Drawing on principles of Dance Movement Therapy practice in a South African water research context
- Authors: Copteros, Athina
- Date: 2017
- Subjects: Water-supply -- Management -- South Africa , Dance therapy , Movement therapy , Dance therapy -- South Africa , Movement therapy -- South Africa , Interdisciplinary research , Interdisciplinary approach to knowledge , Environmental education , Environmental education -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/50759 , vital:26024
- Description: Research that draws on principles of Dance Movement Therapy in a South African water research context has not been done before. In order to initiate this exploration, culturally relevant themes from professional training in the United Kingdom were identified that could be developed in the context of trans-disciplinary water resource management research in South Africa. Hermeneutic phenomenology provided the methodological framing for this study. Interpretative Phenomenological Analysis was used to discover culturally relevant themes based on the recorded perceptions of the phenomenon of the training while it was taking place. The themes of: ‘awareness of power and difference'; ‘therapeutic adaptability'; ‘safety and ownership' and ‘connecting with the environment' emerged as overriding themes. Influences from Artistic Inquiry informed the inclusion of a creative embodied response to the themes that emerged. These themes then informed the application of some relevant principles of Dance Movement Therapy practice within a trans-disciplinary complex social-ecological systems researcher group. Eight members of the group participated in the study. They represented a range of academic research roles, genders and backgrounds. They reflected on their experience of an introductory session and five Dance Movement Therapy based sessions in semi-structured interviews. Using Interpretative Phenomenological Analysis, four themes were identified that capture the quality of the participants' shared experience of the phenomenon: ‘community engagement'; ‘embodiment'; ‘individual and group identity' and ‘integration'. Based on the integration of themes, it is concluded that principles of Dance Movement Therapy have a contribution to make. Core tenets of Dance Movement Therapy such as: inclusion of body and emotion; healing from trauma through embodiment; group processes held with safety and acceptance; and a deep level of connection to self, each other and the wider ecology, address some of the basic challenges of trans-disciplinary complex social ecological systems research practice. Through researchers experiencing principles of DMT practice for themselves and reflecting on their experience, it is possible that their embodied knowledge and reflections will influence and inform their engagement with communities in the future.
- Full Text:
- Date Issued: 2017
- Authors: Copteros, Athina
- Date: 2017
- Subjects: Water-supply -- Management -- South Africa , Dance therapy , Movement therapy , Dance therapy -- South Africa , Movement therapy -- South Africa , Interdisciplinary research , Interdisciplinary approach to knowledge , Environmental education , Environmental education -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/50759 , vital:26024
- Description: Research that draws on principles of Dance Movement Therapy in a South African water research context has not been done before. In order to initiate this exploration, culturally relevant themes from professional training in the United Kingdom were identified that could be developed in the context of trans-disciplinary water resource management research in South Africa. Hermeneutic phenomenology provided the methodological framing for this study. Interpretative Phenomenological Analysis was used to discover culturally relevant themes based on the recorded perceptions of the phenomenon of the training while it was taking place. The themes of: ‘awareness of power and difference'; ‘therapeutic adaptability'; ‘safety and ownership' and ‘connecting with the environment' emerged as overriding themes. Influences from Artistic Inquiry informed the inclusion of a creative embodied response to the themes that emerged. These themes then informed the application of some relevant principles of Dance Movement Therapy practice within a trans-disciplinary complex social-ecological systems researcher group. Eight members of the group participated in the study. They represented a range of academic research roles, genders and backgrounds. They reflected on their experience of an introductory session and five Dance Movement Therapy based sessions in semi-structured interviews. Using Interpretative Phenomenological Analysis, four themes were identified that capture the quality of the participants' shared experience of the phenomenon: ‘community engagement'; ‘embodiment'; ‘individual and group identity' and ‘integration'. Based on the integration of themes, it is concluded that principles of Dance Movement Therapy have a contribution to make. Core tenets of Dance Movement Therapy such as: inclusion of body and emotion; healing from trauma through embodiment; group processes held with safety and acceptance; and a deep level of connection to self, each other and the wider ecology, address some of the basic challenges of trans-disciplinary complex social ecological systems research practice. Through researchers experiencing principles of DMT practice for themselves and reflecting on their experience, it is possible that their embodied knowledge and reflections will influence and inform their engagement with communities in the future.
- Full Text:
- Date Issued: 2017
Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
An exploration of James Dreier’s Standard Tune Learning Sequence in a self-directed learning environment : an interpretative phenomenological analysis
- Authors: Ellis, Stephen James
- Date: 2014
- Subjects: Dreier, James Drum -- Performance -- Studies and exercises Drum -- Methods -- Self-instruction Drum -- Instruction and study Drummers (Musicians)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2680 , http://hdl.handle.net/10962/d1011312
- Description: This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These learning journals were used, in conjunction with transcribed interviews and learner profiles, as data for this study and as such were subjected to Interpretative Phenomenological Analysis. The study recognizes three factors which affect the student’s successful progression through the STLS: readiness, interest and meaning. Each factor is discussed in relation to literature on differentiated Instruction. Recommendations are made regarding the implementation of Differentiated Instruction to the STLS.
- Full Text:
- Date Issued: 2014
- Authors: Ellis, Stephen James
- Date: 2014
- Subjects: Dreier, James Drum -- Performance -- Studies and exercises Drum -- Methods -- Self-instruction Drum -- Instruction and study Drummers (Musicians)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2680 , http://hdl.handle.net/10962/d1011312
- Description: This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These learning journals were used, in conjunction with transcribed interviews and learner profiles, as data for this study and as such were subjected to Interpretative Phenomenological Analysis. The study recognizes three factors which affect the student’s successful progression through the STLS: readiness, interest and meaning. Each factor is discussed in relation to literature on differentiated Instruction. Recommendations are made regarding the implementation of Differentiated Instruction to the STLS.
- Full Text:
- Date Issued: 2014
“The Two Cultures reunited: entomology for everyone”
- Authors: Villet, Martin H
- Date: 2009
- Language: English
- Type: Audio , text
- Identifier: vital:587 , http://hdl.handle.net/10962/d1018947
- Description: Fifty years ago C.P. Snow delivered his essay, "The Two Cultures", sparking the schism between the Humanities and the Sciences. This lecture explores cultural entomology as a means of reconciling two other cultures: academia and society, and suggests one way of addressing this alienating dilemma.
- Full Text:
- Date Issued: 2009
- Authors: Villet, Martin H
- Date: 2009
- Language: English
- Type: Audio , text
- Identifier: vital:587 , http://hdl.handle.net/10962/d1018947
- Description: Fifty years ago C.P. Snow delivered his essay, "The Two Cultures", sparking the schism between the Humanities and the Sciences. This lecture explores cultural entomology as a means of reconciling two other cultures: academia and society, and suggests one way of addressing this alienating dilemma.
- Full Text:
- Date Issued: 2009
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
Empathy in the time of ecological apartheid : a social sculpture practice-led inquiry into developing pedagogies for ecological citizenship
- Authors: McGarry, Dylan Kenneth
- Date: 2014
- Subjects: Education -- Philosophy , Social learning , Environmental education , Arts in education
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1985 , http://hdl.handle.net/10962/d1013154
- Description: Considering the ecological crisis and the increased disconnection between human beings and nature, this study attempts to find the social and aesthetic educational response needed for developing ecological citizenship for the 21st century. In this transdisciplinary study I articulate what at first seems a clumsy attempt to enable the capacities of the embodied ecological citizen, and which later emerges as an alchemical ‘social sculpture’ approach to learning that expands the range of capacities available to the citizen and the citizen’s immediate community. This learning bridges the gap between purely biocentric and technocentric forms of education, and addresses the ambiguity of concepts and forms of action such as ‘sustainability’. My primary focus is enabling both communal and personal forms of agency: new ways of 'doing’ and 'being' in the world as it changes radically. I argue that this demands constantly reflecting on and engaging without understanding, place and perception of the problems we see. Attending to a call for the importance of complex learning processes, that deepens our understanding of sustainability, and the need for methodological and pedagogical approaches to accessible forms of learning socially in the era of climate change and environmental degradation, this study offers a particular insight into the education of an ecological citizen. In particular I examine a form of learning that enables individuals to explore relationships between themselves and their ecologies (both physical and social), and that encourages personal forms of knowing so that each person’s values can be cultivated within the experience and intuitive expression from both inner and outer realities. Central to my research focus is addressing the difficulties inherent in ‘ecological apartheid’, which is defined as a growing separation of relationships that include the human being’s relationship with the natural world, as well as disconnections experienced within one’s own inner and outer capacities. Subsequently I investigate forms of learning that encourage agency that most appropriately enable citizens to respond personally to both inner and outer forms of disconnection. ‘Personal’ and ‘relational agency’ are defined and investigated through an initial twelve-month collaborative participatory contextual profiling exploratory research period in South Africa (phase A), where I explore various forms of multiple-genre creative social learning practice that develop an accessible set of methodologies and pedagogies for the ecological citizen. Through this exploratory research, I place significance in the relatively unknown field of social sculpture, which I investigate through a self-made apprenticeship with Shelley Sacks, an expert in the field. This is documented through a rigorous ethnographic inquiry over a period of 18 months. Following this I undertake another two-year collaborative, practice-based research study across South Africa (phase B: 17 towns, with a total of 350 citizens) and eventually abroad (United Kingdom, Germany, USA and Belgium).The focus of this study was the implementation of a collaboratively developed citizen learning practice entitled Earth Forum developed by Shelley Sacks as a progression from her work “Exchange Values: voices of insivible lives” and my collaboative exploration into Earth Forum and its further development draws heavily from social sculpture methods obtained during the apprenticeship, and applied in 36 different incidences. I further explore the efficacy of this practice in enabling and expanding the capacities of participants, particularly those that encourage the development of personal and relational agency. This was achieved through a pedagogical development and expansion period (phase C). A primary finding through the iterative phase (phase D) was the value of imaginal contemplation, attentive listening, and empathy as capacities that enable an ecological citizen’s overall capability. I ascribed this to Nussbaum and Sen’s (1993) capability theory and the need to enable the articulation and implementation of a citizen’s valued ‘beings and doings’. Through this iterative phase, specific attention is given to listening and intuitive capacities in enabling personal and relational agency, and specifically I observed the fundamental role of imagination in this form of learning. Particularly valuable for the educational contribution of this study is the pedagogical development of the Earth Forum practice that enables an accessible, socially constructed form of learning. This contributes specifically to exploring ‘how’ social learning is undertaken, and I argue that an aesthetic approach to learning is vital for the education of the ecological citizen. I carefully describe how one can conduct collaborative practice-based research that utilises creative connective practice in agency development. This collaborative approach, with regard to learning socially and capacity development for ecological citizenship (that focuses its attention on addressing ecological apartheid and separateness), is articulated through a multiple-genred text. I found that empathetic capacity in ecological citizen education is relatively unexplored, and within listening and as well in empathy theory, that the role of imagination in listening and empathy development, requires greater attention. I attempt to reveal how connective practice considers aesthetic form and shape in expanding capacities of human beings, and introduce novel expanded forms of developing pedagogies that encourage personal and relational agency in the context of ecological apartheid from the artsbased field of social sculpture. Finally, I aim in this study to share the potential value found in social sculpture theory and practice into the field of environmental education and social learning through a reflection on the current context of education and social learning, and its potential enrichment via social sculpture processes.
- Full Text:
- Date Issued: 2014
- Authors: McGarry, Dylan Kenneth
- Date: 2014
- Subjects: Education -- Philosophy , Social learning , Environmental education , Arts in education
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:1985 , http://hdl.handle.net/10962/d1013154
- Description: Considering the ecological crisis and the increased disconnection between human beings and nature, this study attempts to find the social and aesthetic educational response needed for developing ecological citizenship for the 21st century. In this transdisciplinary study I articulate what at first seems a clumsy attempt to enable the capacities of the embodied ecological citizen, and which later emerges as an alchemical ‘social sculpture’ approach to learning that expands the range of capacities available to the citizen and the citizen’s immediate community. This learning bridges the gap between purely biocentric and technocentric forms of education, and addresses the ambiguity of concepts and forms of action such as ‘sustainability’. My primary focus is enabling both communal and personal forms of agency: new ways of 'doing’ and 'being' in the world as it changes radically. I argue that this demands constantly reflecting on and engaging without understanding, place and perception of the problems we see. Attending to a call for the importance of complex learning processes, that deepens our understanding of sustainability, and the need for methodological and pedagogical approaches to accessible forms of learning socially in the era of climate change and environmental degradation, this study offers a particular insight into the education of an ecological citizen. In particular I examine a form of learning that enables individuals to explore relationships between themselves and their ecologies (both physical and social), and that encourages personal forms of knowing so that each person’s values can be cultivated within the experience and intuitive expression from both inner and outer realities. Central to my research focus is addressing the difficulties inherent in ‘ecological apartheid’, which is defined as a growing separation of relationships that include the human being’s relationship with the natural world, as well as disconnections experienced within one’s own inner and outer capacities. Subsequently I investigate forms of learning that encourage agency that most appropriately enable citizens to respond personally to both inner and outer forms of disconnection. ‘Personal’ and ‘relational agency’ are defined and investigated through an initial twelve-month collaborative participatory contextual profiling exploratory research period in South Africa (phase A), where I explore various forms of multiple-genre creative social learning practice that develop an accessible set of methodologies and pedagogies for the ecological citizen. Through this exploratory research, I place significance in the relatively unknown field of social sculpture, which I investigate through a self-made apprenticeship with Shelley Sacks, an expert in the field. This is documented through a rigorous ethnographic inquiry over a period of 18 months. Following this I undertake another two-year collaborative, practice-based research study across South Africa (phase B: 17 towns, with a total of 350 citizens) and eventually abroad (United Kingdom, Germany, USA and Belgium).The focus of this study was the implementation of a collaboratively developed citizen learning practice entitled Earth Forum developed by Shelley Sacks as a progression from her work “Exchange Values: voices of insivible lives” and my collaboative exploration into Earth Forum and its further development draws heavily from social sculpture methods obtained during the apprenticeship, and applied in 36 different incidences. I further explore the efficacy of this practice in enabling and expanding the capacities of participants, particularly those that encourage the development of personal and relational agency. This was achieved through a pedagogical development and expansion period (phase C). A primary finding through the iterative phase (phase D) was the value of imaginal contemplation, attentive listening, and empathy as capacities that enable an ecological citizen’s overall capability. I ascribed this to Nussbaum and Sen’s (1993) capability theory and the need to enable the articulation and implementation of a citizen’s valued ‘beings and doings’. Through this iterative phase, specific attention is given to listening and intuitive capacities in enabling personal and relational agency, and specifically I observed the fundamental role of imagination in this form of learning. Particularly valuable for the educational contribution of this study is the pedagogical development of the Earth Forum practice that enables an accessible, socially constructed form of learning. This contributes specifically to exploring ‘how’ social learning is undertaken, and I argue that an aesthetic approach to learning is vital for the education of the ecological citizen. I carefully describe how one can conduct collaborative practice-based research that utilises creative connective practice in agency development. This collaborative approach, with regard to learning socially and capacity development for ecological citizenship (that focuses its attention on addressing ecological apartheid and separateness), is articulated through a multiple-genred text. I found that empathetic capacity in ecological citizen education is relatively unexplored, and within listening and as well in empathy theory, that the role of imagination in listening and empathy development, requires greater attention. I attempt to reveal how connective practice considers aesthetic form and shape in expanding capacities of human beings, and introduce novel expanded forms of developing pedagogies that encourage personal and relational agency in the context of ecological apartheid from the artsbased field of social sculpture. Finally, I aim in this study to share the potential value found in social sculpture theory and practice into the field of environmental education and social learning through a reflection on the current context of education and social learning, and its potential enrichment via social sculpture processes.
- Full Text:
- Date Issued: 2014
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