Academic literature on the topic 'Choreography – South Africa'
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Journal articles on the topic "Choreography – South Africa"
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Katrak, Ketu H. "Jay Pather Reimagining Site-Specific Cartographies of Belonging." Dance Research Journal 50, no. 2 (August 2018): 31–44. http://dx.doi.org/10.1017/s0149767718000219.
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This essay examines Jay Pather's site-specific workCityscapes(2002) within a theoretical discussion of the conjuncture and disjuncture of space and race in South Africa. Jay Pather, a South African of Indian ancestry, an innovative choreographer and curator of site-specific works, creatively uses space to inspire social change by providing access and challenging exclusions—social, cultural, political—of black and colored South Africans during apartheid (1948–1994) and after. A progressive vision underlies his avant-garde work expressed via a hybrid choreographic palette of South African classical and popular dance styles, Indian classical dance, modern and contemporary dance. His choreography is performed across South Africa and the African continent as well as in Denmark, Mumbai, and New York City.
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Samuel, Gerard M. "Shampoo Dancing and Scars–(Dis)Embodiment in Afro-Contemporary Choreography in South Africa." Congress on Research in Dance Conference Proceedings 2011 (2011): 40–47. http://dx.doi.org/10.1017/s0149767711000283.
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It could be argued that in no other colonised country were dancing bodies more destructively subjected to disempowerment and disembodied (Merleau-Ponty) than in Apartheid South Africa. This paper will review Mamela Nyamza, Celeste Botha, and Megan Erasmus's works to comment on choreographic choices that subvert power in South Africa. What is imposed in a transformation and libertory environment and by whom? The politics of movement discussion by Sylvia Glasser's (1991) “Is Dance a Political Movement?” will be extended, and Sherry Shapiro's (2009) writings appropriated to illustrate how hair sustains a normative position for the multiple users and recipients of contemporary dance. Can the scars of Apartheid be healed through Afro-contemporary dance choreography over time?
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Castelyn, Sarahleigh. "“Mama Africa”: HIV/AIDS and national identity in South African choreography." South African Theatre Journal 22, no. 1 (January 2008): 62–83. http://dx.doi.org/10.1080/10137548.2008.9687884.
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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.
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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
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Heuser, Andreas. "Memory Tales: Representations of Shembe in the Cultural Discourse of African Renaissance." Journal of Religion in Africa 35, no. 3 (2005): 362–87. http://dx.doi.org/10.1163/1570066054782315.
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AbstractThe discourse on African Renaissance in South Africa shapes the current stage of a post-apartheid political culture of memory. One of the frameworks of this negotiation of the past is the representation of religion. In particular, religious traditions that formerly occupied a marginalised status in Africanist circles are assimilated into a choreography of memory to complement an archive of liberation struggle. With respect to one of the most influential African Instituted Churches in South Africa, the Nazareth Baptist Church founded by Isaiah Shembe, this article traces an array of memory productions that range from adaptive and mimetic strategies to contrasting textures of church history. Supported by a spatial map of memory, these alternative religious traditions are manifested inside as well as outside the church. Against a hegemonic Afrocentrist vision, they are assembled from fragments of an intercultural milieu of early Nazareth Baptist Church history.
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Tommi, Himberg, and Thompson Marc R. "Learning and Synchronising Dance Movements in South African Songs – Cross-cultural Motion-capture Study." Dance Research 29, supplement (November 2011): 305–28. http://dx.doi.org/10.3366/drs.2011.0022.
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Music and dance are human universals. Understanding the communicative nature and the interpersonal dynamics of making music and dancing has a wide area of applications from academic to artistic, educational and therapeutic uses. Cross-cultural and embodied cognitive approaches are important, as they ensure a view across a spectrum of cultural practices and allow us to explore which aspects of cognitive performance are learned and how. In this study, our aims were to use a case study to investigate possible cross-cultural differences in movement, especially corporeal representation of beat and metre; to study group entrainment and factors contributing to synchronisation accuracy. From earlier studies in various fields of behavioural and brain imaging research (perception and attention, music performance, action observation network in the brain etc.) we expected that experts would be more coherent and better entrained, or mutually synchronised to each other, but we were interested in the temporal dynamics of entrainment in a group and the details of these differences. In our study, a choir from South Africa and a group of Finnish choir singers were brought together for a two-day workshop. Songs with choreographed dance movements from various cultures in southern Africa (e.g. Zulu, Sotho and Xhosa) were taught to Finnish participants, and a simple dance choreography was made for a Finnish song that was taught by the Finnish participants. Video, audio and movement data were recorded over a number of performances and practice sessions. Several participants were interviewed informally during the course of the workshop. In this study we analyse two recordings of performances, one of the African and the Finnish song-and-dance. As expected, the analysis showed differences in embodiment of rhythm and synchronisation between the novices and experts. The novices were very focused on footsteps and their whole body was entrained to just the beat-level of the metrical hierarchy. The experts, however, demonstrated entrainment to multiple metrical levels, with different parts of their bodies. Analysis of the temporal dynamics of the interpersonal relationships within each group revealed a process of continuous, mutual adaptation to achieve accurate entrainment. Investigation of group entrainment and individual deviations from the mean phase revealed roles of leaders and followers and illustrated differences in beat-by-beat synchrony and coordination of larger structures, including bars, phrases and the whole song. The findings demonstrate how making music and dancing in a group is an enlightening example of joint action and that dynamics of interpersonal coordination can be studied in a relatively naturalistic setting. Mimicry, mirroring, shared intentions and intersubjectivity, with all their emotional consequences can be experienced, observed and to some degree manipulated and studied in these settings. Our rich data set of natural musical behaviour are intended to help to direct the stricter, experimental research designs on this matter, as well as inform especially multi-cultural educationalists about learning patterns of rhythmic dance movements.
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Coates, Oliver. "Between Image and Erasure." Radical History Review 2018, no. 132 (October 1, 2018): 200–207. http://dx.doi.org/10.1215/01636545-6942513.
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Abstract Approximately 73,290 West Africans traveled to South Asia during World War II, but relatively little is known about their activities on the subcontinent. The photographs of African soldiers in India published in the British Army’s RWAFF News, a Bombay-printed newspaper specifically designed for West African troops overseas, provide a rare and little-known insight into the lives of African soldiers in India. Existing accounts of African military service in India often outline the soldiers’ experience of India in only very general terms and typically privilege the combat experience of troops in Burma. The images described in this brief article reveal a very different face of African overseas military service: they depict a group of soldiers visiting the Taj Mahal and encountering the Mughal monument. Although published and choreographed by the British, these images reflect a moment of South-South encounter between West Africans and India’s Islamic history.
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LEASE, BRYCE. "Intersections of Queer in Post-apartheid Cape Town." Theatre Research International 40, no. 1 (February 6, 2015): 70–74. http://dx.doi.org/10.1017/s0307883314000571.
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In 2013, Siona O'Connell, Nadia Davids and I were awarded an Arts and Humanities Research Council (UK) grant to support our Sequins, Self & Struggle: Performing and Archiving Sex, Place and Class in Pageant Competitions in Cape Town project, the aims of which are to research, document and disseminate archives of the Spring Queen and Miss Gay Western Cape (MGWC) pageants performed by disparate coloured communities in the Western Cape. Important to these performance events is the figure of the ‘moffie’, a queer male, often a transsexual, who has traditionally choreographed and designed the Spring Queen pageant, but who is forbidden from competing in it. Alternatively, MGWC is a platform for queers of colour to perform in a secure environment without exploitation. My individual work in this collaboration focuses on the MGWC pageant and the attendant methodological questions that have arisen in our attempt to forge bridges between Western queer theory and local articulations of gender identity and alternative sexualities, considering the current preoccupations in scholarship around (South) Africa that cut across geography, politics, economics and history. I will briefly outline the research questions that have arisen from my particular focus on the project aims: the relationship between post-apartheid South African national identity and gay rights, new postcolonial directions in queer theory and the sexual geographies of Cape Town that are bounded by race and economic privilege.
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Loots, Lliane. "TRANSMISSION: a South African choreographer uses language to reflect on the gendered 'embodiment' of writing with and on the body." Southern African Linguistics and Applied Language Studies 24, no. 4 (November 2006): 449–60. http://dx.doi.org/10.2989/16073610609486433.
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Loots, Lliane. "Embodied storytelling: using narrative as a vehicle for collaborative choreographic practice – a case study of FLATFOOT DANCE COMPANY’s 2016 HOMELAND TRILOGY (South Africa and Senegal)." South African Theatre Journal 31, no. 1 (January 2, 2018): 58–71. http://dx.doi.org/10.1080/10137548.2017.1408422.
Full textDissertations / Theses on the topic "Choreography – South Africa"
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Parker, Alan Charles. "Corporeal tales : an investigation into narrative form in contemporary South African dance and choreography." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1007658.
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In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.
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Elliott, Nicola. "Humour's critical capacity in the context of South African dance, with two related analyses." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002369.
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This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.
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Finestone, Juanita. "The politics and poetics of choreography the dancing body in South African dance." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002370.
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This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
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Snyman, Johannes Hendrik Bailey. "Stepping into history : biography as approaches to contemporary South African choreography with specific reference to Bessie's Head (2000) and Miss Thandi (2002)." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004678.
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This mini-thesis is located in historical discursive practices, choreographing history, biography as a source for making dance in South Africa and choreographic transformations in South African choreography since the 1994 democratic elections. Derridian concepts of deconstruction will be referenced in an attempt to focus the argument of this research, which comments on choreographic transformations since 1994, by subverting the influence of the 'violent hierarchies' enforced by the apartheid regime on South African cultural life and choreographic identity. The researcher draws on these considerations in order to explore the hybrid nature of South African choreography that has emerged since 1994. Chapter one examines the fallacious nature of historical discourse through a consideration and application of Derrida's notions of deconstruction and fabrication. Chapter two explores the notion of choreographing history in theatre through a focus on the objective/subjective fallacy and the history of the body as a textual medium. Chapter three focuses the study specifically in biography as a discourse within the idea of theatre. This approach to biography can be encapsulated by the phrase 'telling lives'. This chapter also explores the relationship between the traditional binaries of writing as a purely cerebral act and choreography as a purely visceral experience. Chapter four brings the focus to the specific post-apartheid South African context. This chapter considers the hybrid forms of dance emerging in South Africa as well as the notion of protest in relation to theatre and dance. The final chapter is an investigation and analysis of two choreographic works created by South African choreographers since 1994 in relation to biography and concepts of deconstruction. These works are Gary Gordon's Bessie's Head (2000) and Gregory Maqoma's Miss Thandi (2002). The focus of the analysis also reveals the inherent difficulty in objective interpretation, and considers the problematics of collaboration and autobiography when choreographing within a biographical context.
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Prentice, John. "Difficulties in the choreography of training clinical psychology." Diss., 2001. http://hdl.handle.net/10500/591.
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The hypothesis derived from four case studies proposes that if at a philosophical level the training is choreographed at confusing levels of philosophical punctuations, and the training programme involves an ongoing commentary on the 'self' of the trainee, and this
ongoing commentary interrupts or interferes with the process in which the 'self' comes to be defined, then on an experiential level the training context is unstable for experiential exploration, and the trainee experiences psychological discomfort. A further five case studies are investigated using focused interviews and content analysis to verify the hypothesis. The author-text-reader metaphor serves to describe the trainer-training-trainee relationship. This reveals that the trainee experiences psychological discomfort, often perceived as psychological damage, when the training text is incoherent and
therefore unreadable. In each instance where the training text was found incoherent the trainer was identified as the author, and therefore responsible and accountable for the trainee's psychological discomfort.Na aanleiding van vier gevallestudies word 'n hipotese afgelei wat voorstel dat wanneer opleiding op 'n filosofiese vlak gechoreografeer word vanuit onsamehangende vlakke van filosofiese punktuasies, en waar sogenaamde opleidingsprogramme voortgesette kommentaar op die 'self' van die student lewer, en waar hierdie voortgesette kommentaar die proses waardeur die 'self' gedefinieer word onderbreek of beinvloed, word die opleidingskonteks op 'n ervaringsvlak onstabiel vir ervaringsondersoek en die student beleef sielkundige ongemak. 'n Verdere vyf gevallestudies word daarna ondersoek, en deur middel van gefokusde onderhoude en inhoudsanalise word die hipotese bevestig. Die skrywer-teks-leser metafoor word dan aangewend om die dosent-opleiding-student verhouding te beskryf. Dit onthul dat die student sielkundige ongemak ervaar, dikwels beskou as sielkundige skade, wanneer die opleidingsteks onsamehangend en dus onleesbaar is. In elke geval waar die opleidingsteks onsamehangend bevind is, word die dosent as die skrywer geiidentifiseer en kan dus verantwoordelik en aanspreeklik gehou word vir die student se sielkundige ongemak.
Psychology
M. A. (Clinical Psychology)
Books on the topic "Choreography – South Africa"
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Gotman, Kélina. Choreomania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.001.0001.
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This book traces the emergence and spread of the choreomania concept through colonial medical and ethnographic circles, showing how fantasies of instability—and of the Oriental other—haunted scientific modernity. Scenes from the archives of medical history, neurology, psychiatry, sociology, religion, and popular journalism show how the discursive history of the ‘dancing mania’ moved and transformed with its translations throughout the colonial world. From antiquarian references to ancient Greek bacchanals and medieval St. Vitus’s dances, to scientific reperformances of early modern religious ecstasies, and American government anthropology, ‘choreomania’ arose to signal every sort of gestural and choreographic unrest. Village kermesses, revolutionary crowds, and neuromotor disorders—including hysteria, epilepsy, and chorea—were among the many unruly forms of locomotion indiscriminately compared to bacchanalian turmoil. So too, charges of spontaneous political agitation levied against demonstrators from Africa and South America to the South Seas reveal heightened anxieties about the spread of social disorder. Initially employed to describe ‘contagious’ popular dances, jerking movements, and convulsions, with decolonization, the ‘dancing disease’ increasingly described the fitful drama of anti-European revolt. Closely indebted to the work of Michel Foucault, this book opens a new chapter on the way we think epidemic madness and the organization and disorganization of bodies and disciplines in the modern age. Setting ideas about disruptively moving bodies at the heart of the scientific enterprise, this book argues that disciplines themselves were at once more porous and mobile than is commonly allowed, and that ‘dance’ itself has to be radically reimagined across fields.
Book chapters on the topic "Choreography – South Africa"
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Kowal, Rebekah J. "Staging Diaspora." In Dancing the World Smaller, 120–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190265311.003.0003.
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Chapter 3 focuses on the artistic, cultural and political significance of Sierra-Leonean choreographer Asadata Dafora’s work in the mid-1940s. The first part of the chapter examines the import of three African dance festivals that Dafora directed and produced at Carnegie Hall on behalf of the African Academy of Arts and Research (AAAR), a pro-nationalist and anti-colonialist organization founded by Nigerian students living in New York City at the time. Seen in this light, Dafora’s performance of diaspora makes visible practices of black creativity and resistance, seeking to bridge Africanist solidarities toward the formation of a black American identity defined in global terms. The second part of the chapter analyzes the importance of a tour Dafora took with his dance company, Shogola Oloba African Dance Group, across the American South and Midwest, performing “Africa” for largely African American audiences on the eve of the civil rights movement.
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Green, Fanni V. "Now Is Not the Time for Silence." In Building Womanist Coalitions, 188–207. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042423.003.0012.
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Focused on the author’s work as a womanist playwright, director, and acting professor, this chapter reveals the personal, political, and performative implications of her most recent play, What the Heart Remembers: the Women and Children of Darfur, a choreo-poem for voice, dance, and percussion. In this chapter, she writes about the conceptual process of the “choreo-poem” and her journey toward its production. As an artistic-activist educator, she utilizes the play’s thematic focus as her personal response to the gender politics of genocide and ongoing civil war between North and South Sudan, in Africa. She not only reflects upon her position as a black/woman of color, she also addresses the politics of race and gender border-crossing involved in the play’s production related to her collaboration with her colleague (a white female dance professor and choreographer for the play). In 2012, she and her colleague premiered What the Heart Remembers in Scotland at the Edinburgh International Theatre Festival.
Conference papers on the topic "Choreography – South Africa"
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Ntshinga, W. L., S. O. Ojo, and E. K. Ngassam. "A framework for the choreography of intelligent e-services." In the South African Institute for Computer Scientists and Information Technologists Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2389836.2389850.
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