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Now showing 1 - 5 of 19

Recent Submissions

Phonetic verbal fluency in Multilingual speakers
(University of the Witwatersrand, Johannesburg, 2023) Banjo, Hillary Pelumi; Ferreira-Correia, Aline
Verbal fluency is a core neuropsychological function that assess a person's ability to locate precise information under specific search criteria. This study aimed to investigate the differences in performance of multilingual individuals who report English as their first language and individuals who report other languages as their first language on a phonemic fluency test assessed by the COWAT FAS. Whilst also investigating the influence of the covariates (age, gender, years of formal education, and code switching) on the performance of these individuals. To address these aims a sample of 60 participants were recruited through purposive and snowballing sampling. The results of the study revealed a statistically non-significant difference in the performance between multilingual individuals who report English as their first language and individuals who report other languages as their first language as well as a statistically non-significant (p >.05) difference in performance between males and females. The Spearman rho correlation revealed a significant correlation (p < .05) between the age of participants and their COWAT FAS total score, while a non-significant correlation was observed between the code switching of participants and their COWAT FAS total score. Similarly, the Pearson product correlation revealed a significant positive correlation between the years of formal education of participants and the COWAT FAS total score. Overall, this study provides fresh insight into the performance of multilinguals in South Africa as well as demographic factors that influence performance on this test which creates a foundation for more studies to be conducted on this topic.
Articulating Embedded Choreographies: Implicit Knowledges As/And Choreographic Strategies
(University of the Witwatersrand, Johannesburg, 2023-08) Snyman, Johannes Hendrik Bailey; Ravengai, Samuel
This thesis ‘looks back’ to ‘look forward’. I start with the assertion that there is a deficiency of choreographers documenting their processes that emerge in the laboratory. Using mixed methods this thesis focuses on embodied autoethnography to find a means to document and articulate my research and creative process. The first part of this research contextualises choreographic research in South Africa, choreography and embodiment and finally a conceptualisation of my understanding of choreographic strategies. The second part focuses on the embodiment philosophy of Michael Polanyi and articulates a third dimension of knowledge that exists in the gap between tacit and explicit knowledge: embedded-implicit knowledge. A clear correlation is established between embedded-implicit knowledge or ‘knowing’ and intuition. I then crafted Harald Grimen’s (1991) four interpretations of Michael Polanyi’s (1958) ‘tacit knowledge’ into choreographic strategies and used each as an approach in the development of specific creative tasks for the creation of an original choreography: L.I.F.E a history of distance (2017). My inspirations and musings became an invaluable part of this research through articulating my own interpretations of Grimen and my personal history as a source in developing a narrative structure for the work. Finally using a multi-modal reflection framework, developed from various reflexive practices, I reflected on the research and processes to answer the research question: How can Harald Grimen’s four interpretations of Michael Polanyi’s philosophy of tacit knowledge be interpreted as choreographic strategies to articulate the embedded-implicit knowledge within the process of documenting an embedded choreographic practice?
Paradise on Earth as a Motto, the Price of Happiness. What Happens to the Body in Late Capitalism
(University of the Witwatersrand, Johannesburg, 2023-01) Salmon, Audrey; Gillepsie, Kelly; Andrew, David; Sakota-Kokot, Tanja
Isn’t it now guaranteed that ‘paradise’ can be accessible during our lifetime? Haven’t you read, heard, or seen this somewhere yet? I have. Consequently, without thinking, I fully embraced this promise. Paradise is here and there, paradise is this and that, paradise is everything, everywhere. Nonetheless it happens to be a sort of cornucopia eventually resulting in no choice. It is a repetitive and merciless empty promise. Paradise on Earth is a brutal and transformative repetition colonising bodies. Forty thousand and one times the word paradise is written down. Forty thousand and one times is the core of the thesis. It is the thesis, and it forms and materialises brutality. It forms and materialises transformation. It attempts to figure and identify the specific effect of this specific condition on the body while paradoxically trying to give a voice to this same fainting body. Paradise, can you hear, see, touch it or even dream about it? The first image that comes to my mind is comforting. A smile even lifts the corners of my mouth, the object of my desire being almost here. Sadly, paradise on Earth’s ubiquity only reminds us of our failures. Up to today it is still haunting. All the way along, repetition happens to be an organ of torture as much as salvation. This research intends to take us through the work of diagnosis, and the embodied entanglement in these conditions under late capitalism.
Transferring Culture: A Cross-Cultural Analysis of the Translation of uMongo KaZulu into The Marrow of the Zulu NationMziz
(University of the Witwatersrand, Johannesburg, 2023-03) Mzizi, Asanda; Hlengwa-Selepe, Bongeka B.
This study adopts a theory of Descriptive Translation Studies to execute a comparative analysis of transferring culture in the translation of Prince Bhekizizwe Zulu’s uMongo KaZulu (2005) into The Marrow of the Zulu Nation (2005). It investigates and examines the transfer of culture by evaluating the different translation strategies employed by Zulu to transmit these diverse phenomena. This includes the investigation and examination of the book cover, the title, terms of address, idiomatic and proverbial expressions, customs, proper names, and figures of speech such as similes, metaphors, and personification. The study found that Zulu utilised literal translation, transliteration or adoption, adaptation, explicitation, implicitation, and translation by paraphrasing using related words, exotism, cultural transplantation, addition, and omission as translation strategies. The findings also revealed that in resorting to these translation strategies, literary translation often involves shifts in text function. A text from a foreign culture invariably takes on an informative function. Yet, if the informative function is overly accentuated in the target text, it may compromise the source text's cultural identity and intended purposes. Consequently, the negotiation between the source-oriented and target-oriented functions may be considered a translation process.
Paper Choreography: My ancestors dance through me - Experimenting with the Unarchival of a South African South Asian Dancer’s Family Archive while Exploring 'Indian-ness’ and Interwoven Dance Cultures and its pedagogical contribution to or implications for the reconfiguring of the Archive
(University of the Witwatersrand, Johannesburg, 2023-06) Govender-Elshove, Anusia; Khan, Sharlene; Taub, Myer
The aim of this study was to challenge the understanding of the concept of an archive of the indigenous/marginalised in territory that was previously dominated by a western/colonial presence, in places and spaces that are considered non-traditional. To explore the archive as a performative process and expansive practice by answering the question: How can the ‘unarchival’ process be a functional framework with which to make meaning in transmuting or liberating the artefacts of my family archive, my embodied self, and the ‘Indian-ness’ of South Asian dance, through reconfiguration of experimental iterations that reflect the current reality of this dance form as it unfolds and develops in the South African dance industry and academy? The idea was to utilise the artefacts of my family dance archive, in creative ways, to highlight the interweaving of cultures, while also disrupting the notion of purity and authenticity around South Asian dance with a melange interweaving of the archive of dance styles present in my body of work. The research methodology utilised was autoethnography/biography, with yarning/storytelling to acknowledge the geneaology/genesis of the perceived Indian monolithic culture in both India and South Africa. This study focused on the process of the ‘unarchival’ of my physical family dance archive and, my South Asian dancing body which is a palimpsestic, embodied, living archive. This involved curating an online exhibition of groupings of artefacts, of re-presenting and re-storying, deconstructing and reconstructing my family archive, thereby making them both emancipated and accessible. I argued that the archive is not limited to ‘Indian-ness’, but consists of an early interweaving and intermingling of cultures. The physical artefacts were used to create various iterations of “paper choreography” as my creative work activates the family archive, using paper to enable movement/dance. There was experimentation with age-old modes and my curatorial role in preserving and perpetuating my family’s dance origins which intersects with South Asian dance history in South Africa more broadly, and particularly its pedagogy. By researching unarchival as a curatorial process, I have attempted to recreate history and socio-political narratives: on a macro-level (the histories of both the Indian subcontinent - its influences and changes over centuries – as well as African history) and a micro-level (my own history) with a primordial conceptualisation. Three chapters focus firstly on the Unarchival process and its formulation. Next, the exploration of the concept of ‘Indian-ness’ in terms of dance, identity and archival implications for this study. The final chapter explores the interwoven nature of the dance direction my family and I chose to take by incorporating many cultures into our Indian dance core curriculum over 61 years. This creative study addressed the dearth in the field in the South African academy. The relevance/importance of the study to the field is that the unarchival process/act is seen as a relatively unexplored area, not just in reconfiguring an archive, but also the embodiment of the culture and identity of South Asian dance and dancers that are often mis/under-represented and misunderstood.