MIDLANDS STATE UNIVERSITY FACULTY of ARTS Department Of
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MIDLANDS STATE UNIVERSITY FACULTY OF ARTS Department of Film and Theatre Arts Studies THE PORTRAYAL OF BLACK WOMEN BY ZIMBABWEAN FEMALE PLAYWRIGHTS: THE CASE OF IN THE CONTINUUM, WHO SAID I DON’T WANT TO DANCE AND SHE NO LONGER WEEPS KHOTSO N SIBANDA (R151709F) A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE BACHELOR OF ARTS HONOURS DEGREE IN FILM AND THEATRE ARTS STUDIES NOVEMBER, 2018 SUPERVISOR: DR E VHUTUZA I i DEDICATION This work is dedicated to my big, blended family; the Makhazas, the Ngwenyas and the Sibandas; as well as the Father Ywh for divine provision, the Son Jesus Christ for divine protection and strength and the Holy Spirit for comfort and empowerment. ii Acknowledgements I would like to acknowledge my high school literature teacher Mrs Mashingaidze who sparked my love for reading and analysis. The character portrayal talks in Madame Moyo‟s French class, as well as the Ndebele literature studies with Mnumzana Thodhlana also moulded my character examination skills in plays and novels. Discussing novels, film and theatre productions with my aunt, Thobekile Makhaza and cousin, Imani Dlamini from as young as five years old set the foundation for what I would want to study at university. I would not have been able to complete this without the Black women that surround me, from my guide Dr. Parichi who has been very supportive throughout my four years at university; my friends, Nompilo, Kwenza, Nicole and Linda who have held me accountable; to my grandmother Ntombizodwa Makhaza and mother Sibusisiwe Ngwenya, who have been my pillars of strength. My father, Dumisani Ngwenya is my biggest hype man,and I thank you. A special mention goes to my supervisor, Dr. E. Vhutuza, for pushing me, being patient and encouraging me to do my best. God bless you all. iii Abstract This research investigates the portrayal of women by female Zimbabwean playwrights from different socio-historical backgrounds. The works that are analysed are Who said I don‟t Want to Dance, by Thembelihle Moyo, Tsitsi Dangarembga‟s She No Longer Weeps and Danai Gurira‟s collaboration with Nikkole Salter in In the Continuum. Analysis of Salter‟s female characters are presented in order to emphasise the universality of Black women‟s experiences; and to highlight the distinctions between the Africans portrayed by Gurira with the African Americans portrayed by Salter. The study also explores the subject of feminism as a universally shared experience, but also how the plays in question expose the conclusive presence of intersectional feminism. In addition, African Womanist and African Feminist theoretical approaches as well as qualitative research methodology are utilised in analysing the presentation of the women in the three plays. TABLE OF CONTENTS CHAPTER ONE INTRODUCTION ................................................................................................... - 1 - INTRODUCTION ................................................................................................................. - 1 - 1.1 BACKGROUND OF STUDY ..................................................................................... - 1 - 1.2 STATEMENT OF THE PROBLEM ........................................................................... - 2 - 1.3 ASSUMPTIONS OF STUDY.........................................................................................-3- 1.4 RESEARCH QUESTIONS ............................................................................................. - 3 - 1.4.1 MAIN RESEARCH QUESTION............................................................................-3- 1.4.2 SUB QUESTIONS...................................................................................................-3- 1.5 AIM OF STUDY.................................................................................................................-3- 1.6 OBJECTIVES.....................................................................................................................-4- 1.7 JUSTIFICATION OF STUDY...........................................................................................-4- 1.8 RESEARCH METHODS...................................................................................................-5- 1.9 CHAPTER ORGANISATION...........................................................................................-6- CHAPTER TWO LITERATURE REVIEW AND THEORETICAL FRAMEWORK....................-7- INTRODUCTION...................................................................................................................-7- 2.1 WHAT IS PORTRAYAL.................................................................................................-8- 2.2 LITERATURE REVIEW: AFRICAN SCHOLARS.......................................................-8- 2.3 ZIMBABWEAN SCHOLARS.......................................................................................-13- 2.4 WHAT IS FEMININITY...............................................................................................-16- 2.5 THEORETICAL FRAMEWORK..................................................................................-20- 2.5.1 ROLE CONGRUITY THEORY.................................................................................-20- 2.6 WHAT IS FEMINISM...................................................................................................-21- 2.6.1 INTERSECTIONAL FEMINISM...............................................................................-22- 2.6.2 AFRICAN FEMINISM, WOMANISM AND MOTHERISM....................................-25- 2.7 CONCLUSION...............................................................................................................-28- CHAPTER THREE OVERVIEW OF COMMON THEMES IN THE PLAYS...............................................-30- INTRODUCTION..............................................................................................................-30- II 3.1 WHO SAID I DONT WANT TO DANCE PLOT..........................................................-30- 3.2 BACKGROUND OF THE PLAY...................................................................................-32- 3.3 ABOUT THE PLAYWRIGHT......................................................................................-33- 3.4 IN THE CONTINUUM PLOT........................................................................................-33- 3.5 BACKGROUND OF THE PLAY...................................................................................-35- 3.6 ABOUT THE PLAYWRIGHT.......................................................................................-36- 3.7 SHE NO LONGER WEEPS PLOT.................................................................................-37- 3.8 ABOUT THE PLAYWRIGHT.......................................................................................-38- 3.9 CONNECTED PORTRAYALS OF WOMEN...............................................................-39- 3.10 PORTRAYAL OF MOTHERHOOD............................................................................-40- 3.11 PREGNANCY AND NATURE....................................................................................-44- 3.12 FATHERLESS DAUGHTERS.....................................................................................-46- 3.13 RAISING SONS............................................................................................................-46- 3.14 HEALTHCARE SYSTEM, THE LAW AND WOMEN.............................................-48- 3.15 THE GAME OF LIFE..................................................................................................-51- 3.16 CONCLUSION............................................................................................................-52- CHAPTER FOUR THE CHARACTERS IN THE PLAY...................................................................................-53- INTRODUCTION...............................................................................................................-53- 4.1 THE PROTAGONISTS................................................................................................-53- 4.1.1 GINA..........................................................................................................................-53- 4.1.2 ABIGAIL....................................................................................................................-59- 4.1.3 NIA.............................................................................................................................-66- 4.1.4 MARTHA...................................................................................................................-73- 4.2 SUPPORTING CHARACTERS...................................................................................-73- 4.2.1 TRINA.........................................................................................................................-74- 4.2.2 EVERMORE...............................................................................................................-81- 4.3 MINOR CHARACTERS...............................................................................................-82- 4.3.1 THE SOCIETY KNOW IT ALLS...............................................................................-82- 4.3.2 MRS MATSIKA AND MRS CHIWARA..................................................................-82- 4.3.3 PROBATION PATTI AND PETRONELLA..............................................................-85- 4.3.4 PROBATION PATTI...................................................................................................-85-