Journal articles: 'South African drama'

1

Sirayi, Mzo. "Oral African Drama in South Africa: The Xhosa Indigenous Drama Forms." South African Theatre Journal 10, no. 1 (January 1996): 49–61. http://dx.doi.org/10.1080/10137548.1996.9687647.

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Alessandro Cima, Gibson. "Loren Kruger, A Century of South African Theatre." Modern Drama 64, no. 1 (March 2021): 117–19. http://dx.doi.org/10.3138/md.64.1.br3.

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abstract: A Century of South African Theatre revises and updates Loren Kruger’s seminal book, The Drama of South Africa. Kruger rejects essentializing categories such as African or European, arguing that South African theatre mixes local and transnational forms. The book provides a useful survey of South Africa’s past century of theatre.

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PETERSON, BHEKIZIZWE. "Drama and the South African State." African Affairs 91, no. 365 (October 1992): 644–45. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098575.

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Waters, Harold A., and Martin Orkin. "Drama and the South African State." World Literature Today 66, no. 3 (1992): 570. http://dx.doi.org/10.2307/40148560.

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Sirayi, Mzo. "Contemporary African drama: the intercultural trend in South Africa." South African Journal of African Languages 22, no. 4 (January 2002): 249–61. http://dx.doi.org/10.1080/02572117.2002.10587514.

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Walder, Dennis. "Resituating Fugard: South African Drama as Witness." New Theatre Quarterly 8, no. 32 (November 1992): 343–61. http://dx.doi.org/10.1017/s0266464x00007132.

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The recent work of the South African dramatist Athol Fugard has addressed the present realities of a country undergoing traumatic change. But on whose behalf does it speak today? The common claim of critics has been that his work ‘bears witness’: but what does this claim amount to in the context of current debates about culture in South Africa? Central to these debates is the contextualizing work which has arisen out of the neo-Marxist emphasis on previously marginalized black dramatic forms: tending to supplant the liberal, universalizing approach which helped promote Fugard, this is fast becoming a new orthodoxy, diminishing his contribution and historic influence alike. In this article, Dennis Walder looks more closely at the European origins among the liberal-left of the idea of ‘bearing witness’, and considers its continuing potential as taken up by Fugard himself at a turning-point in the development of his plays – the moment from which sprang both Boesman and Lena and the collaborative Sizwe Bansi and The Island. These plays can still be understood to offer a voice to the voiceless – above all to Lena, the ‘Hotnot’ woman, an outcast among outcasts, who affirms her identity through her body and her language. Dennis Walder, who was born and brought up in South Africa and educated at the Universities of Cape Town and Edinburgh, is now Senior Lecturer in Literature at the Open University: a Dickens scholar, whose Dickens and Religion appeared in 1981, he also wrote the first book-length study of Athol Fugard (Macmillan, 1984), and is currently editing Fugard's plays for Oxford University Press.

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Ho, P. Sai-wing, and Geoffrey Schneider. "African Drama: Myrdal and Progressive Institutional Change in South Africa." Journal of Economic Issues 36, no. 2 (June 2002): 507–15. http://dx.doi.org/10.1080/00213624.2002.11506495.

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Amkpa, Awam. "Review: Drama and the South African State." Literature & History 2, no. 1 (March 1993): 133–35. http://dx.doi.org/10.1177/030619739300200135.

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Bodomo, Adams, and Eun-Sook Chabal. "Africa – Asia Relations through the Prism of Television Drama." African and Asian Studies 13, no. 4 (December 10, 2014): 504–29. http://dx.doi.org/10.1163/15692108-12341319.

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Even though many African and Asian countries share a common history of European colonialism and thus a model of economic development shaped within the aegis of center-periphery analysis, many Asian countries have been able to ride through the burden of center-periphery economics and built more successful political economies than most African countries. This state of affairs has often led many African analysts to point to Asian success stories like China and South Korea for comparative analysis and often see these Asian countries as models of socio-economic and socio-cultural success to emulate. In particular, Africans in the Diaspora, especially Africans in China, tend to compare very frequently the socio-economic and socio-cultural conditions of their host countries with those of their source countries. This paper outlines and discusses how a group of Africans living in Hong Kong and other parts of Asia see Korea and Korean culture through the prism of Korean television dramas, which constitute a popular cultural phenomenon among Hong Kong/Asian youths. Through qualitative and quantitative survey methods, participant-observation, and questionnaire surveys, the paper reports on how African community members of Hong Kong and others think of Koreans. We show that Africans draw a lot of comparisons between Korean and African ways of conceptualizing the world.

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Drwal, Malgorzata. "The Garment Workers’ Union’s Pageant of Unity (1940) as manifestation of transnational working-class culture." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 75–87. http://dx.doi.org/10.17159/tl.v59i1.8842.

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In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.

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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.

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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Black actor from that country to succeed in Hollywood. This article proposes an experimental methodology of life-writing called ‘cinematic biography’. It shows that the cinematic lives of the marginalized and colonized actors harbour critical potential in enriching the critical perspectives on the cinema and cinematic cultures in South Africa and beyond.

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French, Claire. "The Methuen drama guide to contemporary South African theatre." South African Theatre Journal 28, no. 3 (September 2, 2015): 271–75. http://dx.doi.org/10.1080/10137548.2016.1218208.

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Faure, Marlyn C., Ambroise Wonkam, and Jantina De Vries. "Using the Drama of DNA approach to community engagement in genomic research in South Africa: experiences and lessons learnt." AAS Open Research 3 (February 21, 2020): 1. http://dx.doi.org/10.12688/aasopenres.13045.1.

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In the context of African genomics research, community engagement has emerged as a powerful means to enhance genomic education of the public and anticipate ethical challenges in relation to increasing genomic research on the African continent. We report our experiences of using narrative genomics, a drama-based community engagement method, to engage scientific and lay communities about ethical and social challenges related to the return of individual genetic research results in genomic research. The method uses set scripts, which audience members act out and thereafter engage in a series of ethical dilemmas presented in the script. In this paper, we describe the steps we took to change the original scripts to make them more suitable for a South African audience. We found the method to be relatively effective at engaging audiences in South Africa. While the changes in the South African versions appear minor, through our experience in trying to change the scripts to make them relatable to a South African audience, we observed that were limits to how much of the script we could change if the narrative was still to be effective as a community engagement method. While this method and the original scripts are incredibly helpful, new scripts must be developed for African audiences, and these could potentially be more impactful as a community engagement tool in different local contexts.

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Blumberg, Marcia. "Domestic Place as Contestatory Space: the Kitchen as Catalyst and Crucible." New Theatre Quarterly 14, no. 55 (August 1998): 195–201. http://dx.doi.org/10.1017/s0266464x00012148.

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‘Kitchen-sink’ drama was a term used (in the main by its detractors) of the drama of the late 'fifties and 'sixties located outside the drawing-room milieu then preferred by conventional West End playwrights. It was always an inaccurate term, in that many of the plays so described neither took place in domestic kitchens nor – more to Marcia Blumberg's point – addressed the issue of the place's usual attendant: a woman. Recognizing the dominance of the kitchen as an icon, and of its related domestic chores as traditionally the tasks of women, two performance artists have recently, and in very different ways, explored the actuality of ‘Kitchen’ occupations and preoccupations. Bobby Baker's Kitchen Show (1991) used ‘found’ environments of actual kitchens, including her own, to produce ‘new and often subversive significations’, while in Kitchen Blues (1990) the South African dramatist Jeanne Goosen constructed a ‘complex feminist bricolage’ through the voices and actions of a quartet of women, embodying ‘the multiple intersections of gender in a shocking tragi-comic evocation of personal upheaval during a period of flux in South Africa’. Marcia Blumberg, herself a South African, has recently been teaching in Britain with the Open University.

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Egwu, Anya Ude, Ebuka Elias Igwebuike, and Chinasa Abonyi. "Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria." SAGE Open 11, no. 2 (April 2021): 215824402110231. http://dx.doi.org/10.1177/21582440211023160.

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African traditional drama has been researched from several perspectives. But there are hardly studies fully focusing on the deployment of language to achieve performance goals in particular performances. This failure may have roots in the widely held assumption that verbal language (dialogue) is not a serious element of African traditional drama. Studying language in particular performances will show that there are instances of full and effective deployment of verbal communication in the African traditional drama. This article, therefore, studies language in ewa-ọma performances. Using basic literary appreciation and critical analysis methods, with a new historicist bias, the literary and rhetorical components of language are identified and analyzed according to their space-time relevance in two performances, to demonstrate the manner of realization of dialogue and (inter)weaving of literary and rhetorical strategies. Literary tropes and rhetorical devices are effectively deployed in well-developed dialogues to achieve a satirical goal in the performances.

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Che Suh, Joseph. "Some Considerations in the Translation of African Drama." Meta 47, no. 3 (August 30, 2004): 370–74. http://dx.doi.org/10.7202/008021ar.

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Abstract This paper examines the types of African drama South of the Sahara. It illustrates and underscores the fact that each of the numerous sub-categories found in that part of the continent has its own distinctive characteristics which the translator must actively identify and map onto the target text.

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Ohenhen, Stanley Timeyin, Princewill Chukwuma Abakporo, Oluwatobiloba Ifedolapo Ajayi, Ooreofe-kristi Faniyi, Olatunde Wright, Grace Adigun, Fidelis Egbe, Olusegun Olaniyi, Kolawole Olawale, and Olayiwola Oladele. "Decolonising neo-colonial hegemonies in Africa: A comparative case for socialist realism in the drama and law of Kenya, Nigeria and South Africa." Journal of Infrastructure, Policy and Development 8, no. 5 (April 15, 2024): 3420. http://dx.doi.org/10.24294/jipd.v8i5.3420.

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Through a comparative investigation of the function of socialist realism in the drama and law of Kenya, Nigeria, and South Africa, this research investigates the decolonization of neo-colonial hegemonies in Africa. Using the drama and legal systems of Kenya, Nigeria, and South Africa as comparative case studies, the research explores how African societies can challenge and demolish oppressive systems of domination sustained by colonial legacies and contemporary neo-colonial forces. Relying on the Socialist Realism and Critical Postcolonial theoretical frameworks which both support literary and artistic genre that encourages social and political transformation, the research deploys the case study analysis, comparative literature analysis and focused group discussion methods. Data obtained are subjected to content and thematic analysis. The study emphasizes how important the relationship between the legal and artistic worlds is to the fight against neo-colonialism. It further reveals the transformational potential of socialist realism as a catalyst for social change by looking at themes of resistance, social justice, and the amplifying of disadvantaged voices in drama and legal discourse. The research contributes to ongoing discussions about de-neo-colonization through this comparative case study, and emphasizes the role socialist realism plays in overthrowing neo-colonial hegemonies. The study sheds light on the distinct difficulties and opportunities these nations—and indeed, all of Africa—face in their pursuit of decolonial justice by examining the experiences of Kenya, Nigeria, and South Africa.

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Combrink, Annette L. "Socio-cultural and political values in modern South African drama." Neohelicon 14, no. 2 (September 1987): 311–24. http://dx.doi.org/10.1007/bf02094694.

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Fuchs, Anne. "The Threshold of the Stage : South African Storytelling and Drama." Anglophonia/Caliban 7, no. 1 (2000): 139–46. http://dx.doi.org/10.3406/calib.2000.1398.

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Diala, Isidore. "Theatre and Political Struggle: Trends in Apartheid South African Drama." Neohelicon 33, no. 2 (December 2006): 237–46. http://dx.doi.org/10.1007/s11059-006-0035-1.

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21

Hauptfleisch, Temple. "The Company You Keep: Subversive Thoughts on the Impact of the Playwright and the Performer." New Theatre Quarterly 11, no. 44 (November 1995): 322–32. http://dx.doi.org/10.1017/s0266464x00009301.

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This article explores the much-debated question of the political impact or potential of theatre from a new angle. Accepting frankly the limitations of a medium which seldom reaches more than four per cent of the population, Temple Hauptfleisch looks instead at the contingent ways in which influence works – creating ‘images’ of authors, performers, venues, companies, and even of specific occasions which work upon audiences and non-audiences alike. The ideas explored in this article were first proposed in a paper read at a colloquium on ‘The Semiotics of Political Transition’, held at the Port Elizabeth Campus of Vista University in August, 1992: although most of the author's examples are thus from the theatre world of South Africa, the major thrust of his argument holds equally well for any contemporary westernized, media-dominated society. Temple Hauptfleisch is Associate Professor of Drama and Head of Theatre Research at the University of Stellenbosch, South Africa. He is co-editor of the South African Theatre Journal and has published widely on the history and theory of South African theatre.

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Evans, Curtis J. "The Religious and Racial Meanings of The Green Pastures." Religion and American Culture: A Journal of Interpretation 18, no. 1 (2008): 59–93. http://dx.doi.org/10.1525/rac.2008.18.1.59.

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AbstractMarc Connelly's The Green Pastures play was one of the longest running dramas in Broadway history. Responses to the play by blacks and whites demonstrate its contested nature. Whites generally lauded the drama for its simplicity and its childlike depiction of black religion in the rural South. African Americans, though hopeful that its allblack cast would lead to more opportunities for blacks on stage, were divided between a general appreciation of the extraordinary display of talent by its actors and worries about the implications of a play that seemed to idealize the rural South as the natural environment of carefree overly religious blacks. Connelly's widely popular drama became a site of cultural debates about the significance of black migration to the urban North, the nature and importance of religion in black communities, and the place of blacks in the nation. Precisely when black social scientists were urging rural black Christians to abandon an otherworldly and emotional religion, white dramatists and literary artists were making more widely available what they saw as a picturesque and deeply rooted aspect of black folk culture.

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Thomas, C. "Bloodier than black and white: liberation history seen through detective sergeant Donald Card’s narrative of his investigations of Congo and Poqo activities, 1960-1965." New Contree 50 (November 30, 2005): 20. http://dx.doi.org/10.4102/nc.v50i0.440.

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By 1950 the African National Congress and the Natal and Transvaal Indian congresses, had already embarked on an activist road to free Africans, Coloureds and Indians from unfair discrimination, injustices big and petty, and oppression. Over the next ten years, the liberation struggle quickened into a multifronted thrust against the apartheid state, including civil disobedience, strikes and boycotts, and the transition to violent struggle. From the pioneering works such as Edward Roux’s Time Longer than Rope (1964) through a host of treatises to the latest study by the South African Democracy Education Trust, The Road to Democracy Volume 1 (1960-1970) (2004) the liberation struggle has, with few exceptions, been sketched in black and white. Scholars generally sing the praises of the seekers of the public good (the liberation movement) and excoriate the perpetrators of evil (the apartheid state and its functionaries).1 The liberation struggle did indeed involve the efforts of those aspiring to freedom, opportunity and republican virtue against those who oppressed African, Coloured and Indian people and held them hostage through legislation and denial of opportunity and who appropriated the best fruits of society for white South Africans. Political struggle, and indeed political combat, as it played out in South Africa, however, made for a messy picture that often defies the hero-andvillain narratives that had invariably been produced and which seeped into our national consciousness. This article will explore the evasions, omissions, and twists that made possible the black and white liberation history that are currently consumed. To do so the activities of the Congo or iKongo movement, will be probed into as well as that of and Poqo.2 It will be done through the story of police detective Donald Card who had been involved in almost every significant event in South African history the past five decades.3 The why of certain events and developments, including crime under the cloak of politics, are often ignored or romanticised. This included charges of torture and brutality, push so readily into the public domain – as in Red Dust, the latest drama on torture in South Africa.

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De Villiers, Kelly, Johann Louw, and Colin Tredoux. "GENDER DIFFERENCES IN READING PREFERENCE: EVIDENCE FROM A MOBILE PHONE PLATFORM." Mousaion: South African Journal of Information Studies 34, no. 2 (October 26, 2016): 1–14. http://dx.doi.org/10.25159/0027-2639/376.

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Two studies were conducted to investigate gender differences in a sample of young South African readers from poor communities. In the first study, the self-reported reading preferences of 2 775 readers on a mobile phone platform supplied by the FunDza Literacy Trust were surveyed. Both male and female readers indicated that they liked four genres in particular: romance, drama, non- fiction, and stories with specific South African content. There were nevertheless some differences, such as that a higher percentage of males liked stories involving sport. The second study examined the unique FunDza site visits made by readers, as a proxy measure of what they actually were reading. Four genres stood out: romance, drama, biography, and action/adventure. Again the similarity between male and female readers was noticeable, although many more females than males read content on the site.

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Flockemann, Miki. "Experiments in freedom: explorations of identity in new South African drama." Scrutiny2 15, no. 2 (September 2010): 70–73. http://dx.doi.org/10.1080/18125441.2010.537102x.

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Price, Neroli, and Laura Garbes. "Radio drama as a tool for activism in South Africa: The case of Plague in the Time of King Kapital and Queen Corona." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 1 (April 1, 2021): 59–77. http://dx.doi.org/10.1386/rjao_00034_1.

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How can sound be utilized as a tool for political conscientization? COVID-19 has disrupted face-to-face organizing tactics for progressive movements globally, making it necessary to branch out to more mediated forms of grassroots political organizing. In this article, we explore how sound might be employed to invoke an imagined working-class community across ethnic, gender and generational divides against a backdrop of crisis and corruption on the structural level. Through a close listening of a South African radio drama, Plague in the Time of King Kapital and Queen Corona (KKQC), we find that the use of sound enables a worldmaking that is both attuned to structural inequities and imagines a utopian, solidaristic working-class community. KKQC offers a case of worldbuilding and political conscientization through radio drama that is relevant to understanding the possibilities of the genre in the contemporary South African context.

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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).

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Minkley, Gary. "Re-Examining Experience: The New South African Historiography." History in Africa 13 (1986): 269–81. http://dx.doi.org/10.2307/3171546.

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In two recent published, edited works, a series of papers is brought together to demonstrate the explicit attempt to rethink and reconstruct the theoretical and methodological foundations of South African historiography. The editors point to the important impact the “new school” of radical historiography had in challenging and establishing a “break” with the racial and implicated “ruling class” perspective of the liberal paradigm over the last decade and a half. While acknowledging the further importance and advances made by this new radicalism in emphasizing class analysis and enriching and expanding the understanding of South Africa's capitalist development, there have also been certain crucial limitations. Marks and Rathbone argue that…it has been more concerned with the problems of capital accumulation and the state, with so-called “fractions of capital” and the white workers, than with black class formation and consciousness. The impact of Althusserian structuralism on radical writing in the seventies reinforced this trend: blacks are relegated to being no more than a silent backdrop against which the political drama is enacted, as much “dominated classes” in these texts as their authors see them in reality.This, together with what Bozzoli has called the “dominant Philistinism and anti-historical character of the culture” also prevalent in the radical historiography, prevented the generation and development of an ‘alternative’ conception of history in South Africa. If this alternative is to be developed, the stronghold of structuralist method of analysis with its “antihistorical bias” and concentration of objective tendencies needs not only to be countered, but abandoned.

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Euba, Femi. "Drama for a New South Africa: Seven Plays, and: African Theatre: Playwrights & Politics (review)." Theatre Journal 54, no. 4 (2002): 671–72. http://dx.doi.org/10.1353/tj.2002.0124.

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Diko, Mlamli. "Gender-Based Violence (GBV) in South Africa: An Interdisciplinary Discourse Analysis of One Selected isiZulu and One Selected isiXhosa Literary Text." African Journal of Inter/Multidisciplinary Studies 5, no. 1 (2023): 1–11. http://dx.doi.org/10.51415/ajims.v5i1.1147.

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Gender-Based Violence (GBV) in South Africa is a post-colonial social ill. Women and young girls suffer double oppression in the country. First, they are oppressed for being women and young girls; and second, they are oppressed for being women and young girls of the lower class. This article aims to utilise one selected isiZulu and isiXhosa drama, respectively, to effectuate a meticulous examination of how and why GBV is a recurring pattern. The ultimate aim is to underline the unprejudiced reality that South African literature (isiZulu and isiXhosa, for example) engages contemporary social ills such as GBV, subordination of women and young girls, gender discrepancies, and neolithic stereotypes. African feminist technique is utilised as a conceptual framework to advance the said aims of the article. In the process, the qualitative research methodology is employed to describe and explain the nature of the data source. The discussions and findings demonstrate that although women and gender discourses research has been undertaken extensively, the fact that women and young girls continue to be tormented is enough to prove that there is a conundrum in South Africa and possibly, elsewhere.

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HAUPTFLEISCH, TEMPLE. "Tipping Points in the History of Academic Theatre and Performance Studies in South Africa." Theatre Research International 35, no. 3 (October 2010): 275–87. http://dx.doi.org/10.1017/s0307883310000581.

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This article considers five tipping points or phases in the development of modern theatre studies in South Africa. It begins with the period from 1925 to 1935, a time when the first major theatre history appeared, a fully fledged (Western) theatre system was established and the African theatre tradition was recognized. It details 1945 to 1962 for the establishment of a coherent professional theatre system, the first state-funded theatre company and the first drama departments. Thereafter, 1970 to 1985 is identified as the most significant period in relation to the political struggle for liberation in South Africa, while the last two phases (1988–94 and 1997–9) under consideration are characterized by an increase in research output and by the need for practitioners and commentators to seek reconciliation and healing through theatre and performance.

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Harvey, Brian, James Stuart, and Tony Swan. "Evaluation of a Drama-in-Education Programme to Increase AIDS Awareness in South African High Schools: A Randomized Community Intervention Trial." International Journal of STD & AIDS 11, no. 2 (February 2000): 105–11. http://dx.doi.org/10.1177/095646240001100207.

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A community intervention trial was undertaken in KwaZulu Natal, South Africa to evaluate the effectiveness of a high school drama-in-education programme. Seven pairs of secondary schools were randomized to receive either written information about HIV/AIDS or the drama programme. Questionnaire surveys of knowledge, attitude and behaviour were compared before and 6 months after the interventions. One thousand and eighty students participated in the first survey and 699 in the second. Improvements in knowledge ( P=0.0002) and attitudes ( P<0.00001) about HIV/AIDS were demonstrated in pupils at schools receiving the drama programme when compared to pupils receiving written information alone. These changes were independent of age, gender, school or previous sexual experience. In schools receiving the drama programme, sexually active pupils reported an increase in condom use ( P<0.01). It is important to provide resources to sustain such programmes and to obtain stronger evidence of effect on behaviour by measuring changes in HIV incidence.

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Levine, Susan. "Opening the wound: Receptions and readings of Inxeba in South Africa." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 177–89. http://dx.doi.org/10.1386/jac_00035_1.

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This reading of Inxeba (2017) foregrounds the relationship between the #RhodesMustFall and #FeesMustFall movements in South Africa with the theme of wounding as an enduring social affliction in a country caught up in the midst of redefining itself after apartheid. Overtly narrated in the telling of Inxeba (2017) is the striking, amplified distinction between tradition and modernity among isiXhosa. Indeed, the polarized reception of the film among South African audiences shone a light on the slow burn of this most enduring trope. At universities across the country, Black students called for an end to the symbols of imperialist and colonialist White domination, as well as the desire to decolonize higher education by redressing Eurocentric canons of knowledge production. On the heels of the #Fallist movements, a White director makes a film about Xhosa initiation, and folds into this story a tale of homoerotic love. Notwithstanding the film’s official entry for best foreign language film at the Oscars, multiple forms of wounding came quick and heated upon the showcasing of the film’s trailer on social media. Film: Inxeba (English: The Wound): 2017 South African drama Director: John Trengove Language: Xhosa Cast: Niza Jay Ncoyini as Kwanda Nakhane Touré as Xolani Bongile Mantsai as Vija

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Keuris, Marisa, and Lida Krüger. "South African drama and theatre heritage (part II): what does the future hold?" South African Theatre Journal 27, no. 2 (January 28, 2014): 86–94. http://dx.doi.org/10.1080/10137548.2014.876805.

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Shes, Emil. "A Voice Behind the Masks: Three Companies, Three Continents." Canadian Theatre Review 56 (September 1988): 79–81. http://dx.doi.org/10.3138/ctr.56.016.

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If South African President P.W. Botha has something to fear, it is not just a clenched black fist: it is Nomvula Qosha’s smile. Denied a full education when she had to leave school and abandon her love for drama, she toiled for years as a domestic servant to support her children. Like many South African women, she was deserted by her husband. Today she is an actress, and at one point during the unpaid rehearsals for You Strike the Woman, You Strike the Rock, life and art fused when she had to pull down her township home and salvage her belongings before they could be destroyed. “We carry a heavy burden that defeats men,” she says in the play. “But it won’t defeat us.”

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Kruger, Loren. "Black Irony: Modernism, Mimicry, and African America in Lewis Nkosi’s Drama." Research in African Literatures 54, no. 1 (March 2023): 1–17. http://dx.doi.org/10.2979/ral.2023.a915636.

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ABSTRACT: Like many Black intellectuals that came of age as apartheid was tightening its grip in the 1950s, Lewis Nkosi (1936–2010) left South Africa on a one-way ticket. Although he outlived apartheid and returned to his native land on and off after 1991, he lived abroad in the United States in the 1990s and in Europe in the 2000s. Although allied with the African National Congress in exile, he wrote skeptically about emphatic anti-apartheid writing. His essays from the 1950s on reflect his preference for cosmopolitan and experimental authors from Dostoyevsky to Kafka, in other words for modernism broadly speaking, and his creative writing reflects this preference in the ironic and satirical rather than the usual earnest treatment of the struggle. While several critics have noted this modernist preference, none have examined the influence of Black American authors on Nkosi’s writing. This omission demands attention, as Nkosi’s creative writing, especially drama for stage and radio, draws deeply from Black Americans, even when he steals themes, phrases, and characters without acknowledging sources. The Rhythm of Violence written and performed during his first US sojourn 1960–61, borrows style and phrasing from Black Beat poet Ted Joans, the radio drama “We Can’t All Be Martin Luther King,” broadcast on BBC 4 in 1971, lifts title and tone—unacknowledged—from activist-writer Julian Bond’s ironic poem responding to expectations that all Black intellectuals emulate Dr. King, and The Black Psychiatrist borrows from the decidedly unironic Black nationalist Amiri Baraka. Like Bond and essayist James Baldwin, Nkosi balanced a commitment to struggle—in his case, presenting Black African and Caribbean writers to the BBC and to readers abroad—with an ironic attitude to what he called the absurdity of apartheid and other forms of racism.

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Kruger, Marie. "The Power of Double Vision: Tradition and Social Intervention in African Puppet Performance." New Theatre Quarterly 22, no. 4 (October 20, 2006): 324–35. http://dx.doi.org/10.1017/s0266464x06000510.

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The appeal of the puppet lies partly in its dual nature: it is at once a representative object without life while at the same time it enacts the imagined life with which it is endowed by the puppeteer. Marie Kruger argues that this duality makes puppetry a uniquely effective way of questioning the very traditional values it appears to embody, and so of stimulating a sense of the need for social change. She relates her argument to the long tradition of puppetry among the Bamana people of Mali, and specifically to the performance of the Bin Sogo bo, an animal masquerade in which the ‘characters’ adumbrate human qualities with effective ambiguity. Marie Kruger is Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance option. She is the author of Puppetry: a Guide for Beginners and has also published in the South Africa Theatre Journal. Over the past twenty years she has directed numerous puppet productions for all ages, and is currently leading a research project to document the nature and application of African puppet traditions.

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Gordon, Robert. "Fugard, Kani, Ntshona's The Island: Antigone as South African Drama." Comparative Drama 46, no. 3 (2012): 379–99. http://dx.doi.org/10.1353/cdr.2012.0025.

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Cima, Gibson Alessandro. "RESURRECTING SIZWE BANZI IS DEAD (1972–2008): JOHN KANI, WINSTON NTSHONA, ATHOL FUGARD, AND POSTAPARTHEID SOUTH AFRICA." Theatre Survey 50, no. 1 (April 22, 2009): 91–118. http://dx.doi.org/10.1017/s0040557409000088.

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On 30 June 2006 at the annual National Arts Festival in Grahamstown, South Africa, two giants of South African protest theatre, John Kani and Winston Ntshona, performed as the original cast of the landmark struggle drama Sizwe Banzi Is Dead (1972). The revival marked the first production of the play in over twenty-five years. After its brief stint at the National Arts Festival (30 June–5 July 2006), the play transferred to the Baxter Theatre in Cape Town (11 July–5 August) and then entertained a monthlong run at the State Theatre in Pretoria (17 August–17 September). After its turn at the State, the production stopped shortly at the Hilton College Theatre in KwaZulu Natal (19–23 September) before settling into an extended engagement at Johannesburg's Market Theatre (28 September to 22 October). In March 2007, the original cast revival of Sizwe traveled to the British National Theatre before finally ending its tour at the Brooklyn Academy of Music in April 2008.

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Gunner, Liz. "Resistant Medium: The Voices of Zulu Radio Drama in the 1970s." Theatre Research International 27, no. 3 (October 2002): 259–74. http://dx.doi.org/10.1017/s0307883302000330.

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The making of culture in South Africa through different but linked forms and genres focuses on the medium of radio, and the ‘emergent genre’ of Zulu serial radio drama. Using Benedict Anderson's notion of ‘socioscape’ a link is drawn between the wide sweep of historical events and the production of culture. Beginning with the case of the musical, uMabatha [Macbeth], its performance history, and its links with serial radio drama in Zulu, this article focuses on the ways in which this, in turn was linked to the ‘performance’ of African football commentary on radio, and points to the national resonances that the act, and art, of commentating built up for both announcers and listeners. Finally, three representative radio serial plays from the 1970s are examined in relation to the ways in which they engaged with the social and political realities of the time. Through the multi-accentual nature of language and the polysemic nature of the plays themselves these plays might appear to endorse or, at least, acquiesce in the dominant apartheid ideology of the era, yet at the same time they offered resistant alternatives to it.

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Sirayi, Mziwoxolo, and Owen Seda. "Intrusive hegemonies and localised identities in early South African drama and theatre: 1880 to 1930." South African Journal of African Languages 35, no. 1 (January 2, 2015): 131–37. http://dx.doi.org/10.1080/02572117.2015.1056472.

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Makanya, Sinethemba. "The missing links: A South African perspective on the theories of health in drama therapy." Arts in Psychotherapy 41, no. 3 (July 2014): 302–6. http://dx.doi.org/10.1016/j.aip.2014.04.007.

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Davis, Geoffrey V. "« The Now is in our Hands » : Innovation and Reorientation in Post-Apartheid South African Drama." Anglophonia/Caliban 7, no. 1 (2000): 165–77. http://dx.doi.org/10.3406/calib.2000.1401.

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Keuris, Marisa, and Lida Krüger. "South African drama and theatre heritage (part I): a map of where we find ourselves." South African Theatre Journal 27, no. 1 (October 14, 2013): 19–31. http://dx.doi.org/10.1080/10137548.2014.846662.

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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.

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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.

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Kruger, Loren. "From the Cape of Good Hope: South African Drama and Performance in the Age of Globalization." Theatre Journal 64, no. 1 (2012): 119–27. http://dx.doi.org/10.1353/tj.2012.0008.

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Tager, Michele, and Mcebisi Ngwenya. "Exploring the representation of xenophobia in a South African television drama series: A Zimbabwean audience's perspective." Communicatio 37, no. 2 (August 2011): 332–49. http://dx.doi.org/10.1080/02500167.2011.580282.

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Graver, David, and Loren Kruger. "South Africa's National Theatre: the Market or the Street?" New Theatre Quarterly 5, no. 19 (August 1989): 272–81. http://dx.doi.org/10.1017/s0266464x00003341.

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The original Theatre Quarterly devoted a large portion of one issue-TQ28 (1977—78) to the theatre of South Africa. It is, of course, important to relate new developments in the theatre of that troubled nation to the context of its changing political situation – considering, for example, how far a reflection of the realities of the urban black experience is now more typical than the ‘acceptable’ face represented by the once-popular ‘tribal musicals’. Here. David Graver and Loren Kruger contrast two approaches to the theatre of anti-apartheid. The internationally known (and now relatively stable) Market Theatre of Johannesburg, they argue, today largely reaches an educated, liberal, and elite audience, and sustains what is essentially a European literary tradition: but other plays written and directed by blacks — notably since the Soweto uprising of 1976 — have developed a more appropriately African style. Often, these, have emerged from the theatre companies within the black townships, such as the Bachaki Theatre Company - whose Top Down is here the focus of analysis. David Graver is currently Mellon Fellow in Drama at Stanford University: his articles have appeared in Theatre Journal and in NTQ, and he is now completing a book on the theory and practice of the avant-garde. Loren Kruger teaches in the University of Chicago, has published in Theatre Journal and the Brecht Yearbook, and is working on a study of theatres with national aspirations in Europe and the USA.

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Mekusi, Busuyi. "WHEN INDEMNITY BECOMES DISDAINFUL: REVENGE AS METAPHOR FOR â€˜UNFINISHED BUSINESSESâ€™ IN POST-APARTHEID SOUTH AFRICAN DRAMA." Imbizo 7, no. 2 (May 26, 2017): 71–83. http://dx.doi.org/10.25159/2078-9785/1855.

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Revenge, as an instance of oppositionality, typifies past wrongs, evils, violations and disregard for human dignity which have been imputed and for which the offender must be reprimanded. The foregoing sequence is remindful of the dastardly apartheid dispensation in South Africa, which is a strong metaphor for strife and â€˜rupturedâ€™ human interactions. While the transition of South Africa to constitutionality was substantially heralded by the negotiating preponderances of the Truth and Reconciliation Commission (TRC), a number of people have adjudged the TRC to be a mere attempt to draw a curtain on the past - in sharp contrast to the spirit and letter of the commission. By so doing, there is a popular opinion that there are still some â€˜unfinished businessâ€™ that ironically link the present with the past. Therefore, it is considered a â€˜mustâ€™ that these â€˜silencesâ€™ be addressed in order for the present and future of South Africa not to be intractably burdened by the past. Bhekizizwe Petersonâ€™s and Ramadan Sulemanâ€™s Zulu Love Letter (both film and scripted play) has joined this discourse by artistically amplifying the need for an engagement with these â€˜deafening silencesâ€™. It is in the light of the aforementioned that this article investigates the process of wrong and attempts by the hegemony to expiate such wrongs, in the context of impervious agents, who disregard the processes for peaceful engagements, but rather scorn and threaten victims of their vicious actions for daring to seek justice. The article sees such a repudiation of oneâ€™s evil act and the conciliatory stance of the government as capable of breeding revenge. However, the article concludes that when medicated, using certain cultural and religious beliefs, the bleeding heart that is prone to seeking revenge or retaliation (vengeance) might also be a carrier of forgiveness and collectivism.

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Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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Journal articles on the topic 'South African drama'

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