues the revolutionary agenda in the comedies as the comedians are inadvertently committed to the search for a breakthrough against a limiting and impoverishing politico-economic environment. Emerging out of this elucidation of comedies is that steeped in the comedies, is a sharp sense of resistance against oppression as well as an intense interest in liberating reflection and struggle. The centrepiece of the article is to comparatively engage Pepukai Zvemhari’s ‘Border phobia’ and Prosper Ngomashi’s ‘Pastor and his wives’ against the keen interest in lampooning those in charge of the affairs of the state for breeding trepidation and social phobia among the masses while on their part, life is decorated with profligacy and self-aggrandizement. The two comic skirts perfectly fall into the category of revolutionary art.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45312784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10137548.2022.2136743
Tekena Gasper Mark
Stand-up comedy has thrived as a popular form of entertainment in Africa, and it has been used as a tool to question the postcolonial relationship between the West and the Other, which promotes racialized assumptions. Similarly, African stand-up comedians like Trevor Noah, a migrant from South Africa to the United States, who was born in South Africa to a Swiss father and a South African mother, have become global entertainment icons and demonstrate how migrants can use humour to confront prejudice and institutional racism. Drawing from Noah’s mixed racial backgrounds, this study examines how Noah’s identity shapes his artistry using two of his performances It Makes No Sense (2020) and Learning Accents (2021). The study engaged the Superiority, Relief and Incongruity theories of comedy, and observed that intersectional identities and marginalization are the main themes explored in the two comic acts, and Noah presents humour as a site of resistance used to subvert assumptions of stable racial and identity categories that promote the marginalization of Blacks and people of colour.
{"title":"Stand-up comedy and the performance of race and identity in Trevor Noah’s It Makes No Sense and Learning Accents","authors":"Tekena Gasper Mark","doi":"10.1080/10137548.2022.2136743","DOIUrl":"https://doi.org/10.1080/10137548.2022.2136743","url":null,"abstract":"Stand-up comedy has thrived as a popular form of entertainment in Africa, and it has been used as a tool to question the postcolonial relationship between the West and the Other, which promotes racialized assumptions. Similarly, African stand-up comedians like Trevor Noah, a migrant from South Africa to the United States, who was born in South Africa to a Swiss father and a South African mother, have become global entertainment icons and demonstrate how migrants can use humour to confront prejudice and institutional racism. Drawing from Noah’s mixed racial backgrounds, this study examines how Noah’s identity shapes his artistry using two of his performances It Makes No Sense (2020) and Learning Accents (2021). The study engaged the Superiority, Relief and Incongruity theories of comedy, and observed that intersectional identities and marginalization are the main themes explored in the two comic acts, and Noah presents humour as a site of resistance used to subvert assumptions of stable racial and identity categories that promote the marginalization of Blacks and people of colour.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46361509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10137548.2023.2173414
Connie Rapoo
{"title":"Theatre from Rhodesia to Zimbabwe: hegemony, identity, and a contested postcolony","authors":"Connie Rapoo","doi":"10.1080/10137548.2023.2173414","DOIUrl":"https://doi.org/10.1080/10137548.2023.2173414","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46767953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/10137548.2022.2093266
P. Maedza
This account uses performance and critical analysis to investigate the entangled histories and multidirectional memories that entwine African colonialism and the Holocaust in Santa’s Story by Aviva Pelham. The paper spotlights the intersections between the memory of the Holocaust and colonial Africa by focussing on the memory of women survivors and children of survivors on the African continent. Drawing on Marianne Hirsch’s notion of ‘postmemory’ the paper interrogates the gendered intergenerational transmission of Holocaust and colonial memory through performance to address three interrelated concerns. First it responds to the limited scope of theatre and performance work produced and staged in Africa and elsewhere that engage with the memory and experience of Holocaust survivors on the African continent. Secondly this account responds to the dearth in critical commentary about the performance works created about women Holocaust survivors. Lastly, this dearth extends to creative works by Holocaust survivors’ children born and raised on the African continent who explore what it means to ‘perform’ as their parents on the world stage.
{"title":"Santa’s Story: Performing Holocaust postmemory on the world stage","authors":"P. Maedza","doi":"10.1080/10137548.2022.2093266","DOIUrl":"https://doi.org/10.1080/10137548.2022.2093266","url":null,"abstract":"This account uses performance and critical analysis to investigate the entangled histories and multidirectional memories that entwine African colonialism and the Holocaust in Santa’s Story by Aviva Pelham. The paper spotlights the intersections between the memory of the Holocaust and colonial Africa by focussing on the memory of women survivors and children of survivors on the African continent. Drawing on Marianne Hirsch’s notion of ‘postmemory’ the paper interrogates the gendered intergenerational transmission of Holocaust and colonial memory through performance to address three interrelated concerns. First it responds to the limited scope of theatre and performance work produced and staged in Africa and elsewhere that engage with the memory and experience of Holocaust survivors on the African continent. Secondly this account responds to the dearth in critical commentary about the performance works created about women Holocaust survivors. Lastly, this dearth extends to creative works by Holocaust survivors’ children born and raised on the African continent who explore what it means to ‘perform’ as their parents on the world stage.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43580988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/10137548.2022.2136742
Thérèse Roux, M. Coetzee
COVID-19 has had a significant economic impact on a global scale. The national lockdown, enacted through the Disaster Management Act 57 of 2002, disrupted multiple economic activities, including that of the Creative and Cultural industries. In the performance and celebrations domain, under which live events (.i.e., theatre and performance) and technical production services (i.e., technical support and services for theatre and performance) resort, the postponement or cancellation of events in the face of the pandemic had a devastating effect on lives and livelihoods. An initiative called #LightSAred, initiated by the South African Communications Industries Association (SACIA) and the Technical Production and Services Association, was one of the private initiatives aimed at extending financial relief to those who earn a living in the technical production and live events industry. However, the lack of reliable data about the industry's market and the impact of COVID-19 was a significant challenge in resource development and allocation. In response, the Sun Circle Group, a media company that services the live entertainment and professional audio-visual industries in South Africa, conducted an extensive online survey of businesses in this industry. For this study, permission has been obtained from the Sun Circle Group to analyse the secondary data set. Situated within the literature on the creative economy, analysing the secondary industry data in this article offers an understanding of the market position and perceived financial implications of the COVID-19 pandemic on the Live Events, Technical and Production Services industry. The results of this research support advocacy for a long-term national strategy to secure livelihoods and the sustainability of not only the Live Events, Technical and Production Services industry, but the CCIs as a whole.
2019冠状病毒病在全球范围内产生了重大经济影响。根据2002年第57号《灾害管理法》颁布的全国封锁中断了包括创意和文化产业在内的多种经济活动。在表演和庆典领域，现场活动(即:面对大流行病，推迟或取消活动对人们的生活和生计造成了毁灭性的影响。由南非通信工业协会(SACIA)和技术生产与服务协会发起的#LightSAred倡议是民间倡议之一，旨在为那些以技术生产和现场活动行业为生的人提供经济援助。然而，缺乏关于该行业市场和新冠肺炎影响的可靠数据，是资源开发和分配方面的重大挑战。作为回应，南非一家为现场娱乐和专业视听行业提供服务的媒体公司Sun Circle Group对该行业的企业进行了广泛的在线调查。对于本研究，已获得太阳圈集团的许可来分析次要数据集。本文分析了关于创意经济的文献，分析了第二产业数据，有助于了解2019冠状病毒病大流行对现场活动、技术和生产服务行业的市场地位和财务影响。这项研究的结果支持倡导一项长期的国家战略，以确保生计和可持续性，不仅是现场活动、技术和生产服务行业，而且是整个cci。
{"title":"The South African live events, technical and production services industry’s market position and COVID-19 funding implications","authors":"Thérèse Roux, M. Coetzee","doi":"10.1080/10137548.2022.2136742","DOIUrl":"https://doi.org/10.1080/10137548.2022.2136742","url":null,"abstract":"COVID-19 has had a significant economic impact on a global scale. The national lockdown, enacted through the Disaster Management Act 57 of 2002, disrupted multiple economic activities, including that of the Creative and Cultural industries. In the performance and celebrations domain, under which live events (.i.e., theatre and performance) and technical production services (i.e., technical support and services for theatre and performance) resort, the postponement or cancellation of events in the face of the pandemic had a devastating effect on lives and livelihoods. An initiative called #LightSAred, initiated by the South African Communications Industries Association (SACIA) and the Technical Production and Services Association, was one of the private initiatives aimed at extending financial relief to those who earn a living in the technical production and live events industry. However, the lack of reliable data about the industry's market and the impact of COVID-19 was a significant challenge in resource development and allocation. In response, the Sun Circle Group, a media company that services the live entertainment and professional audio-visual industries in South Africa, conducted an extensive online survey of businesses in this industry. For this study, permission has been obtained from the Sun Circle Group to analyse the secondary data set. Situated within the literature on the creative economy, analysing the secondary industry data in this article offers an understanding of the market position and perceived financial implications of the COVID-19 pandemic on the Live Events, Technical and Production Services industry. The results of this research support advocacy for a long-term national strategy to secure livelihoods and the sustainability of not only the Live Events, Technical and Production Services industry, but the CCIs as a whole.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47671124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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