Electronic Theses and Dissertations (Masters)
Permanent URI for this collectionhttps://hdl.handle.net/10539/37948
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Item Critiquing TikTok as a stage: Investigating Confessional Performance on TikTok and its capacity to cultivate feelings of intimacy and communitas within a community of young adult users(University of the Witwatersrand, Johannesburg, 2024) Buckland, Sarah; DaCosta, NekaThe presence of loneliness, exacerbated by the Covid-19 pandemic, is a persistent issue facing young adults in South Africa and abroad. Social media platforms, specifically TikTok, afford a sense of social interaction for those socially and geographically separated. One avenue for this interaction is through the production of increasingly confessional content on the social media platform. In this paper, I identify this presence of confessional content on TikTok and trace its roots to Confessional Performance traditions. I then interrogate the potential of Confessional Performance on TikTok to establish intimacy and elements of communitas. Irem Sot’s article entitled Fostering Intimacy on TikTok: A platform that listens and creates a safe space (2022) provides beneficial insight into the role TikTok’s algorithm has in establishing a sense of intimacy and community amongst its dedicated users and is used as a vital point of reference throughout the paper. Through the addition of an autoethnographic creative research approach, supported by thorough desktop research, I can outline the initiation of intimacy and community on TikTok, which begins with a moment of confession and continues when a second party validates this moment. Furthermore, I create and analyse my confessional TikTok series, ‘I want to talk to you, I want you to talk to me’, paying close attention to audience interaction experienced during this series as a means to a) reflect on the interpretation of intimacy and communitas through the lens of both a TikTok creator and viewer and b) determine the capacity of this kind of confessional performance on Tik Tok to successfully (or unsuccessfully) cultivate intimacy and communitas.Item The Monster in Disney’s Closet: Critiquing Queer Representation and Narrative in Luca(University of the Witwatersrand, Johannesburg, 2024) Wessels, Sasha Lyn Dominique; Wittstock, GillianQueer bodies in animation have been a topic for discussion in many academic papers – particularly in their portrayal in children’s films. They are either considered problematic in their portrayal or made to be invisible to the eye by being pushed into the background (Tieszen 2017:2). In particular, queer characters are typically found in two situations in the history of Disney’s animated feature films: Either a character is queercoded and made the villain of the story – linking villainy to queer bodies, or is found in an interaction where same-sex desire is hinted at or shown, but is quickly shut down by a joke of disgust or awkwardness (Tieszen 2017:7). This dissertation will analyse to what extent the recent Disney Pixar film Luca (Enrico Casarosa: 2021) can be considered a progressive and/or regressive feature film regarding queer representation within the history of the Disney franchise. Since the release of Luca (Enrico Casarosa: 2021), there have been multiple discussions about how this film has been queercoded and is potentially queerbait – as noted by scholar Kodi Maier (2021). This dissertation will discuss firstly, how Luca (Enrico Casarosa: 2021) has improved the representation of the villain through not queercoding Ercole Visconti (the antagonist). Following this, how they portray male-on-male relationships and whether or not Luca (Enrico Casarosa: 2021) can be perceived as a step forward. Thirdly, I will dive deep into the narrative’s plot points, highlighting how Luca (Enrico Casarosa: 2021) has a clear underlying queer narrative, and how certain characters can be perceived as queer bodies, thus making it a queer film. Finally, I will discuss whether or not Luca (Enrico Casarosa: 2021) can be labelled as queerbait, and highlighting the outcry that came from Luca (Enrico Casarosa: 2021) and how it showed the need for more queer representation. This paper will make use of a multimodal qualitative analysis in order to achieve the aim of this paper due to its many unique components: a discourse analysis will be used to discuss the broader prospects of this paper such as the history and current socialization of imagery and narratives alongside its influence on the public, whilst a semiotic analysis will help dive deeper into characters and how they are projected and/or represented.Item Towards a theatre of the fabulous - informed by a performative queer autoethnography on the stage of an all-boys’ school(University of the Witwatersrand, Johannesburg, 2024) Kotze, SophoclesAs a queer teacher who felt discomfort in the homogeneousness of a traditional heteronormative space of an all-boys’ school, in this research, I explore the extent to which a performative queer autoethnography can inform the creation of a Theatre of the Fabulous (an embodied queer pedagogy), what it could look like and how it could be used as a queer pedagogical tool in the classroom through which to identify heteronormative practices and, ultimately, move towards a space which is safe for queerness. My strategy was to draw on queer theory and thinking about queer pedagogical writing. I hypothesised that heteronormativity, patriarchal and colonial practices are evident in all- boys’ schools (Connell, 2000; Pollack, 2006; Sullivan, 1995) and that, as a queer teacher, my movements are made queer. I used performance as research (PaR) as a methodology, with performative writing, in this work. Deeply exploring the personal, theoretical and practitioner’s journey, and understanding the narration itself as performance as research, this research is structured through six acts and different scenes rather than the traditional chapters and sections. As a Dramatic Arts teacher, I am programmed to see “all the [world as] a stage, and all the men and women [sic] merely players”3 and my queer reality as a linear theatre text filled with plot and intrigue. This format allowed me to express myself, stylistically and typographically, through not only academic/scholarly reading and writing, but also through the inclusion of interesting quotes I came across in my journey towards a Theatre of the Fabulous, musings and asides about myItem Towards a theatre of the fabulous - informed by a performative queer autoethnography on the stage of an all-boys’ school(University of the Witwatersrand, Johannesburg, 2024) Kotze, Sophocles; Kumarswamy, Manola-GayatriAs a queer teacher who felt discomfort in the homogeneousness of a traditional heteronormative space of an all-boys’ school, in this research, I explore the extent to which a performative queer autoethnography can inform the creation of a Theatre of the Fabulous (an embodied queer pedagogy), what it could look like and how it could be used as a queer pedagogical tool in the classroom through which to identify heteronormative practices and, ultimately, move towards a space which is safe for queerness. My strategy was to draw on queer theory and thinking about queer pedagogical writing. I hypothesised that heteronormativity, patriarchal and colonial practices are evident in all- boys’ schools (Connell, 2000; Pollack, 2006; Sullivan, 1995) and that, as a queer teacher, my movements are made queer. I used performance as research (PaR) as a methodology, with performative writing, in this work. Deeply exploring the personal, theoretical and practitioner’s journey, and understanding the narration itself as performance as research, this research is structured through six acts and different scenes rather than the traditional chapters and sections. As a Dramatic Arts teacher, I am programmed to see “all the [world as] a stage, and all the men and women [sic] merely players”3 and my queer reality as a linear theatre text filled with plot and intrigue. This format allowed me to express myself, stylistically and typographically, through not only academic/scholarly reading and writing, but also through the inclusion of interesting quotes I came across in my journey towards a Theatre of the Fabulous, musings and asides about myItem A Qualitative Exploration of People Living with Chronic Pain in Rural South Africa(University of the Witwatersrand, Johannesburg, 2024) Ramoshai, Tebatso; Wadley, Antonia; Mulaudzi, MamakiriChronic pain is a highly prevalent global health concern. While much research has been conducted on the prevalence, treatment, and management of chronic pain, few studies have explored the experiences of people living with chronic pain, particularly in the South African context. This study aimed to explore and interpret how HIV-negative people living with chronic pain perceive their personal experiences with chronic pain and the impact it has on their lives. Part of a larger study that investigated the factors that influence the experience, daily activity, and disclosure of pain in people living with and without HIV in rural South Africa, this study conducted a qualitative exploration and interpretation of pre-collected interview data on a purposively selected sample of 16 HIV-negative individuals living with chronic pain from the Limpopo province of South Africa. Thematic analysis was used to analyse the data. Seven main themes emerged from the data: The nature of pain, participants’ typical physical activity, pain interference, disclosure of chronic pain, reactions to pain disclosure, benefits of disclosing pain, and social support. The findings suggest that for HIV-negative people living with chronic pain, the impact of pain is multidimensional. All participants experienced pain interferences; however, there was little to no difference in participants' physical activity levels regardless of interferences. The findings suggest that economic stressors may be an influential factor in how pain is experienced between any two pain cohorts, determining whether there will be a change in physical activity levels or not. Furthermore, contrary to previous concerns in a South African cohort with chronic pain, pain disclosure was high in this cohort; therefore, participants were able to recruit different types of social support from close others. This research, therefore, contributes to the qualitative knowledge of the relationships between pain, physical activity, and the seeking of social support by people living with chronic pain in a South African contextItem Machine Learning applied to Computational Creativity: The use of AI in Authoring Film Screenplays(University of the Witwatersrand, Johannesburg, 2024) Serapelo, Thuto; Whitcher, RaymondArtificial Intelligence, from the inception of the field in the 1950s, supported the notion of having computer software or programs that are capable of exhibiting creativity or applications that can execute tasks that are deemed to be creative. This research addresses the question: To what extent can Artificial Intelligence exhibit creativity in authoring film screenplays, as evaluated through a comparative analysis using the 90-point screenplay guideline? - This study delves into the nuances of film structure, plot, dialogue, character, emotion and narratology. The results revealed that although Artificial Intelligence is on par with human creativity when analysing some aspects of narratives/screenplays. It still lags in the other elements examined, and where AI produced superior work is when it worked in collaboration with a human screenwriter and did far worse when working entirely alone and unaided. This research offers insights into the broader implications of AI in the creative arts, indicating a promising yet complex future.Item Government Funding and its effects on the Private Sponsorship of Dance organizations in South Africa: The Case of Moving into Dance Mophatong and Vuyani Dance Theatre(University of the Witwatersrand, Johannesburg, 2024) Madyibi, Vuyolwethu; Mavhungu, JohannaThis thesis examines the dynamics between government funding and private sponsorship in South African dance non-profit organizations (NPOs), specifically Vuyani Dance Theatre (VDT) and Moving into Dance Mophatong (MIDM). Through a mixed-methods research design, it addresses the research question: "Does government funding crowd-out or crowd-in corporate sponsorships to dance NPOs?" evaluating the framework of crowding-out and crowding-in effects. The study integrates quantitative analysis of funding trends with qualitative insights from organizational leaders and stakeholders, providing a comprehensive view of the financial ecosystem that sustains these dance NPOs. The findings reveal a significant reliance on government funding, marked by substantial fluctuations that underline a precarious dependency for both VDT and MIDM. However, strategic management of these funds and efforts towards funding diversification and corporate engagement suggest a multifaceted interplay between government and private support. This challenges the simplistic binary of crowding effects, indicating instead that under certain strategic conditions, government funding can indeed attract additional private sponsorship. By highlighting the importance of strategic alignment, adaptability, and long-term planning, the thesis contributes to a deeper understanding of funding dynamics in the arts sector. It posits that government support, when strategically leveraged alongside diversified funding efforts, can foster a conducive environment for private sector engagement, thereby enhancing the sustainability and growth of dance NPOs.Item The role of Corporate Social Investment (CSI) programmes on developing small and medium enterprises (SMEs): The case of Sappi Southern Africa in the local communities of Umkomaas in the South Coast of KwaZulu Natal(University of the Witwatersrand, Johannesburg, 2024) Ntuli, Zandile Phindile; Dube, NkosiyaziAfrica. The government has called on corporations to help transform the country through Corporate Social Investment (CSI) to accelerate socioeconomic development. This study focused on CSI as part of a broader corporate social responsibility (CSR) framework. South Africa has seen significant growth in CSI, due in part to the implementation of the Black Economic Empowerment (BEE) Code of Good Practice, which requires businesses to contribute to the country's reconstruction efforts. As a result, many businesses have adopted social development strategies as part of their core business objectives. The small and medium enterprises (SMEs) economy is considered crucial to achieving some of the objectives for post- apartheid reconstruction and development, such as economic restructuring and alleviation of poverty. Given the slow growth of new job opportunities in large corporations, the developmental support of SMEs is viewed as a vital vehicle for generating employment. Using a qualitative approach, the study explored the role of CSI programmes in developing SMEs, with a focus on Sappi Southern Africa’s Saiccor mill in Umkomaas on the South Coast of KwaZulu Natal (KZN). A case study design was adopted to obtain in-depth information from participants concerning Sappi's CSI programmes. A semi-structured interview schedules was used as a research instrument, with one-on-one individual interviews used as a method of data collection. The study consisted of 12 purposively sampled participants. The findings revealed that the local community of Umkomaas benefited from the CSI programmes. The CSI programmes contributed positively to the development of local SMEs. In addition, the unemployed youth gained skills through the various skills development initiatives to become economically active. To tackle poverty, unemployment and inequality in South Africa, a renewed commitment from the various economic sectors is needed, notably the private sector with the influence and resources.Item Uhambo Lwabo: A Narrative Study of Black Dramatherapists’ Perspectives on the South African Drama Therapy Field(University of the Witwatersrand, Johannesburg, 2024) Shabangu, NobantuThe question of visibility as a representation gap in Drama Therapy underpins this research. Official department records show that approximately 80 percent of the total student cohort between 2014 to 2021 were women and of that percentage less than a third comprised of Black female students. According to Jones (2013), the “drama” part involves theatre, embodiment, and shamanistic qualities of performance, dance, ritual, and metaphor form part of the therapy process. As such, metaphor becomes a language for the exploration and expression of traumas, furthermore its power lies in interpretation for the means of psychoanalysis through psychodrama. Additionally, the practice is informed by classical psychology: the empirical scientific study of human cognition and behaviour. Linking back to metaphor, the research argues that despite the foundational underpinnings of the field, Drama Therapy relies on notions of the person that are still conditional to a universalising and standardized notion of the Human that make the practice of the field alienating. Similarly, Tamale (2020) articulates invisibilising as a present and exploitative by-product of colonialism still active in universities which are founded on coloniality and thus render Black bodies and their intellectual products invisible. Therefore, the research examines how dramatherapy is affected through invisibilisation and as such interrogates its complicity. Consequently, the research takes on an Afro-feminist onto-epistemological response. Five semi-structured interviews were conducted with Black women dramatherapists. Chapter 1 outlines the background of research as an outsider to the dramatherapy field and learning of the discipline from dialogues outsides of the institution thus forming my rationale. Chapter 2 is the literature review which reveals the trend of invisibilising Black students within psychology, dramatherapy foundations and the post-colonial conditions of becoming a dramatherapist. Chapter 3 summarises the methodology of narrative, the analysis method, and the role of being an insider- researcher and reflexivity. Chapter 4 presents the narratives and themes that signal to invisibilisation. Chapter 5 provides Black women dramatherapists perspectives in response and resistance to being invisibilised. Chapter 6 is the conclusion which surmises the composite implications of this research. The research demonstrated an enduring practice of invisibilising Black dramatherapy students through the low annual student intake. Secondly, that invisibilising takes place within the master’s year through teaching material and the role of clinical supervision. Lastly, the invisibilisation of Black dramatherapists extends into the profession within professional representative bodies as well as through department cultures.Item Hip hop and Narrative Therapy in Drama Therapy: An Exploration of the ways in which Hip hop in Narrative Form can be used to Address issues of Displacement, Foster Cohesion and Conscientize a Sense of Self in Urban Adolescents(University of the Witwatersrand, Johannesburg, 2024) Dlamini, Sanelisiwe; Busika, NonkululekoThis research explored how Hip hop therapy and narrative therapy within the drama therapy frame can be integrated for the purposes of a psychosocial intervention for adolescents in urban Johannesburg. The research was conducted with adolescents from Organisation X, ranging between the ages of 14-18 years. This research addressed issues of displacement, violence, xenophobia, social cohesion and self-awareness in the intervention. The research methodology used a qualitative approach that is practice-based and arts-based. The design included semi- structured interviews with the four care workers at organisation X, questionnaires and creative focus groups with ten selected adolescents. This was an eight-week intervention to investigate the various ways in which Hip hop and narrative therapy can be used in the drama therapy context to address psychosocial issues affecting the adolescents. The findings of the study reflect that self-esteem of more than half the participants increased during the course of the intervention, they grew a friendlier perception towards outsiders and their sense of belonging improved during the intervention.