Electronic Theses and Dissertations (Masters)

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    The Monster in Disney’s Closet: Critiquing Queer Representation and Narrative in Luca
    (University of the Witwatersrand, Johannesburg, 2024) Wessels, Sasha Lyn Dominique; Wittstock, Gillian
    Queer 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.
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    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
    As 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 my
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    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-Gayatri
    As 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 my
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    Uhambo Lwabo: A Narrative Study of Black Dramatherapists’ Perspectives on the South African Drama Therapy Field
    (University of the Witwatersrand, Johannesburg, 2024) Shabangu, Nobantu
    The 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.
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    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, Nonkululeko
    This 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.
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    1,001 Arabian Slights: researching the visual representation of Arab Muslim people and themes through Orientalism in Disney’s Aladdin (1992) and then using this research to develop a progressive retelling of the story
    (University of the Witwatersrand, Johannesburg, 2024) Albertyn, Za’yaanah; Reid, Kirsten
    This paper aims to shed light onto the shadows cast by the creation of the animated characters and settings in Aladdin (1992), and questions how these depictions may have shaped perceptions and inadvertently perpetuated harmful stereotypes. By shedding light on these aspects, the paper contributes to a critical evaluation of the broader implications of animated content in shaping societal attitudes and reinforcing cultural stereotypes.
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    Exploring the efficacy of an audience-centred approach in establishing culturally sensitive art centres in Tshwane
    (University of the Witwatersrand, Johannesburg, 2024) Mahlangu, Thato; Desando, Marcus
    Newly established art centres based in cities are probed by cultural policy discourses to engage with the surrounding public audiences through curating relatable art exhibitions that are socially inclusive. An increasing number of visitors at the Javett Art Centre at the University of Pretoria are finding it difficult to interpret and relate to art exhibitions. This explorative case study explores the efficacy of integrating an audience-centred approach in art centres such as the Javett Art Centre at the University of Pretoria. The study determines whether exhibitions curated by this cultural institution are socially and culturally relatable and how they could potentially foster cultural democracy for visiting audiences. The case study employs a purposive sampling method comprising of Javett-UP representatives, art specialists and Javett-UP visitors involved in focus-group interviews and in-depth semi-structured interviews to determine whether the Javett-UP fosters cultural democracy. The research results prove how the relationship between audience engagement, cultural sensitivity and cultural democracy is premised on social and cultural capital. Additional research findings highlight the importance of these capitals in establishing audience perception. Finally, research findings support a stronger engagement with surrounding communities using a culturally sensitive lens that begins with understanding audience needs to create a mutually beneficial value proposition. This research argues that the use of a culturally sensitive lens when engaging with audiences in art centres informs the curation of relatable and engaging exhibitions that foster cultural democracy for audience living in cities.
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    Forum Theatre as a Form of Protest: A Practice-Based Investigation
    (University of the Witwatersrand, Johannesburg, 2024) Chetty, Teakshania; Bhebhe, Sibongile
    This study examines Forum Theatre's (FT) impact within the Fees Must Fall (FMF) movement in South Africa, highlighting its role in protest and social change. Findings show FT empowers participants, promotes understanding of systemic injustices, and fosters solidarity and innovative strategies for activism. The research advocates for further investigation into FT's effects, collaboration between FT practitioners and social movements, and increased support for FT initiatives. Ultimately, FT is presented as a vital tool for social activism, enabling mobilization, education, and empowerment.
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    Genre and Narrative in Adaptation: Romance in Heartstopper from comic to live-action series
    (University of the Witwatersrand, Johannesburg, 2024) Odura, Twumwaa; Geyser, Hanli; Randle, Oluwarotimi
    This dissertation examines the impact of romance genre conventions on a comic narrative through utilising Heartstopper by Alice Oseman as an instrumental bound case study. This will be done by utilising the five-step “Transmedial Analysis Framework”, as set out by Bruhn and Schirrmacher in “Transmediation”. Through analysing how the narrative of the source media object, the webcomic Heartstopper, was transmediated and changed into the version in the target source media object, the Heartstopper Netflix show, we can see how various romance genre conventions have shifted and remained consistent. Due to Oseman's strong presence within both versions of Heartstopper, it is easier to understand her contributions. In the second step, we see how the transmedial shifts were done in a way that increases the presence of the side characters within the narrative by utilising Thomas Leitch's adjustment strategies. By contextualising what changes and similarities between both versions of Heartstopper are present due to medium-specific necessity, the larger presence of side characters in the Netflix show can be understood through the necessity of television storytelling. Even with medium-specific changes, we see how those changes work to take advantage of romance conventions, particular teen romance conventions, when expanding on the narrative. Genres are also understood by an audience through a perceived sense of expectations, meaning the ways in which a media object is marketed plays a large role in how it will be understood. As Heartstopper is a queer romance narrative, it is important to take into account how the teen romance tropes reflect on its existence as a queer story and how the Netflix show increases the presence of other side characters that also have queer identities. 6
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    So, where to (So-we-to) with audiences? An explorative inquiry into audience development strategies at Soweto Theatre in the period 2019-2023
    (University of the Witwatersrand, Johannesburg, 2024) Mogotsi, Ratanang; Mavhungu, Johanna
    Theatre does not exist without an audience; it is imperative that theatre’s find new and innovative strategies that will develop audiences as the sector continues to face a drop in theatre attendance. Through a qualitative inquiry and Soweto Theatre as the case study, this research explores audience development strategies implemented at Soweto Theatre between 2019 and 2023. This period saw the biggest decline in theatre audiences across the theatre sector in South Africa and abroad due to the effects of the Covid-19 pandemic. The findings reveal the necessity of organisational restructuring, improved internal and external communication among the staff, clear task allocation and role management, as well as strategic management alignment in order to improve its audience development strategies. Storytelling is introduced as one of the key concepts to audience development. Storytelling integrates more process-related content into marketing initiatives such as social media which allows for audiences to get a taste of what to expect and to be a part of the storytelling process. Soweto Theatre, symbolises a catalyst for cultural democracy, fostering social cohesion and community empowerment. This research report concludes that digital platforms such as social media can be used to disseminate information, for outreach, arts education and cultural inclusion. Furthermore, nurturing young talent, and forging sustainable partnerships is pivotal in democratising the arts and cultivating a more inclusive cultural space. Collaboration among arts organisations and youth development programs across various theatres can further enrich experiences and heighten opportunities for emerging artists, contributing to the growth of audiences in South Africa's dynamic creative and cultural industries.