"A dark revolt of being" abjection, sacrifice and the real in performance art, with reference to the works of Peter van Heerden and Steven Cohen
- Authors: Balt, Christine
- Date: 2009
- Subjects: Cohen, Steven, 1962- Van Heerden, Peter Phelan, Peggy Kristeva, Julia Lacan, Jacques Performance art -- South Africa Abject art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2132 , http://hdl.handle.net/10962/d1002364
- Description: This thesis is an exploration of some of the defining characteristics of performance art, and an investigation of how such characteristics relate to ritual. It highlights some key notions, such as that of the “Real” and the live, which are introduced in the first chapter. This chapter explores the theories of Peggy Phelan, Julia Kristeva and Jacques Lacan in its attempts to conceptualize the Real. It assesses how performance art as ritual attempts to revise traditional apparatuses of representation. It argues that, through a transgression of representation, performance art has the potential to challenge and revise established discourses on identity, culture and violence. The second chapter of this study is an attempt to provide a history and subsequent conceptualization of performance art, based on its exposition of the live. I have taken into consideration certain strategies that performance artists employ to evoke the live, referring specifically to the manipulation of the body. It is through abject encounters with the unsymbolizable “Real” that the performance artist reaches the borders of his/her subjective constitution, and performs a transformation of his/her identity that transcends the mechanisms of representation. The third chapter of this study attempts to find the connections that exist between performance art and sacrificial ritual. I will refer specifically to the theories of Rene Girard. Girard‟s notion of the “violent sacred” and its significance within sacrifice as an antidote to community crises will be explored in relation to collective transformation within the performance event. I choose to focus specifically on the role of the performer as surrogate victim/pharmakon, and the spectators/witnesses as part of the community. The fourth chapter explores how two South African performance artists, Steven Cohen (1961) and Peter van Heerden (1973), perform the abject body as the monster. Kristeva‟s notion of the abject will be examined in terms of the transformation of the individual performer as subject within performance art, and how, through the assumption of an “othered,” monstrous identity, the performer becomes the surrogate victim. The fifth chapter will entail an examination of Peter van Heerden‟s 6 Minutes. I will attempt to draw parallels between performance art and ritual through using this performance piece as a case study. I will focus on the strategies that Van Heerden implements to resist theatrical representation. 6 Minutes will be observed in terms of its link to sacrificial ritual, and it presentation of the live, and the Real. In light of these discoveries, I aim to locate performance art within politically-driven modes of art-making, and how such an endeavour relates to South African modes of theatre and performance.
- Full Text:
- Date Issued: 2009
- Authors: Balt, Christine
- Date: 2009
- Subjects: Cohen, Steven, 1962- Van Heerden, Peter Phelan, Peggy Kristeva, Julia Lacan, Jacques Performance art -- South Africa Abject art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2132 , http://hdl.handle.net/10962/d1002364
- Description: This thesis is an exploration of some of the defining characteristics of performance art, and an investigation of how such characteristics relate to ritual. It highlights some key notions, such as that of the “Real” and the live, which are introduced in the first chapter. This chapter explores the theories of Peggy Phelan, Julia Kristeva and Jacques Lacan in its attempts to conceptualize the Real. It assesses how performance art as ritual attempts to revise traditional apparatuses of representation. It argues that, through a transgression of representation, performance art has the potential to challenge and revise established discourses on identity, culture and violence. The second chapter of this study is an attempt to provide a history and subsequent conceptualization of performance art, based on its exposition of the live. I have taken into consideration certain strategies that performance artists employ to evoke the live, referring specifically to the manipulation of the body. It is through abject encounters with the unsymbolizable “Real” that the performance artist reaches the borders of his/her subjective constitution, and performs a transformation of his/her identity that transcends the mechanisms of representation. The third chapter of this study attempts to find the connections that exist between performance art and sacrificial ritual. I will refer specifically to the theories of Rene Girard. Girard‟s notion of the “violent sacred” and its significance within sacrifice as an antidote to community crises will be explored in relation to collective transformation within the performance event. I choose to focus specifically on the role of the performer as surrogate victim/pharmakon, and the spectators/witnesses as part of the community. The fourth chapter explores how two South African performance artists, Steven Cohen (1961) and Peter van Heerden (1973), perform the abject body as the monster. Kristeva‟s notion of the abject will be examined in terms of the transformation of the individual performer as subject within performance art, and how, through the assumption of an “othered,” monstrous identity, the performer becomes the surrogate victim. The fifth chapter will entail an examination of Peter van Heerden‟s 6 Minutes. I will attempt to draw parallels between performance art and ritual through using this performance piece as a case study. I will focus on the strategies that Van Heerden implements to resist theatrical representation. 6 Minutes will be observed in terms of its link to sacrificial ritual, and it presentation of the live, and the Real. In light of these discoveries, I aim to locate performance art within politically-driven modes of art-making, and how such an endeavour relates to South African modes of theatre and performance.
- Full Text:
- Date Issued: 2009
Shifting identities: An exploration of the possibilities for a syncretic Afrikaans theatre by means of three case studies – Hex (2003), Lady Anne (2007), Ekspedisies (2008)
- Authors: Gehring, Heike
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2165 , http://hdl.handle.net/10962/d1021269
- Description: This thesis investigates the possibilities for syncretic Afrikaans language theatre within a post-1994 South African society. The research sets out to explore in what manner theatre can be language-specific, while at the same time being able to cross language contexts. This exploration is driven by the wish to develop strategies for creating Afrikaans theatre that is able to reflect on a society “united in diversity”. In this regard it is argued that for theatre to be able to both retain and cross language barriers, processes of bonding and bridging are necessary. The thesis sets out first to explain why these processes are required and then to suggest ways in which such processes can be implemented in practice. A triangular approach is used, in which conceptual and theoretical frameworks are developed to reflect on actual theatre practices. Three of my own productions are used as case studies, namely Hex (2000; 2003), Lady Anne (2007) and Ekspedisies (2008). These productions can be understood to be “boundary objects” in Henk Borgdorff’s (2012: 177) sense of the word, in that they fulfil a dual function: they are artistic productions that can also be reconstituted to serve a research purpose beyond the productions themselves. All three works were first created for public consumption before becoming cases for this thesis. Many of the strategies that were developed and tested in creating these productions are examples of ways in which bonding and bridging in Afrikaans language theatre can be understood. Chapter One of the thesis contextualises the political currents and events that necessitated the impulse towards “bonding and bridging”. In this case the political and ethical impetus behind the practical explorations has been related predominantly to the democratisation of South African society, in which a paradigm shift happened from viewing the Afrikaans language as one over many to one amongst many. Within a multilingual South Africa, concerns are raised about ways in which to create theatre in South African languages other than English (often understood to be the only possible bridging language) that are able to cross language divides. Following this introduction to language-related concerns, Chapter Two explains how the shift from apartheid to democracy made space for shifts in identity – on personal as well as institutional levels: a progression from essentialised notions of culture to the celebration of plurality. This progression is then related to theatre, with an explanation of how the post-1994 theatre landscape demanded a reimagining of the form and function of theatre. In this re-imagination the notion of a “third space” is important; something that is introduced in this chapter as an alternative to polarised identity constructions. The function of the “third space” as an in-between space and a meeting point for diverse people and entities is a strong underlying theme of this thesis and it serves as a reoccurring touchstone to the ideas put forward. Chapter Three discusses the South African arts festival culture and its contribution to the South African theatre landscape. Particular focus is placed on the Klein Karoo National Arts festival (KKNK) as a platform for the development of the Afrikaans language within a post-1994 context. What is emphasized in particular is the attempt by the KKNK festival to be linguistically and culturally exploratory and inclusive in the face of language protectionism. After the contextual background of the first three chapters, the thesis shifts to an analysis of theories related to “hybridity” and “syncretism”. In Chapter Four the argument is put forward that of the various inclusive performance and theatre models that represent a multicultural society, the most responsive forms are those that are syncretic and hybrid. Principles that can contribute to the unification and merging of diverse and polarized societal groups are described, and suggestions are made for possible ways to bring about bonding and bridging within cultural practices. Having introduced these principles, examples are offered of how these theories might be understood in other disciplines, namely, religious studies, anthropology, history and a range of cultural practices. Following this broad discussion, Chapter Five describes syncretism and hybridity more specifically in theatre by means of relevant examples. Taking the discussion further into the realm of application, Chapter Six offers an overview of “workshop theatre”, “translation” and “collage making” as strategies for putting theories of hybridity and syncretism into practice. This is followed (in Chapters Seven, Eight and Nine) by a discussion of the three productions (Hex, Lady Anne and Ekspedisies) as case studies that demonstrate how these theories can be understood in practice. Practical strategies for bridging language divides are foregrounded, such as code switching as an approach for enabling a “co-habitation” of languages; physical theatre as a means for crossing language divides; and the creation of more than one language version of a production as a tactic to accommodate shifting contexts. Following on from the discoveries made in the foregoing chapters, I conclude that theories and practices related to notions of “third space”, “hybridity” and “syncretism” are ideal for creating theatre forms (in the Afrikaans language in particular) that can truly reflect a South African society which is “united in diversity”. The thesis ends by offering suggestions for ways in which new, future identities, can be developed.
- Full Text:
- Date Issued: 2016
- Authors: Gehring, Heike
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2165 , http://hdl.handle.net/10962/d1021269
- Description: This thesis investigates the possibilities for syncretic Afrikaans language theatre within a post-1994 South African society. The research sets out to explore in what manner theatre can be language-specific, while at the same time being able to cross language contexts. This exploration is driven by the wish to develop strategies for creating Afrikaans theatre that is able to reflect on a society “united in diversity”. In this regard it is argued that for theatre to be able to both retain and cross language barriers, processes of bonding and bridging are necessary. The thesis sets out first to explain why these processes are required and then to suggest ways in which such processes can be implemented in practice. A triangular approach is used, in which conceptual and theoretical frameworks are developed to reflect on actual theatre practices. Three of my own productions are used as case studies, namely Hex (2000; 2003), Lady Anne (2007) and Ekspedisies (2008). These productions can be understood to be “boundary objects” in Henk Borgdorff’s (2012: 177) sense of the word, in that they fulfil a dual function: they are artistic productions that can also be reconstituted to serve a research purpose beyond the productions themselves. All three works were first created for public consumption before becoming cases for this thesis. Many of the strategies that were developed and tested in creating these productions are examples of ways in which bonding and bridging in Afrikaans language theatre can be understood. Chapter One of the thesis contextualises the political currents and events that necessitated the impulse towards “bonding and bridging”. In this case the political and ethical impetus behind the practical explorations has been related predominantly to the democratisation of South African society, in which a paradigm shift happened from viewing the Afrikaans language as one over many to one amongst many. Within a multilingual South Africa, concerns are raised about ways in which to create theatre in South African languages other than English (often understood to be the only possible bridging language) that are able to cross language divides. Following this introduction to language-related concerns, Chapter Two explains how the shift from apartheid to democracy made space for shifts in identity – on personal as well as institutional levels: a progression from essentialised notions of culture to the celebration of plurality. This progression is then related to theatre, with an explanation of how the post-1994 theatre landscape demanded a reimagining of the form and function of theatre. In this re-imagination the notion of a “third space” is important; something that is introduced in this chapter as an alternative to polarised identity constructions. The function of the “third space” as an in-between space and a meeting point for diverse people and entities is a strong underlying theme of this thesis and it serves as a reoccurring touchstone to the ideas put forward. Chapter Three discusses the South African arts festival culture and its contribution to the South African theatre landscape. Particular focus is placed on the Klein Karoo National Arts festival (KKNK) as a platform for the development of the Afrikaans language within a post-1994 context. What is emphasized in particular is the attempt by the KKNK festival to be linguistically and culturally exploratory and inclusive in the face of language protectionism. After the contextual background of the first three chapters, the thesis shifts to an analysis of theories related to “hybridity” and “syncretism”. In Chapter Four the argument is put forward that of the various inclusive performance and theatre models that represent a multicultural society, the most responsive forms are those that are syncretic and hybrid. Principles that can contribute to the unification and merging of diverse and polarized societal groups are described, and suggestions are made for possible ways to bring about bonding and bridging within cultural practices. Having introduced these principles, examples are offered of how these theories might be understood in other disciplines, namely, religious studies, anthropology, history and a range of cultural practices. Following this broad discussion, Chapter Five describes syncretism and hybridity more specifically in theatre by means of relevant examples. Taking the discussion further into the realm of application, Chapter Six offers an overview of “workshop theatre”, “translation” and “collage making” as strategies for putting theories of hybridity and syncretism into practice. This is followed (in Chapters Seven, Eight and Nine) by a discussion of the three productions (Hex, Lady Anne and Ekspedisies) as case studies that demonstrate how these theories can be understood in practice. Practical strategies for bridging language divides are foregrounded, such as code switching as an approach for enabling a “co-habitation” of languages; physical theatre as a means for crossing language divides; and the creation of more than one language version of a production as a tactic to accommodate shifting contexts. Following on from the discoveries made in the foregoing chapters, I conclude that theories and practices related to notions of “third space”, “hybridity” and “syncretism” are ideal for creating theatre forms (in the Afrikaans language in particular) that can truly reflect a South African society which is “united in diversity”. The thesis ends by offering suggestions for ways in which new, future identities, can be developed.
- Full Text:
- Date Issued: 2016
The beat
- Authors: Masheane, Napo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6014 , http://hdl.handle.net/10962/d1021234
- Description: My play script is a docu-drama inspired by the 1950s Drum journalists: Can Themba, Bloke Modisane, Nat Nakasa, Henry Nxumalo, Lewis Nkosi, Peter Magubane, Casey Motsitsi and Todd Matshikiza. The setting is a Sophiatown shebeen through which the characters move in and out. The central dramatic exploration hinges on female characters’ experiences rather than the perspectives of the male journalists connected to them. I dramatise documented events such as Modisane’s wife leaving him and taking their daughter with her, or a woman who buried her lover’s body after he was beaten and stabbed to death. There are other twists and turns based on the Drum journalists writings. I play with the seriousness of politics, love affairs, and the comedy of their daily lives. My influences come from plays such as Nongogo (1959) and Sophiatown (1986). The Beat is dedicated to all the women who have been silenced and as a result became products of their consequences. Their voices remind me as a theatre maker that my poems and plays might arrive in me as pure SONGS (Dipina) or a CRY (Kodiyamalla). Sometimes their inspiration will spring from my traditional family rituals, as a PRAISE song/s (Dithoko/ Thoko), or from a simple memory of a childhood church song, a HYMN (Difela/ Sefela). At times these words will present themselves as a source of where one comes from, CLAN NAMES (Seboko/ Poko). These stories will find me in the dusty streets of my village and township HERSTORY… they will touch, move, provoke, push and force me to vomit on page words that are subjects of that which we are even when silence seems inevitable. , My poetry collection fuses Sesotho and English, often within the same poem, as a way of showing how I live within and between two cultures. I write to celebrate these two tongues without compromising either language and allow each poem, to express its own musical component, tone, rhythm, and pace as it moves between stage and page. My poems converse about difficult subjects from a feminine voice. They look at family structures and dynamics, using everyday household things as metaphors. They take on deep family narratives of generational curses, births, deaths and love. There are also some more political poems about community outrage, the exploitation caused by outmoded culture and tradition, and about the nightmare that constantly wants to come out of the township.
- Full Text:
- Date Issued: 2016
- Authors: Masheane, Napo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6014 , http://hdl.handle.net/10962/d1021234
- Description: My play script is a docu-drama inspired by the 1950s Drum journalists: Can Themba, Bloke Modisane, Nat Nakasa, Henry Nxumalo, Lewis Nkosi, Peter Magubane, Casey Motsitsi and Todd Matshikiza. The setting is a Sophiatown shebeen through which the characters move in and out. The central dramatic exploration hinges on female characters’ experiences rather than the perspectives of the male journalists connected to them. I dramatise documented events such as Modisane’s wife leaving him and taking their daughter with her, or a woman who buried her lover’s body after he was beaten and stabbed to death. There are other twists and turns based on the Drum journalists writings. I play with the seriousness of politics, love affairs, and the comedy of their daily lives. My influences come from plays such as Nongogo (1959) and Sophiatown (1986). The Beat is dedicated to all the women who have been silenced and as a result became products of their consequences. Their voices remind me as a theatre maker that my poems and plays might arrive in me as pure SONGS (Dipina) or a CRY (Kodiyamalla). Sometimes their inspiration will spring from my traditional family rituals, as a PRAISE song/s (Dithoko/ Thoko), or from a simple memory of a childhood church song, a HYMN (Difela/ Sefela). At times these words will present themselves as a source of where one comes from, CLAN NAMES (Seboko/ Poko). These stories will find me in the dusty streets of my village and township HERSTORY… they will touch, move, provoke, push and force me to vomit on page words that are subjects of that which we are even when silence seems inevitable. , My poetry collection fuses Sesotho and English, often within the same poem, as a way of showing how I live within and between two cultures. I write to celebrate these two tongues without compromising either language and allow each poem, to express its own musical component, tone, rhythm, and pace as it moves between stage and page. My poems converse about difficult subjects from a feminine voice. They look at family structures and dynamics, using everyday household things as metaphors. They take on deep family narratives of generational curses, births, deaths and love. There are also some more political poems about community outrage, the exploitation caused by outmoded culture and tradition, and about the nightmare that constantly wants to come out of the township.
- Full Text:
- Date Issued: 2016
Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009
- Reeve, Zoë Rose Louise Patricia
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
- Date Issued: 2011
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
- Date Issued: 2011
Challenging desire : performing whiteness in post-apartheid South Africa
- Authors: Smit, Sonja
- Date: 2014
- Subjects: Performance art -- South Africa , Bailey, Brett, 1967- , Cohen, Steven, 1962- , Antwoord (Musical group) , MacGarry, Michael , Eurocentrism -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2164 , http://hdl.handle.net/10962/d1016358
- Description: The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity. Part Four focuses on my own performance practice and the proposed value of engaging with a form of practice-led research. This is particularly relevant in relation to critical race studies that require a level of self-reflexivity from the researcher. It presents an analysis of the work entitled Villain (2012) as a disturbance of theatrical desire through a process of ‘becoming’. This notion of meaning and identity as ‘becoming’ is argued as a strategy to challenge prevailing modes of perception which can possibly restore the production of desire to the viewer. The thesis concludes with the notion that performance can offer a mode of immanent ethics which is significant in creating both vulnerable and critical forms of whiteness.
- Full Text:
- Date Issued: 2014
- Authors: Smit, Sonja
- Date: 2014
- Subjects: Performance art -- South Africa , Bailey, Brett, 1967- , Cohen, Steven, 1962- , Antwoord (Musical group) , MacGarry, Michael , Eurocentrism -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2164 , http://hdl.handle.net/10962/d1016358
- Description: The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity. Part Four focuses on my own performance practice and the proposed value of engaging with a form of practice-led research. This is particularly relevant in relation to critical race studies that require a level of self-reflexivity from the researcher. It presents an analysis of the work entitled Villain (2012) as a disturbance of theatrical desire through a process of ‘becoming’. This notion of meaning and identity as ‘becoming’ is argued as a strategy to challenge prevailing modes of perception which can possibly restore the production of desire to the viewer. The thesis concludes with the notion that performance can offer a mode of immanent ethics which is significant in creating both vulnerable and critical forms of whiteness.
- Full Text:
- Date Issued: 2014
Stripe & dusk: a weekend odyssey
- Authors: Whitehorn, Daniel J
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6018 , http://hdl.handle.net/10962/d1021242
- Description: I love to take in and create playful fantasy, tales set in wild and fantastic worlds peopled by wild and fantastic characters - dragons and dinosaurs, knights and robots, stars and penguins. My novella is the story of a quest set in a colourful and wondrous fantasy universe. Along the journey's tumultuous trajectory fantasy tropes and protocols are encountered, subverted, teased at, appropriated, and renovated, in order to create something both original and familiar all at once. I am happy to acknowledge and salute the influences of Terry Pratchett, Douglas Adams, Walter Moers and Manuela Draeger.
- Full Text:
- Date Issued: 2016
- Authors: Whitehorn, Daniel J
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6018 , http://hdl.handle.net/10962/d1021242
- Description: I love to take in and create playful fantasy, tales set in wild and fantastic worlds peopled by wild and fantastic characters - dragons and dinosaurs, knights and robots, stars and penguins. My novella is the story of a quest set in a colourful and wondrous fantasy universe. Along the journey's tumultuous trajectory fantasy tropes and protocols are encountered, subverted, teased at, appropriated, and renovated, in order to create something both original and familiar all at once. I am happy to acknowledge and salute the influences of Terry Pratchett, Douglas Adams, Walter Moers and Manuela Draeger.
- Full Text:
- Date Issued: 2016
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