Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance

dc.contributor.advisorPather, Jayendran
dc.contributor.authorDubazane, Mlondiwethu
dc.date.accessioned2021-08-06T09:05:05Z
dc.date.available2021-08-06T09:05:05Z
dc.date.issued2021
dc.date.updated2021-08-06T07:53:32Z
dc.description.abstractAs a moment of slipping in, turning away and recovering from; the thinking for this project is focused on understanding through and from within culture. With this the paper begins to weave itself through a guided journey of my own personal accounts and the theorists that align and/or challenge such accounts. It moves between investigating my relationship with my father, to interrogating the ways in which men have spoken specific violence's into existence. This thesis does not look to be the reason of, nor the answer to, the way in which men ‘act'; but it does employ a keen eye into understanding the way in which meanings are produced. The paper then embeds itself in interrogating each of these instances through four different performances that were created by Mlondi Dubazane. These performances should be understood as thinking through and with/in representation and the different mediums that representing takes shape. It is vital to understand that even in its attempt at the poetics, the paper expresses itself through, within, around and beside language. This is but the first attempt of finding a language in speaking about my own maleness, a maleness that is not universal, a maleness that is moving forward in advance of nowhere, a maleness that seeks to dare touch on the untouchable. This, then serves as a written explication of research that seeks to engage the meanings and limitations of contemporary Black south african cultural identity (and in particular, the gendered dimensions of this experience) through the careful and nuanced crafting of public performances that draw on both public and intimate experiences.
dc.identifier.apacitationDubazane, M. (2021). <i>Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance</i>. (). ,Faculty of Humanities ,Department of Drama. Retrieved from http://hdl.handle.net/11427/33721en_ZA
dc.identifier.chicagocitationDubazane, Mlondiwethu. <i>"Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance."</i> ., ,Faculty of Humanities ,Department of Drama, 2021. http://hdl.handle.net/11427/33721en_ZA
dc.identifier.citationDubazane, M. 2021. Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance. . ,Faculty of Humanities ,Department of Drama. http://hdl.handle.net/11427/33721en_ZA
dc.identifier.ris TY - Master Thesis AU - Dubazane, Mlondiwethu AB - As a moment of slipping in, turning away and recovering from; the thinking for this project is focused on understanding through and from within culture. With this the paper begins to weave itself through a guided journey of my own personal accounts and the theorists that align and/or challenge such accounts. It moves between investigating my relationship with my father, to interrogating the ways in which men have spoken specific violence's into existence. This thesis does not look to be the reason of, nor the answer to, the way in which men ‘act'; but it does employ a keen eye into understanding the way in which meanings are produced. The paper then embeds itself in interrogating each of these instances through four different performances that were created by Mlondi Dubazane. These performances should be understood as thinking through and with/in representation and the different mediums that representing takes shape. It is vital to understand that even in its attempt at the poetics, the paper expresses itself through, within, around and beside language. This is but the first attempt of finding a language in speaking about my own maleness, a maleness that is not universal, a maleness that is moving forward in advance of nowhere, a maleness that seeks to dare touch on the untouchable. This, then serves as a written explication of research that seeks to engage the meanings and limitations of contemporary Black south african cultural identity (and in particular, the gendered dimensions of this experience) through the careful and nuanced crafting of public performances that draw on both public and intimate experiences. DA - 2021_ DB - OpenUCT DP - University of Cape Town KW - Theatre and Performance LK - https://open.uct.ac.za PY - 2021 T1 - Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance TI - Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance UR - http://hdl.handle.net/11427/33721 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/33721
dc.identifier.vancouvercitationDubazane M. Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance. []. ,Faculty of Humanities ,Department of Drama, 2021 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/33721en_ZA
dc.language.rfc3066eng
dc.publisher.departmentDepartment of Drama
dc.publisher.facultyFaculty of Humanities
dc.subjectTheatre and Performance
dc.titleTouching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationlevelMA
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