Umzi ka Mama Family property transfer practices and the historical significance of title deeds to African female heads of household in Fingo Village: a participatory theatre approach

Hellemann, Phemelo Cordelia

Title: Umzi ka Mama Family property transfer practices and the historical significance of title deeds to African female heads of household in Fingo Village: a participatory theatre approach
Creator: Hellemann, Phemelo Cordelia
ThesisAdvisor: Wells, Julia C
Subject: Public history South Africa Eastern Cape
Subject: Oral history South Africa Eastern Cape
Subject: Women Housing South Africa Eastern Cape
Subject: Feminism Africa
Subject: Apartheid Law and legislation South Africa
Subject: Participatory theater South Africa Eastern Cape
Subject: Playback theater
Subject: Theater and society South Africa Eastern Cape
Subject: History Citizen participation
Subject: South Africa. Group Areas Act, 1950
Date: 2022-04-07
Type: Academic theses
Type: Doctoral theses
Type: text
Identifier: http://hdl.handle.net/10962/294537
Identifier: vital:57230
Identifier: DOI https://doi.org/10.21504/10962/294537
Description: Many everyday stories and experiences of African women remain underrepresented and undocumented. For example, the omission of Fingo Village women’s names from official deeds records silenced their voices. African women faced gender and racial discrimination that denied them fundamental human rights and limited their participation in urban life. Title deed records constitute one type of public record where African women’s names were omitted for centuries by the colonial and apartheid governments. Under apartheid, African women occupied the social status of minors; hence, the government denied them urban land rights. This African feminist study enlists narratives of a sample of seven African female heads of households residing in Fingo Village who are also property owners. Fingo Village is an atypical environment where African people had a rare legal advantage of owning title deeds dating back to 1855. This study employed an interdisciplinary approach by mixing oral history methodology and applied theatre methods to record, interpret and present Fingo Village women’s narratives of family property inheritance and the significance of title deed documentation in the suburb. The multiple technique approach created opportunities for authentic dialogue between the researcher and the participants beyond the inherent limitations of public history oral interviews. The traditional oral history interview and the participatory theatre methods helped uncover unconventional practices in family property relations. Though customary transfers of family homes to custodians were prevalent, title deed registration of family property was also acknowledged as a vital practice that empowered women legally. The researcher used participatory theatre techniques inspired by playback, image and forum theatre to enhance the researcher and participants’ relationship. These methods encouraged the researcher and respondents’ shared authority as they embarked on an extended participatory research project. In this regard, through dialogical and performance-based activities, the participants and the researcher became co-creators of untold Fingo Village stories. Moreover, the theatre techniques became interpretation and analysis tools that ensured that the participants’ untold stories were well represented. The first phase of the research involved engaging with the literature about the title deeds history of Fingo Village and conducting oral history interviews that served as data. In the second phase, the interviews were analysed and packaged in a documentary format. The third phase was a playback theatre inspired session in a 10-minute performance based on themes from the participants’ filmed interviews. Additionally, the performance was a catalyst for forum theatre activities that allowed the participants to interact with the performer and suggest solutions to the dilemma posed by the performer regarding family property use. The participants were decision-makers and family property relations experts within this imagined context. In the fourth phase, the image theatre adaptation and memory work activities were essential tools. The tools aided the visuals and information from an existing Fingo Village exhibition as additional resources that prompted dialogue and discussions. The exhibition encouraged participants to share their personal experiences and memories of the Group Areas Act (GAA) era. The findings showed that the GAA era saw many families revert to communal tenure practices as a strategy to evade forced sales; as such, this gave rise to undocumented family property transfers. Additionally, the findings revealed that though customary practices are often patriarchal, there are circumstances favouring women as the preferred family property custodian. These are embedded in the social status of women who are traditional healers, firstborn daughters, and those from families with just daughters. This study contributes to the growing literature that advocates for positive representation of African women’s stories by using active research methodologies that strengthen partnerships and shared authority between the researcher and the public. This methodology could inspire other researchers to explore theatre techniques to create more profound and meaningful engagements with their participants. The links to the video materials accompanying this thesis are provided on the contents page.
Description: Thesis (PhD) -- Faculty of Humanities, History, 2022
Format: computer, online resource, application/pdf, 1 online resource (289 pages), pdf
Publisher: Rhodes University, Faculty of Humanities, History
Language: English
Relation: Hellemann, Phemelo (2022): “Umzi ka mama Rhodes University PhD research project,” February 23, 2021, produced by Phemelo Hellemann and Thingo Mthombeni, methodology video, 16:51. Rhodes University. Media. https://doi.org/10.21504/RUR.19635012.v1
Rights: Hellemann, Phemelo Cordelia
Rights: Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)

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