Thesis Hum 2016 Hames Mary

Black feminist intellectual activism: A transformative pedagogy at a South African university by Mary Margaret Philome Hames Submitted in accordance with the requirements for the degree of Doctor of Philosophy in Gender Studies University of Cape Town African Gender Institute University of Cape Town Supervisor: Professor Jane Bennett The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATIONS I, Mary Margaret Philome Hames, hereby declare that ‘Black feminist intellectual activism: A transformative pedagogy at a South African university’ is my own original work and has not been submitted in whole or in part for a degree to any other university. I have duly referenced and acknowledged all the consulted and quoted published and unpublished material and online publications. Signature: Date: 31 March 2016 ii DEDICATION This dissertation is dedicated to my late parents Dorothy and Ismail Hames and my two grandmothers Magrieta Damon and Miriam Hames. iii ABSTRACT This dissertation engages with critical pedagogic theories and activism from a black feminist perspective. The central argument is that education is not only confined to the formal classroom but also takes place in the most unlikely places outside the classroom. This work is premised on the educational philosophies of liberation, embodiment and freedom of the oppressed and the marginalised. The qualitative research is largely presented as ethnographical research, with the researcher located as both participant in the evolvement of the two educational programmes and as writer of this dissertation. Both educational programmes deal with performance and performativity and aim to give voice to the marginalised bodies and lives in the university environment. The research demonstrates how two marginalised groups claim space on campus through performativity involving the body and voice. In the Edudrama, Reclaiming the P…Word, young black women, via representation of word and body, transform the performance space into one in which the misogynistic and racist gaze is transformed. This feminist theatre is intrinsically related to the feminist political work of reclamation of the black female body, which became invisible and objectified for abuse under colonialism, apartheid and patriarchy. The various feminist elements and processes involved in creating feminist text and theatre are discussed. The praxis involved in these processes is then theorised in terms of critical pedagogy as black feminist intellectual activism. In the case of the lesbian, gay and transgender programme, Loud Enuf, the bodies and voices are used differently in the public campus domain to challenge homophobia. This programme is used to raise awareness about sex, sexuality, sexual orientation and gender identity. This programme is intensely political and challenges ambiguous understandings regarding the notion of equality in South Africa post-1994. iv Both programmes compel the viewers and spectators to participate in a feminist pedagogic process towards self-liberation by being provocative and public. For both these groups, the liberal rights discourse is not enough, and through developing a specific black feminist pedagogy suited to the post-1994 South African context and needs, the groups engage the campus community to become a more inclusive space for all its citizens. The narrative shows that the young people consistently refuse to be victims and are advocates and agents for transformation. The argument made is that critical black feminist pedagogy outside the classroom, viewed as black intellectual feminist activism, is as valid a knowledge of feminism and transformation as is the knowledge created and taught in the classroom. v ACKNOWLEDGEMENTS Thanks to everyone who have been part of this long journey. It was not easy, but I always felt loved and supported by every single one of you. I give thanks to my sisters, Rose and Ellen Hames, my brothers, Joe and Lucien, and my sister-law, Irma, who in their different ways were very supportive of this work. I could not have asked for better intellectual stimulation and support for my activism than that of Desiree Lewis. This journey would have been meaningless if you did not walk the walk with me, Des. To my colleagues, former and present: You have helped to create and sustain this work. Thank you, Basil Braaf, Vanessa Ludwig, Tremaine Bam, Nontle Beja, Thapelo Mabule, Angelo Fortuin, Maria van Staden, Maria Claassen and Glenton Matthyse, a.k.a Liberty Banks, my friend, Zona Koen, and my special librarian, Charles Solomons. My gratitude goes to the many student volunteers who took me on this incredible journey. This is your work too. Abulele Ngaleka, Nyameko Bottoman and every single one of you who has ever been part of Loud Enuf, whether lesbian, gay, straight, searching, questioning, supportive or fluid ― you have transformed me forever. To the edudrama volunteers who are too many to mention: my journey with you has taken me places I would never have imagined, both inside and outside myself. As black women writers, you penned the most amazing words and as black women performers, you have mesmerised. You continue to change our world. Your physical and metaphoric travels have opened up positive spaces and paths for other black women. I salute you all. I especially want to mention the women whose words I have used in this dissertation: Carmen Hartzenberg, Dawn Bosman, Desiree Lewis, Roche Kester, Wahseema Roberts, Sinethemba Chole, Bianca van Rooi and Maki Makone. To Ntombi Wonci a special message of love. I believe there was a special reason why our paths have crossed. I share my deepest gratitude with all of you for putting these words on my tongue and in my mouth. In many ways, both programmes have made me the person that I am today. Thank you all for the ‘gifts’ that you vi have given me. To AJ, Mpho, Paida, Esley, Juliana, Farrah … the list goes on and on. We have started this legacy. To my goddess daughters, Meghan Hector and Simone Hames: I pass this gift on to you. It is up to you to make with it what you want ― it is the gift of voice and love. To all my friends Alexis Hector, Roshila Nair, Yvette Abrahams and all the others too many to mention, thanks for your unwavering encouragement. And last but not least to my supervisor, Jane Bennett, who often carried the brunt of my frustrations. Thanks Jane. vii CONTENTS PAGE DECLARATION ii DEDICATION iii ABSTRACT iv ACKNOWLEDGEMENTS vi ABBREVIATIONS AND ACRONYMS xiii CHAPTER 1 1 1.1 Introduction to the research 1 1.2 Key conceptual factors and concepts 4 1.2.1 Radical education philosophy in South Africa 5 1.2.2 Democracy, higher education and neoliberalism in South Africa 8 1.2.3 Becoming a university citizen 11 1.3 Site of this feminist study: the University of the Western Cape 16 1.3.1 Geo-political location and apartheid architecture of UWC 16 1.3.2 A ‘home of the intellectual left’ within a history of ‘people’s education’ 19 1.3.3 UWC, women, race and space 20 1.3.4 UWC feminism, gender and the Gender Equity Unit (GEU) 23 1.3.5 Post-1994 shifts and the GEU as a site of resistance 26 1.4 Organisation of dissertation chapters 28 CHAPTER 2: THEORISING FEMINIST PEDAGOGY 31 2.1 Introductory remarks 31 2.2 Problematising freirean critical pedagogy 34 viii 2.2.1 Dialectic and egalitarian 35 2.2.2 Feminist critique 37 2.2.3 The hidden curriculum 38 2.2.4 Action research and critical pedagogy at UWC 40 2.2.5 Liberatory education and the neoliberal university 43 2.3 Mapping feminist pedagogy 44 2.3.1 Black feminist pedagogy 51 2.4 Conclusion 59 CHAPTER 3: METHODOLOGY 62 3.1 Introduction 62 3.1.1 The Gender Equity Unit (GEU) 65 3.2 Non-conventional but academic practices 68 3.2.1 ‘Messy texts’ 68 3.2.2 Reflexivity 69 3.3 Action research 70 3.4 Ethnography or ethnomethodology 72 3.4.1 Feminist ethnography 72 3.4.2 Autoethnography 73 3.4.3 Performance ethnography 77 3.5 Data for Reclaiming the P…Word 79 3.5.1 Performance text and the script for Reclaiming the P…Word 79 3.5.2 Photographs 81 3.5.3 Feedback or indicators of impact 84 3.5.3.1 Newspaper reviews 84 3.5.3.2 Audience 84 3.5.3.3 Interviews with cast members 84 ix 3.5.3.4 Journaling 85 3.5.3.5 UWC formal class assignments 85 3.5.3.6 Personal communications 85 3.5.3.7 DVD recordings of the various performances 85 3.6 The loud enuf programme 86 3.6.1 Surveys 87 CHAPTER 4: A FEMINIST TEXT, LANGUAGE AND EMBODIMENT FOR THE EDUDRAMA 90 4.1 The context 90 4.2 Naming the inconceivable in feminist terms 92 4.3 Creating a feminist language 102 4.3.1 Writing women’s words 104 4.3.2 Writing the P…Word script 108 4.3.3 The feminist writing process 109 4.4 Feminist embodiment in the selected monologues of the P…Word 113 CHAPTER 5: RECLAIMING THE P…WORD AS FEMINIST THEATRE 135 5.1 Introduction 135 5.1.1 P… Word as protest theatre 136 5.1.2 The P…Word as feminist theatre 138 5.1.3 The P…Word as critical theatre 140 5.1.4 The P…Word as popular pedagogical theatre 143 5.2 Aspects of performance in the P…Word 146 5.2.1 Directing 147 5.2.2 The cast 149 x 5.3 Notions of space and location in the P…Word’s theatre 153 5.3.1 The venue 153 5.3.2 The audience 161 5.3.3 Stage to classroom 168 5.4 Indications of feminist theatre impact in the P…Word

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