4. Electronic Theses and Dissertations (ETDs) - Faculties submissions
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Item The Awakening: Makudlalwe. A study on how play awakens the inner child in black Indigenous African adults(University of the Witwatersrand, Johannesburg, 2024) Ncanana, Nomfundo InnocentiaOur inner child speaks to the stories of ourselves that we carry around either knowingly or unknowingly. These stories may come in many forms and this research aimed to awaken these early experiences through the method of play. Neuro-dramatic play is a frame of play in Drama Therapy that was used to frame the activity choices. The method of guided play was used as a container to carry out the neuro-dramatic play techniques. These methods also set a frame for understanding how the inner child can be awakened. A way to activate these memories is through using our bodies as a vessel that allows the flow of experience to take place. This is why play is an important element of this research as it assists us in traveling to and navigating that space in time, using our bodies. The colonized African child growing up under post-colonial times may have the experience and memory of being deprived of play due to colonial factors that include Apartheid, land displacement, and but not limited to slave labour. These colonial factors were introduced to hinder the black mind from remembering and consciously being aware of who they are. The system continues to serve those who are oppressors as play factors have not been clearly defined in the African context. This study investigates how the use of play in the context of Drama Therapy, can be used to awaken the inner child of the black Indigenous African adult.Item Ndim Lo, Masidlale: A critical exploration of the importance of culture and diversity in South African Drama Therapy spaces(University of the Witwatersrand, Johannesburg, 2024) Mkhize, MawandeThe Anglo-Saxon word “plega” is the concept of playing which means battle, fight, game, or sport (Weiskopf, 1982). In most cases play is believed to have a biological, cultural, and psychological function that is seen as essential to the development of a person from a young age (Cohen, 1987). The founder of psychoanalysis known as Freud describes play as having an important role in the emotional development in people, development that is seen to take place from their early years of life and throughout their lifespan (Johnson, Christie, & Yawkey, 1987). Johnson (1987) states that in relation to Freud's view that suggests that play has its place that takes place mainly in childhood and is abandoned in adulthood, in the name of one being too old for playing. Evidence shows that playfulness in both children as well as adults plays a role in personality characteristics essentially for mental health, imagination, and creativity (Johnson, et al, 1987). Research has shown (Cohen, 1987) that play is not just activities done for fun, but rather there is more to it, it goes as far as having influence on the growth and development of those who choose to partake in the process of play. People play in different ways, in most cases the environment(s) that they grew up in expose them to the way that they are familiar with or may prefer to engage. For instance, for the Black Indigenous community, indigenous games to many may seem more preferable than other methods of play because of their familiarity. According to Burnett and Hollander (2004) indigenous games are viewed as being recreational and characterized by organized play that follows a certain structure and works in accordance with the rules that those involved agreed on that reflect a socio-cultural dimension of reasoning and behaviour. The term indigenous has a strong connection to cultural and historical context (Burnett & Hollander, 2004: 11). Playing indigenous games has an influence on developing positive character traits from an early age by reinforcing African values such as cooperation, communication, strategy, and problem-solving abilities. In South Africa, there are various people with varying beliefs and cultures, these differences are part of what makes the country unique (Gibson, 2003). I believe that none of these matters more than others, and they are all part of what makes it special. People's stories are affected by these differences (Gibson, 2003), these stories can be told based on how they were raised and 6 | M . M k h i z e how they have experienced life. This study explores the various ways in which Black indigenous people engage with play, and ways in which it can be implemented in South African Drama Therapy spaces. Understanding the various forms and ranges of client experiences is very important in order to develop effective therapeutic skills (Elliot, 2008), this process can also help therapists improve their understanding of their clients.Item Mogaga: Play, Power and Purgation(University of the Witwatersrand, Johannesburg, 2023) Magogodi, Kgafela Golebane; Law-Viljoen, BronwynIn street parlance, or iscamto, mogaga refers to the face of confrontation. In Sekgatla, a dialect of Setswana, mogaga is a name for a potent plant used in rituals of “social purgation” (De Graft, 2002: 26-27). This study focuses on the element of go gagaola or the act of triggering mogaga through a fusion of poetic incantations,1 song, dance and “spirit embodiment” (Ajumeze, 2014: 78). Go gagaola, the act of activating mogaga, hinges on agit-prop-mechanics that enable the elimination of botheration or the purging of domination. Does ritual drama have the power to alter material conditions? This and other questions about play-making as a scaffold which holds up a combination of spiritual elevation and political rebellion drive this enquiry. How do we expel botheration using the power of play? As it appears, ritual drama and guerilla theatre have the same framework as acts of “spiritual realism” (Mahone, 2002: 270). Guerilla theatre, like ritual drama, is also a system of change. Plotting the adventures of Phokobje and Phiri, I have found great resources in spiritual traditions such as malopo/malombo of Bakgatla/Bapedi and VhaVenda as well abaNgoma of Ba-Nguni. Mapping the journeys of characters in Chilahaebolae led to unexpected forays into astronomy – bolepa dinaledi in Setswana. People’s Experimental Theatre, Malombo Jazz Makers, Dashiki, Mihlothi, Malopoets and others who accentuated the connection between ritual and rebellion. Through this enquiry I make an offering to the decolonial project and the community of scholars, artists, astronomers and iZangoma who have been silenced by the settler-colonial canon through epistemic violence, massacre, and incarceration. These musings about mogaga play-making recasts theatre as the locus of confrontation and a tool for purging botheration. Going beyond “the banal search for exoticism” (Fanon, 1967: 221), I trace the bloodline of resistance theatreItem The In & Between: Weaving social interaction through mixed-use development in Robertsha(University of the Witwatersrand, Johannesburg, 2024-02) Ashton, James; Jivan, SundeepCritically analysing the need for social interaction through communities. Robertsham is a location that contains a rich history dating back to 1948 when it was first established. The study focuses on the public park that splits the residential and industrial areas of Robertsham. The park was once a social interactive space for families within Robertsham and has now become a barren underutilised space. The design aims to include spaces that address an issue within each sector of Robertsham. A mixed-use development aided to serve the community as well as bring back the nature of the park with the main routes being social interaction, safety, and connection.