Browsing by Author "Seane, Warona"

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    O Kae? An Autoethnographic Dramaturgy Through A Deliberate Incommensurability
    (2018) Seane, Warona; Fleishman, Mark
    This study focuses on the erasure of the black woman from the mainstream theatre space of South Africa as a provocation towards the creation of a dramaturgical process that pivots around the notion of 'deliberate incommensurability' as a catalyst for exploration. 'deliberate incommensurability' is a term I have coined myself as it suggests an agency in the black woman as subject and object of study. I suggest the requirement for an autoethnographic inquest in carrying out the research, as the methodology used in the creation of the processes and products of the study was Practice as Research (PaR). The methodology uses the modes of translation and literary studies in order to unpack the myriad ways in which the representation of the black female has effectively been an erasure of her presence. I detail four points of origin for the study drawn primarily from Gayatri C. Spivak and Toni Morrison. In addition, the study interrogates the processes towards creating O Kae? - a performance installation that evaluates the importance of opacity towards the self-representation of the Other in an attempt to discover an alternative aesthetic and creative praxis for myself.
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    Sexuality and cultural heritage at odds: I Fuck What I Like, an ode to the young queer black woman in South Africa
    (2021) Sibisi, Noluthando Mpho; Seane, Warona; Matchett, Sara
    I write this paper as a theatre practitioner to complete a creative research project in line with complicating and archiving queer black women's narratives in the South African performance and literary canon. As a strategy of social reform, I aim to complicate what I argue to be an insistent narrative of queer black womanhood as emblematic of abjection by exploring the concept of queer black woman joy. I use Sara Ahmed's The Promise of Happiness, alongside Lethabo Mailula's theory of a tripartite erasure of queer black women, to frame what I consider to be queer black women's cultural heritage. In search of research methods, I turn to the work of Koleka Putuma, Zanele Muholi, Athi-Patra Ruga as my artistic influences, from whom I garner multivocality, collage, ode, and play as methods for my autoethnographic explorations concerning writing, performing, and archiving joy as part of the queer black woman narrative. This research project culminates in the writing, performance, and archiving of I Fuck What I Like as an ode to the young queer black woman in South Africa.