Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood
| dc.contributor.advisor | Fleishman, Mark | |
| dc.contributor.author | Nkonyeni, Zamah Martiniah | |
| dc.date.accessioned | 2023-04-04T08:27:04Z | |
| dc.date.available | 2023-04-04T08:27:04Z | |
| dc.date.issued | 2022 | |
| dc.date.updated | 2023-04-04T08:24:09Z | |
| dc.description.abstract | This study is an exploration of an embodied awareness and the plethora of ways in which what I am ‘falls short' - in relation to being “fully human” (Lugónes, 2010:743). It serves as the creative stimulus to actively explore and resist the ontological arrest of my blackwomnhood. This work aspires towards a kind of social and embodied resistance by means of “deserting exceptionality” (Gqola, 2004:61). As a form of survival, as well as of repairing the ruptured fragments of my being, I want to redefine, for myself, through performance, what it means to be a young, South African, working-class, queer blackwomn. This study therefore necessitates a distinction between ‘who' I am and ‘what' I am through exploring what Adriana Cavarero refers to as the ‘narratable self' (2005: x) in conjunction with Barbara Boswell's ‘creative re-visioning' (2010:1) and what Audre Lorde defines as ‘autobiomythography' (Lorde, 1996). In order to do this, the study employs a Practice as Research approach to explore alternative ways of staging heterogeneous experiences of blackwomnhood using the plurality of voice as a performance mode/tool. This study further reflects on a series of performance projects (as part of the present MA) to interrogate and reflect critically on the scale and complexity of the work/s. Following Cavarero (2005: x), Boswell (2010:1) and Lorde (1996), I explore the oral historical narratives and timelines of Zulu matriarch, Queen Nandi, to imagine a dithyrambic dirge drawn from blackwomn's experiences of ruptures, reckonings and refusals. | |
| dc.identifier.apacitation | Nkonyeni, Z. M. (2022). <i>Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood</i>. (). ,Faculty of Humanities ,Centre for Film and Media Studies. Retrieved from http://hdl.handle.net/11427/37657 | en_ZA |
| dc.identifier.chicagocitation | Nkonyeni, Zamah Martiniah. <i>"Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood."</i> ., ,Faculty of Humanities ,Centre for Film and Media Studies, 2022. http://hdl.handle.net/11427/37657 | en_ZA |
| dc.identifier.citation | Nkonyeni, Z.M. 2022. Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood. . ,Faculty of Humanities ,Centre for Film and Media Studies. http://hdl.handle.net/11427/37657 | en_ZA |
| dc.identifier.ris | TY - Master Thesis AU - Nkonyeni, Zamah Martiniah AB - This study is an exploration of an embodied awareness and the plethora of ways in which what I am ‘falls short' - in relation to being “fully human” (Lugónes, 2010:743). It serves as the creative stimulus to actively explore and resist the ontological arrest of my blackwomnhood. This work aspires towards a kind of social and embodied resistance by means of “deserting exceptionality” (Gqola, 2004:61). As a form of survival, as well as of repairing the ruptured fragments of my being, I want to redefine, for myself, through performance, what it means to be a young, South African, working-class, queer blackwomn. This study therefore necessitates a distinction between ‘who' I am and ‘what' I am through exploring what Adriana Cavarero refers to as the ‘narratable self' (2005: x) in conjunction with Barbara Boswell's ‘creative re-visioning' (2010:1) and what Audre Lorde defines as ‘autobiomythography' (Lorde, 1996). In order to do this, the study employs a Practice as Research approach to explore alternative ways of staging heterogeneous experiences of blackwomnhood using the plurality of voice as a performance mode/tool. This study further reflects on a series of performance projects (as part of the present MA) to interrogate and reflect critically on the scale and complexity of the work/s. Following Cavarero (2005: x), Boswell (2010:1) and Lorde (1996), I explore the oral historical narratives and timelines of Zulu matriarch, Queen Nandi, to imagine a dithyrambic dirge drawn from blackwomn's experiences of ruptures, reckonings and refusals. DA - 2022 DB - OpenUCT DP - University of Cape Town KW - theatre perfomance LK - https://open.uct.ac.za PY - 2022 T1 - Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood TI - Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood UR - http://hdl.handle.net/11427/37657 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/37657 | |
| dc.identifier.vancouvercitation | Nkonyeni ZM. Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood. []. ,Faculty of Humanities ,Centre for Film and Media Studies, 2022 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/37657 | en_ZA |
| dc.language.rfc3066 | eng | |
| dc.publisher.department | Centre for Film and Media Studies | |
| dc.publisher.faculty | Faculty of Humanities | |
| dc.subject | theatre perfomance | |
| dc.title | Isililo sikaNandi: imagining dithyrambic dirge to performatively score the precarity of blackwomnhood | |
| dc.type | Master Thesis | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationlevel | MA |