Pub Date : 2019-09-02DOI: 10.1080/10137548.2018.1505110
Ajumeze Henry Obi
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Pub Date : 2019-09-02DOI: 10.1080/10137548.2018.1553626
S. Smit
In this article, I analyse some of the ways in which Gavin Krastin’s On Seeing Red and Other Fantasies (2015) engages with outrage and protest in a self-reflexive way. The idea of art as means to question and institute change in society, is contentious and my discussion here focuses on how forms of resistance, are easily subsumed within a capitalist context. On Seeing Red comments on the failure or the limits of ‘fantasy’ as a means of resistance and yet uses the make-believe platform of performance to express a critique of capitalist inertia and escapism. Krastin frames anger by turning his attention to form, investigating his own medium, that of performance art/live art. Specifically, the failure or limits of performance as a means to protest social, political and artistic concerns. The analysis is centred around two points of interest: firstly, how the work can be analysed in relation to the notions of deterritorialization and reterritorialization as theorized by Gilles Deleuze and Felix Guattari (1987). The article then veers on to engage with the idea of the ‘actant’ via Susan Bennet (2010) as a way of exploring how the affective presence of inanimate performers (objects) in the work reveal a co-dependency between the human and the non-human. More specifically, how the use of props in the performance reveals the vulnerability of the performing body. The paper concludes with the idea that precarity offers the possibility of a mode of resistance through performance.
{"title":"‘There is nothing to hold onto here’: complicity and vulnerability in Gavin Krastin’s On Seeing Red and Other Fantasies (2015)","authors":"S. Smit","doi":"10.1080/10137548.2018.1553626","DOIUrl":"https://doi.org/10.1080/10137548.2018.1553626","url":null,"abstract":"In this article, I analyse some of the ways in which Gavin Krastin’s On Seeing Red and Other Fantasies (2015) engages with outrage and protest in a self-reflexive way. The idea of art as means to question and institute change in society, is contentious and my discussion here focuses on how forms of resistance, are easily subsumed within a capitalist context. On Seeing Red comments on the failure or the limits of ‘fantasy’ as a means of resistance and yet uses the make-believe platform of performance to express a critique of capitalist inertia and escapism. Krastin frames anger by turning his attention to form, investigating his own medium, that of performance art/live art. Specifically, the failure or limits of performance as a means to protest social, political and artistic concerns. The analysis is centred around two points of interest: firstly, how the work can be analysed in relation to the notions of deterritorialization and reterritorialization as theorized by Gilles Deleuze and Felix Guattari (1987). The article then veers on to engage with the idea of the ‘actant’ via Susan Bennet (2010) as a way of exploring how the affective presence of inanimate performers (objects) in the work reveal a co-dependency between the human and the non-human. More specifically, how the use of props in the performance reveals the vulnerability of the performing body. The paper concludes with the idea that precarity offers the possibility of a mode of resistance through performance.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1553626","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41963525","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 : 2019-09-02DOI: 10.1080/10137548.2018.1553625
Sarahleigh Castelyn
Dance Artist/Choreographer Nelisiwe Xaba’s They Look at Me and That Is All They Think (2006) ‘refers to the story of Sara[tjie] Baartman […] the “Hottentot Venus”’ (2006. 9th Jomba! Contemporary dance experience 2006 programme, p. 7) who was taken from her homeland South Africa, and exhibited in Europe in the nineteenth century. After Baartman died in 1815, her remains were displayed in a museum in Paris until 1982. Xaba parallels the story of Baartman to her own experience of performing in Europe as a black South African woman. This article considers how They Look at Me and That Is All They Think exposes the politics surrounding the act of looking at a particular racial and gendered body in both the historical and contemporary context, and how the concept and articulation of the ‘superior’ European subject was dependent on the classification of Baartman, and other black Africans, as exotic others. In my practice-based research project How I Chased a Rainbow And Bruised My Knee (2007), which was a choreographic response to Xaba’s work, I theatricalize my identity as a white South African woman to make visible whiteness, its associated privilege, and how it is dependent on the representation of a particular type of blackness.
{"title":"Saartjie Baartman, Nelisiwe Xaba, and me: the politics of looking at South African bodies","authors":"Sarahleigh Castelyn","doi":"10.1080/10137548.2018.1553625","DOIUrl":"https://doi.org/10.1080/10137548.2018.1553625","url":null,"abstract":"Dance Artist/Choreographer Nelisiwe Xaba’s They Look at Me and That Is All They Think (2006) ‘refers to the story of Sara[tjie] Baartman […] the “Hottentot Venus”’ (2006. 9th Jomba! Contemporary dance experience 2006 programme, p. 7) who was taken from her homeland South Africa, and exhibited in Europe in the nineteenth century. After Baartman died in 1815, her remains were displayed in a museum in Paris until 1982. Xaba parallels the story of Baartman to her own experience of performing in Europe as a black South African woman. This article considers how They Look at Me and That Is All They Think exposes the politics surrounding the act of looking at a particular racial and gendered body in both the historical and contemporary context, and how the concept and articulation of the ‘superior’ European subject was dependent on the classification of Baartman, and other black Africans, as exotic others. In my practice-based research project How I Chased a Rainbow And Bruised My Knee (2007), which was a choreographic response to Xaba’s work, I theatricalize my identity as a white South African woman to make visible whiteness, its associated privilege, and how it is dependent on the representation of a particular type of blackness.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1553625","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59763611","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 : 2019-09-02DOI: 10.1080/10137548.2018.1556115
Tine Destrooper
Interactions between theatre and performance studies and trauma and memory studies have grown in depth and ampleur in the last two decades. Theatre and performance can offer new perspectives on, and potential coping mechanisms for, dealing with trauma that are also salient to other fields of study, such as transitional justice. Literature on transitional justice deals with the question of how societies can deal with violence and trauma inflicted by predecessor regimes. This literature stands to be enriched by theatre and performance scholars’ experience with the transformation of trauma, violence, complexity and confusion. Yet, the dominance of legal practitioners in this field has given rise to a learned blind spot for theatre and performance studies, and also scholars in the field of theatre and performance studies themselves have been reluctant to address transitional justice practitioners and scholars. This article proposes a normative and praxis-based perspective on the potential and desirability of integrating insights from the field of theatre and performance studies into transitional justice studies. I do not consider one specific – set of – plays, but rather the techniques and assumptions which theatre makers have been using in their work in transitional societies. The article urges theatre and performance scholars to engage more fully with the domain of transitional justice, in order to increase the legitimacy of performance-based initiatives in the context of transitional justice interventions and to recast some of the basic assumptions of the transitional justice architecture.
{"title":"Performative justice? The role of theatre and performance in facilitating transitional justice","authors":"Tine Destrooper","doi":"10.1080/10137548.2018.1556115","DOIUrl":"https://doi.org/10.1080/10137548.2018.1556115","url":null,"abstract":"Interactions between theatre and performance studies and trauma and memory studies have grown in depth and ampleur in the last two decades. Theatre and performance can offer new perspectives on, and potential coping mechanisms for, dealing with trauma that are also salient to other fields of study, such as transitional justice. Literature on transitional justice deals with the question of how societies can deal with violence and trauma inflicted by predecessor regimes. This literature stands to be enriched by theatre and performance scholars’ experience with the transformation of trauma, violence, complexity and confusion. Yet, the dominance of legal practitioners in this field has given rise to a learned blind spot for theatre and performance studies, and also scholars in the field of theatre and performance studies themselves have been reluctant to address transitional justice practitioners and scholars. This article proposes a normative and praxis-based perspective on the potential and desirability of integrating insights from the field of theatre and performance studies into transitional justice studies. I do not consider one specific – set of – plays, but rather the techniques and assumptions which theatre makers have been using in their work in transitional societies. The article urges theatre and performance scholars to engage more fully with the domain of transitional justice, in order to increase the legitimacy of performance-based initiatives in the context of transitional justice interventions and to recast some of the basic assumptions of the transitional justice architecture.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1556115","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47361391","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 : 2019-09-02DOI: 10.1080/10137548.2018.1544503
P. Maedza
On 16 June 1976 an estimated 20,000 black students took to the streets of Soweto, South Africa in protest against the mandatory use of Afrikaans in all segregated schools. Apartheid police responded to the protest march with unrestrained brutal violence, firing live rounds of ammunition at the unarmed school children. This police intervention left thousands injured and 176 people dead. Using Mbongeni Ngema’s Sarafina!: The Sounds of Liberation (1987), this account problematizes the often romanticized post-apartheid portrayal of the usage of art as a tool to fight apartheid. It investigates two interrelated themes. First, it interrogates how the memory of the 1976 student protest was shaped, preserved, remembered and transmitted over space and time through performance as the show toured from apartheid South Africa to the US. Second, through a close reading of the musical this article investigates how Sarafina!’s global circulation and reception negotiated the United Nations sanctioned academic, cultural and sporting boycott imposed on South Africa in 1968, which called for a total ban on all such activities. This close reading of the tour offers a nuanced understanding of the complicated and sometimes contradictory dynamics of the total anti-apartheid cultural boycott movement and the use of art as a weapon for the struggle.
{"title":"Sarafina!: The children’s revolution from Soweto to Broadway","authors":"P. Maedza","doi":"10.1080/10137548.2018.1544503","DOIUrl":"https://doi.org/10.1080/10137548.2018.1544503","url":null,"abstract":"On 16 June 1976 an estimated 20,000 black students took to the streets of Soweto, South Africa in protest against the mandatory use of Afrikaans in all segregated schools. Apartheid police responded to the protest march with unrestrained brutal violence, firing live rounds of ammunition at the unarmed school children. This police intervention left thousands injured and 176 people dead. Using Mbongeni Ngema’s Sarafina!: The Sounds of Liberation (1987), this account problematizes the often romanticized post-apartheid portrayal of the usage of art as a tool to fight apartheid. It investigates two interrelated themes. First, it interrogates how the memory of the 1976 student protest was shaped, preserved, remembered and transmitted over space and time through performance as the show toured from apartheid South Africa to the US. Second, through a close reading of the musical this article investigates how Sarafina!’s global circulation and reception negotiated the United Nations sanctioned academic, cultural and sporting boycott imposed on South Africa in 1968, which called for a total ban on all such activities. This close reading of the tour offers a nuanced understanding of the complicated and sometimes contradictory dynamics of the total anti-apartheid cultural boycott movement and the use of art as a weapon for the struggle.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1544503","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41638004","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 : 2019-09-02DOI: 10.1080/10137548.2019.1601368
A. Joubert
{"title":"The actor and his body, 4th ed.","authors":"A. Joubert","doi":"10.1080/10137548.2019.1601368","DOIUrl":"https://doi.org/10.1080/10137548.2019.1601368","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2019.1601368","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44463358","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 : 2019-07-10DOI: 10.1080/10137548.2018.1560975
Anton Krueger
Publishing Woza Albert! back in 1983 was a smart move by Methuen Publishing, since it went on to become South Africa’s most canonical dramatic text. As Temple Hauptfleisch points out in his introdu...
{"title":"Woza Albert! (student editions)","authors":"Anton Krueger","doi":"10.1080/10137548.2018.1560975","DOIUrl":"https://doi.org/10.1080/10137548.2018.1560975","url":null,"abstract":"Publishing Woza Albert! back in 1983 was a smart move by Methuen Publishing, since it went on to become South Africa’s most canonical dramatic text. As Temple Hauptfleisch points out in his introdu...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1560975","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44659899","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 : 2019-05-04DOI: 10.1080/10137548.2020.1716515
Anton Krueger
{"title":"A Century of South African Theatre","authors":"Anton Krueger","doi":"10.1080/10137548.2020.1716515","DOIUrl":"https://doi.org/10.1080/10137548.2020.1716515","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1716515","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48218165","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 : 2019-05-04DOI: 10.1080/10137548.2019.1629834
Sarah Youssef
In 2013, Yaël Farber’s adapted August Strindberg’s naturalistic drama Miss Julie into a contemporary play, set in South Africa’s Cape Karoo semi-desert. Farber maintains in her version the various concerns the original play addresses, including class and gender, however by transporting the play to post-Apartheid South Africa, questions pertaining race and identity are reflected upon in a socio-political context. Farber negotiates these issues primarily through the use of language, utilizing code-switching throughout her contemporary parable. Farber uses code-switching as a means to reflect the despair of a nation, the search for a unified identity and the desire for intimacy of the characters. Achille Mbembe argues that South Africa has a crisis in language, however this paper argues that this alleged crisis, the continuous use of multiple languages is precisely the language of post-Apartheid South Africa. A language, which reflects the liminal state of the nation, the cultural variety of the country as well as the continuous search for a unified identity.
{"title":"The missing language of freedom: code-switching in Yaël Farber’s Mies Julie (2012)","authors":"Sarah Youssef","doi":"10.1080/10137548.2019.1629834","DOIUrl":"https://doi.org/10.1080/10137548.2019.1629834","url":null,"abstract":"In 2013, Yaël Farber’s adapted August Strindberg’s naturalistic drama Miss Julie into a contemporary play, set in South Africa’s Cape Karoo semi-desert. Farber maintains in her version the various concerns the original play addresses, including class and gender, however by transporting the play to post-Apartheid South Africa, questions pertaining race and identity are reflected upon in a socio-political context. Farber negotiates these issues primarily through the use of language, utilizing code-switching throughout her contemporary parable. Farber uses code-switching as a means to reflect the despair of a nation, the search for a unified identity and the desire for intimacy of the characters. Achille Mbembe argues that South Africa has a crisis in language, however this paper argues that this alleged crisis, the continuous use of multiple languages is precisely the language of post-Apartheid South Africa. A language, which reflects the liminal state of the nation, the cultural variety of the country as well as the continuous search for a unified identity.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2019.1629834","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44703915","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 : 2019-05-04DOI: 10.1080/10137548.2019.1640129
Pierre-André Viviers, K. Botha
In South Africa, the popularity and rapid expansion of festivals are resulting in festivals competing for revenue and visitors’ leisure time. Many Afrikaans arts festivals in SA are experiencing declines in ticket sales and/or visitor numbers, thereby threatening the sustainability of this attendee market. However, another concern is the ageing of this attendee market. Festival organizers/marketers should therefore not only have a good understanding of the needs and preferences of their attendee market; but they should also ensure that their future markets (namely younger generations) are secured. It is evident that exposing children to the arts increases their love for and likelihood to support the arts in adulthood. It is therefore vital to ensure that the key factors contributing to children's theatre ticket purchases at South African Afrikaans arts festivals are determined. Although children's theatre is incorporated into these festivals’ programmes, attendance is often poor. The aim of this study is therefore to determine the key factors that contribute to children's theatre ticket purchases at Afrikaans arts festivals in South Africa. Self-administered questionnaires were distributed at the Klein Karoo National Arts Festival (KKNK), Vryfees National Arts Festival, and the Aardklop National Arts Festival among the parents attending children's theatre productions with their child/ren. The research is exploratory in nature, whereby an exploratory factor analysis was conducted on the aspects contributing to the purchasing of these tickets, followed by ANOVAs for more in-depth analysis of the factors. Five factors, namely Parent–Child Activity, Production Credentials, Supporting the Arts, Value and Marketing and Media were identified. The results will help festival organizers develop strategies to attract more children and increase children's theatre ticket sales at arts festivals; thereby better securing this future market and ultimately the sustainability of arts festivals in South Africa.
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