African Resistance to Rhodesian Discourse in the Colony
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The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University SUBALTERNITY AND THE NEGOTIATION OF A THEATRE IDENTITY: PERFORMING THE POSTCOLONY IN ALTERNATIVE ZIMBABWEAN THEATRE Town SAMUEL RAVENGAICape of Thesis presented for the degree of UniversityDOCTOR OF PHILOSOPHY (PhD) in the Department of Drama Faculty of Humanities UNIVERSITY OF CAPE TOWN November 2011 Subalternity and the Negotiation of a Theatre Identity: Performing the Postcolony in Alternative Zimbabwean Theatre Samuel Ravengai November 2011 ABSTRACT The present study investigates the field of theatre practice that I have chosen to call alternative Zimbabwean theatre through a detailed study of four plays and reference to several others all first performed and written between 1980 and 1996. The study interrogates the interweaving and juxtaposition of divergent performance forms and styles on stage created by the contact between western dramatic theatre, indigenous theatre and cultural performances. This contact results in the formation of a third space for theatre which is a creative area of ambivalence, sameness, difference, conflict, struggle, mocking and celebration. The study specifically scrutinises this intersecting area as it obtains in alternative theatre and examines the forces at work in producing the nature and identity of Town syncretic theatre. Between 1980 and 1996, the nature and identity of alternative theatre changed significantly. This thesis investigates these changes, movements, shifts, conflicts and appropriations and the context within which they took place. Cape of My overarching argument is that the identity of alternative Zimbabwean theatre is traceable to its response to a specific version of colonial discourse which I call Rhodesian discourse and specific aesthetic approaches that African theatre makers in their quest for decolonisation of theatre consciously chose such as socialist realism, Afrocentrism and indigenous cultural texts. The study reaches back to the beginning of colonialism in 1890 to trace the resistance and affirmation of dramatic theatre in such University cultural productions as tea parties, beni, nyawo dance, liberation war performances (pungwes) as well as theatrical texts. Since Zimbabwean alternative theatrical texts do not slavishly adhere to the dictates of dramatic theatre, the work notes the inadequacy of conventional and monocultural dramaturgical analytical strategies and deeply entrenched understandings of the theory/practice nexus for analysing alternative theatre. In this regard the study analyses performances through the lens of postcolonial theory. Postcolonial criticism seeks to explain the interconnection of race, empire and dominated groups with cultural production. I deploy postcolonial theory to find out how Africans’ interactions with western cultural forms i impacted on the identity of alternative Zimbabwean theatre. Methodologically, I apply a combination of contextual reconstruction of performances and socio‐semiotics. In contextual reconstruction the performance text is placed in a position where it is the site of centrifugal movement toward other external texts. This pragmatic approach involves co‐ textual and contextual analyses. In the first instance a performance text is analysed to yield its internal regularities such as dance, mime, music and other materials of production. In the latter I establish a relationship between the internal regularities of the performance text and its external aspects. External texts include other performances of the same period, and the cultural text, that is, the context of performance such as the theatrical convention of the period, circumstances of enunciation and reception, aesthetic performance and non‐ aesthetic performance codes and how these influence and produce the moment of enunciation. The analysis of reconstructed performances is done according to a model that I have called cultural system model. In this model, the analysis is not exclusively on the end product; theatre identity and meaning is a product of a distillation of three processes – theatre production, theatre performance and theatre reception. Town This study hopes to contribute to the advancement Cape of knowledge of theatre and performance in Zimbabwe by studying theatre as a corporeal and spatial discourse that uses bodies moving in space as its primary mode of of signification and taking an intertextual approach to analysis through the lens of postcolonial theory. This thesis concludes by accounting for the decline of socialist revolutionary theatre after 1996 and delineating the emerging identities of that theatre. University ii ACKNOWLEDGEMENTS First things first. I give thanks to Him who is able to do immeasurably more than we ask or imagine. In everything He must have supremacy. I can do everything through Him who gives me strength. Special thanks to my supervisors Associate Professors Gay Morris (PhD) and Harry Garuba (PhD) for their unwavering support throughout the duration of the study. Harry Garuba has a gift of seeing the end before one gets there. He pointed to me the important landmarks to follow to the end and I got there confidently. Gay Morris has a gift of reading between the lines and ferreting inconsistencies and slippages. She pointed these, where they existed, to me in her usual theatrical style. Thanks to both of you. A special thank you to Liz Mills who read my proposal and supervised the very first draft of the first three chapters before taking early retirement at the end of 2009. She was both a supervisor and a mother full of the milk of human kindness. Town I extend my heartfelt gratitude to the following sponsors: University of Cape Town Postgraduate Funding Cape Office for awarding me the following bursaries: UCT International Scholarship (2009of‐ 11), UCT Doctoral Scholarship (2010), UCT Research Associateship (2010). The UCT Drama Department and Geoffrey Hyland for awarding me the following bursaries: Rosalie Van der Gucht (2009, 2011), Victoria League English Speech (2010) and Canon Collins Trust for the award of Ros Moger/Terry Furlong scholarship (2010‐11). Within the UCT University Drama Department I extend my thanks to Lindsay Redman for all postgraduate administrative issues and Rob Keith for facilitating all my international conference travels, which have been a primary source of intellectual stimulation. Thanks to Associate Professor Mark Fleishman for giving me a working space in the Rosedale precinct and employing me to deliver lectures to drama students. Thanks to the staff of Hiddingh Hall Library. They know everybody by name. Peter Vries knows where each book is located and will show it to a researcher without searching. Solvej Vorster, Annette Roup, Marlene Adonis, Kashiefa Shade, Raphael Kasigwa and Richenda Phillips, you were great! iii Thanks to my colleagues at the University of Zimbabwe Theatre Arts Department; Owen Seda (now with the University of Botswana), Nehemiah Chivandikwa and Kelvin Chikonzo who never stopped inspiring me with their research even when the Zimbabwean crisis could have easily de‐focused us. Thanks to Dr Praise Zenenga, (now with the University of Arizona) for being a role model. I do appreciate the forbearance of my lovely daughters Munenyasha and Kudzoyashe who withstood long hours of my absence from home while working on this thesis. My mother is the greatest source of inspiration because I want to make her happy and proud by succeeding in whatever I do. Finally, a sincere thanks to my loving wife Kundai for bringing sanity to my mind when the whole project seemed maddening. She doesn’t stop rending the heavens so we can do everything through Him who gives us strength! Town Cape of University iv ABBREVIATIONS A Level Advanced Level AIDS Acquired Immuno Deficiency Syndrome AIPPA Access to Information and Protection of Privacy Act (2002) ARTS Association of Rhodesian Theatrical Societies (started off as Southern Rhodesia Drama Association in 1957) BADG Bulawayo Association of Drama Groups BBC British Broadcasting Corporation BSAC British South Africa Company CABS Central Africa Building Society CCJP Catholic Commission for Justice and Peace CBT Community Based Theatre CIO Central Intelligence Organisation DRC Democratic Republic of Congo Town ESAP Economic Structural Adjustment Programme FTLCA Federal Theatre League of Central Africa (formed in 1958 and lapsed in 1963 at the end of the Federation to be renamed ARTS) HIV Human Immuno‐deficiency VirusCape ICU Industrial and Commercial Workers Unionof IMF International Monetary Fund LMS London Missionary Society LRF Legal Resources Foundation LOMA Law and Order Maintenance Act MDC Movement for Democratic Change MP UniversityMember of Parliament NACZ National Arts Council of Zimbabwe NAD Native Affairs Department NAF National Arts Foundation (renamed National Arts Council of Zimbabwe in 1987 NAM Non‐Aligned Movement NGO Non Governmental Organisation NMDDF National Music, Dance and Drama Festival NHSTF National High Schools Theatre Festival NRDA Northern Rhodesia Dramatic Association (joined with SRDA in 1958 to form Federal Theatre League of Central Africa) v NTF National Theatre Festival [was rebranded to Winter Festival (Winterfest) in