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Re-Membering Black Women in South African Contemporary Dance

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Re-Membering Black Women in South African Contemporary Dance UNIVERSITY OF CALIFORNIA RIVERSIDE Decolonial Moves: Re-Membering Black Women in South African Contemporary Dance A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Rainy Consuelo Demerson June 2020 Dissertation Committee: Dr. Anthea Kraut, Chairperson Dr. Anthonia Kalu Dr. Imani Kai Johnson Dr. Jacqueline Shea Murphy Copyright by Rainy Consuelo Demerson 2020 The Dissertation of Rainy Consuelo Demerson is approved: Committee Chairperson University of California, Riverside Acknowledgements This dissertation is only possible because of the labor and love of many people. Firstly I am grateful for my parents Hannah Lynn and Charles Demerson who always encourage me to follow my dreams no matter where they take me. Aaron Halva has been my rock throughout, even though when we first started dating I had just applied to doctoral programs in New York, Texas, California and Pennsylvania and didn’t know where I’d be moving. Aaron cooked meals for me and drove me to work when I had a melanoma removed from the bottom of my heel and held me as I cried through the resulting performance cancellations. He has witnessed and experienced all the highs and lows of being a graduate student and I am forever grateful for his love. This project is based around the hard work, creativity, and love of the incredible South African artists I have had the privilege to witness. Vincent Mantsoe, Debbie Turner, Mamela Nyamza, Sbondalisa Ndaba, Angelika Schroeder, Danny Jones, Glenda Jones, and Neliswa Rushualang each spent over an hour of their time talking with me about their upbringing, their values and their dances. I was a total stranger and the vulnerability and conviction of character they each expressed to me made the interviews precious gifts that I treasure. I am also enriched by all of the participants of the 2018 Decolonial Aesthesis Creative Lab hosted by Rhodes University. In particular, Rithuli Orleyn, Zodwa Tutani, Tobi Ngomane, and Sandile Ngidi have been great friends and wise counselors informing my understanding of South African cultures and philosophies throughout the writing process. iv The UC Riverside Dance Department has been a joyful home. In particular, Katrina Oskie has been an invaluable resource for all administrative concerns. I am honored to have received a Eugene Cota Robles Award and three Gluck fellowships. My fieldwork in South Africa was supported by the Dance Research Grant and the Humanities Graduate Student Research Grant. My cohort colleagues Maïko Le Lay, Eva Macias, and Cuauhtémoc Peranda have inspired me with their brilliance and kept me afloat with kindness and care. When I moved to Long Beach, my wise and critical classmates Irvin Gonzalez and Lindsay Rapport kept laughing and feeling connected from afar. Most importantly, I am indebted to my committee of incredible professors. Dr. María Regina Firmino-Castillo joined my oral exam committee and offered rich insight as an Indigenous scholar and dance practitioner. Her work on pluriversal ontologies has underpinned my approach to thinking about the post-colonial time/space and the stories we tell within it. Dr. Anthonia Kalu graciously guided my reading list on African Gender and Feminism. She always challenged and expanded my thinking, taking me into the uncomfortable realm of as-yet-unanswered questions. In too many ways to list, her worldsense as a Nigerian-American woman has been invaluable. Dr. Imani Kai Johnson led me to think critically about how I approach the process of researching and writing about colonized people. Her own research in African diaspora dance informed and inspired how I can understand and honor the influence of ritual and social dance in my analysis of the concert stage. The scholarship of Dr. Jacqueline Shea Murphy offered a foundation for the interrogation of Indigeneity and modernity dance. Her commitment to v anti and decolonial praxis has been a guiding light. Lastly, this project simply would not be what it is without the incredible leadership of my committee chair Dr. Anthea Kraut who read every terrible first draft, sent countless letters of recommendation, and made herself available for all types of guidance. I am truly floored by her generosity, her wisdom, and her dedication to my work. Dr. Kraut’s rigorous and thorough feedback helped me to distill the crucial from the superfluous and revealed what is most essential in this project. The care with which it was delivered gave me the strength to persevere. I am deeply humbled by and grateful for her support. I hope I can one day be as incredible an advisor to my students as she has been to me. vi Dedication In preparation for my defense, I submitted this dissertation to my committee on May 6th as my Facebook feed swelled with images of women in red. This dissertation is dedicated to the thousands of missing and murdered Indigenous women in the United States of America. May they find peace as ancestors. May this document remind us to fight for the rights of Indigenous womxn to live in safety and in power. vii ABSTRACT OF THE DISSERTATION Decolonial Moves: Re-Membering Black Women in South African Contemporary Dance by Rainy Consuelo Demerson Doctor of Philosophy, Graduate Program in Critical Dance Studies University of California, Riverside, June 2020 Dr. Anthea Kraut, Chairperson This dissertation examines the choreographic techniques of Black women alongside the steps and missteps of scholars and activists in the #RhodesMustFall and #FeesMustFall movements in South Africa. I present contemporary dance as a site of decolonization by composing a kaleidoscopic vision of dance as a process of becoming in entangled time/space, where movement is both a political and kinesthetic manifestation of African philosophies of feminism and interdependence. This interdisciplinary project includes ethnography, performance analysis, and embodied research based on three trips to South Africa between 2017 and 2019. Analysis of performances and interviews in Makhanda, Los Angeles, and New York City accompany that of embodied research in the form of workshops and performances in Tshwane. By relating student protests to choreographies by Dada Masilo and Mamela Nyamza, I argue that Black women use unique choreographic and performative techniques to challenge the pervasive colonial discourse about their bodies and manifest a sense of the world beyond colonialism. viii Table of Contents Introduction ........................................................................................................................ 1 Chapter One Dancing Decoloniality and Decolonizing Dance in South Africa.................................... 51 Chapter Two Re-membering and (Re)mapping: Mamela Nyamza and Black Female Performance..... 99 Chapter Three Dada the Signifyin(g) Dancer......................................................................................... 160 Chapter Four Transformation and Paralysis at Dance Umbrella Africa............................................... 236 Conclusion ..................................................................................................................... 269 Bibliography .................................................................................................................. 274 ix Introduction In July 2017 I made my first trip to South Africa with a vague idea of my research project. After having studied contemporary dance in Senegal, Cuba, and Brazil, I was curious about what approaches South Africans were using, and as an educator I was intrigued by the invitation to present at a conference on decolonizing dance pedagogy at the University of Cape Town. As I waited for the plane to take off, I remember reading a news story about the recent spate of rapes and femicides plaguing the country. Women and girls were being abused and murdered by their friends and relatives, then left in fields, garbage cans, and by the side of the road. I started to second-guess my decision to travel alone for a month knowing no one there would notice if I disappeared. With a combination of trepidation and naïve optimism, I settled in for my twenty-one hour journey. Makhanda, formerly known as Grahamstown, is nestled in a valley that closely resembles my hometown in California. Whereas in my neighborhood of East San José most people only had fences if they had dogs and we kept our door unlocked for years despite the rather frequent gang violence, in Makhanda every single house was hidden behind a huge fence - usually concrete laced with barbed wire. In the afternoons I would walk a half-hour from my rental cottage through the suburban landscape to attend the National Arts Festival. The neighborhood was calm and quiet with manicured lawns sometimes visited by friendly monkeys. Everyone arrived and left in their own sparsely populated cars. They didn’t have to interact with strangers on public transportation. I wondered what they were so afraid of. When I reached the main road called Beaufort 1 Street, it became clear that democracy had failed to reconcile apartheid geography. On one side of the road White people owned and occupied comfortable homes that Black women cleaned. On the other side Black people worked for other people’s shops, and the only markets of their own were set up each morning on dirty curbsides. It reminded me of my father’s stories of Houston Texas in the 1960’s, where growing up “on the wrong side of the tracks” was a literal description of Jim Crow’s devastating space-hold.
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