Wits School of Arts Drama for Life Master’s Research Proposal TEAKSHANIA CHETTY STUDENT NO: 2378472 RESEARCH TOPIC: Forum Theatre as a Form of Protest: A Practice-Based Investigation SUPERVISOR(S): Dr. Sibongile Bhebhe Research assignment submitted to the University of the Witwatersrand in partial fulfilment of requirements of B.A. (Masters) in the field of Applied Drama: Theatre in Education, Communities and Social Contexts. Master’s Coursework and Research Report i. Wits School of Arts Drama for Life Honours Research Essay Teakshania Chetty STUDENT NO: 2378472 RESEARCH TOPIC: Forum Theatre as a Form of Protest: A Practice-Based Investigation SUPERVISOR(S): Dr. Sibongile Bhebhe Declaration of Original Work I, Teakshania Chetty Student number: 2378472 know and accept that plagiarism (i.e., to use another’s work and to pretend that it is one’s own) is dishonest. Please confirm the following: I declare that the assignment entitled Forum Theatre as a Form of Protest: A Practice-Based Investigation. __________________________________________________________ and handed in on the date below is my own work. X I have acknowledged all direct quotations and paraphrased ideas. X I have provided a complete, alphabetised reference list, as required by the APA method of referencing (described in the Referencing Handbook). X I have not allowed, and will not allow, anyone to copy my work with the intention of passing it off as his or her own work. X I understand that the University of the Witwatersrand will take disciplinary action against me if evidence suggests that this is not my own unaided work or that I failed to acknowledge the source of the ideas or words in my writing X Did you use AI? X Yes  No If yes, please fill in the following statement: During the preparation of this work, I used (name of AI tool/platform) _Chat Gpt ____________________________________________ in order to (provide reason/s) editing __________________________ _________________________________________________________. After using this/these tool/s or platform/s, I reviewed and edited the content as needed and take full responsibility for the content of my work. Signed: ____________________________ Date: 10 September 2024 Course code: WSOA 7087A Lecturer / Tutor: Dr. Sibongile Bhebhe iii Acknowledgements I extend my deepest gratitude to Dr. Sibongile Bhebhe for her unparalleled dedication, inspiration, and guidance throughout this journey. Dr. Bhebhe’s profound understanding, unwavering honesty, and steadfast commitment have been the bedrock of my academic and personal growth. Her mentorship has been a beacon of light, guiding me through challenges and encouraging me to explore new horizons with courage and curiosity. I am profoundly thankful for the freedom she has given me to shed old layers, relearn with an open heart, and plant new seeds of knowledge and understanding. These seeds, nurtured by her wisdom and care, are destined to grow into a robust and enduring tree of life, symbolizing the lasting impact of her guidance on my path. Dr. Bhebhe, thank you for educating me, for challenging me to think deeper, and for your unwavering support in my quest for knowledge. Your influence extends far beyond the confines of academia, inspiring a journey of continuous learning and growth. To Shantha Balakrishna, my mother, your strength, resilience, love, guidance, and passion for making a change in the world have profoundly shaped me. The qualities you embody and the lessons you’ve imparted are the foundation of my being and my aspirations. This research is a tribute to you, a reflection of the impact you’ve made on me, shaping me into the woman I am today and guiding me toward the woman I aspire to be. Your unwavering support and belief in my potential have been my guiding light, inspiring me to pursue my passions and contribute to the world in meaningful ways. Thank you for being my hero, my mentor, and my greatest supporter. Your influence resonates in every step I take, and this achievement is as much yours as it is mine. iv Table of Contents Abstract .......................................................................................................... i Note on Abbreviations .................................................................................... i Chapter 1: Introduction ................................................................................. 1 1.1 Background on the Study ................................................................... 2-6 1.2 Research Questions ............................................................................ 6 1.3 Aim and Objectives ............................................................................ 6 1.4 Literature Review .............................................................................. 6-10 1.5 Theoretical Framework ..................................................................... 10-13 Chapter 2: Literature Review ........................................................................ 14 2.0 Introduction ....................................................................................... 14-17 2.1 Conclusion ......................................................................................... 17 Chapter 3: Methodology .............................................................................. 18 3.1 Introduction ....................................................................................... 18 3.2 The Methodological Underpinnings of Practice as Research ............. 18-21 3.2.1 How PaR is Carried out Practically .................................................. 22-24 3.3 Steps in the Research Process ........................................................... 25-32 3.4 Conclusion ......................................................................................... 32 Chapter 4: The Spect-acting Protester .......................................................... 33 4.0 Introduction ....................................................................................... 34 4.1 Unpacking Spect-Acting .................................................................... 34-37 4.1.1 How does the FT Spectator Become a Protester? ............................. 37-38 4.1.2 Engagement with the FMF Campaign .............................................. 38 4.1.3 Engagement with FMF and Introduction of Placards ......................... 38 4.1.4 Invitation to Intervene ...................................................................... 38 4.1.5 Active Participation and Exploration of Solutions ............................ 38 4.1.6 The Symbolic March down Wits Corner Stairs ................................. 38-39 4.1.7 Collective Dialogue and Empowerment ............................................ 39 4.1.8 Mobilization Beyond the Performance ............................................. 39 4.1.9 The Victory of the Spect-actor ......................................................... 39 4.2 Conclusion ......................................................................................... 39 Chapter 5: Engaging in Protest through Forum Theatre ............................... 39 5.1 A Revisit on the Elements of Protest .................................................. 39 5.2 Outcomes and Impacts of Forum Theatre on Protest ......................... 39-40 5.2.1 Awareness and Education ........................................................... 40 5.2.2 Dialogue and Reflection ............................................................. 41 5.2.3 Solidarity and Community Building ............................................. 41 5.2.4 Social Change ............................................................................ 41 5.2.5 Empathy and Healing ................................................................. 41-42 5.3 The Impact of Forum Theatre on the FMF Movement: A Critical Perspective .... 42 5.4 Intersecting Elements: Forum Theatre and the Dynamics of Protest ....... 42-44 5.5 Conclusion ......................................................................................... 44 Chapter 6: Conclusion .................................................................................. 45 6.1 General Conclusion ............................................................................ 45 6.2 Summary of Findings ......................................................................... 45 6.3 Limitations ......................................................................................... 45-46 6.4 Recommendations .............................................................................. 46 Reference List .............................................................................................. 47-48 Abstract 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. Note on Abbreviations 1. FMF - Fees Must Fall 2. FT- Forum Theatre 3. TO - Theatre of the Oppressed 4. PaR - Practice as Research i 2 Title: Forum Theatre as a Form of Protest: A Practice-Based Investigation Background on the study: The use of art and creative expression as vehicles for social change has been a hallmark of human history, with art serving as a powerful means to voice dissent, challenge set-up norms, and catalyse transformative societal shifts. In this context, Forum Theatre is a distinctive tool for modern protests, and this master's study aims to explore its untapped potential through comprehensive practice-based research. In this context, FT is an interactive theatrical approach developed by Augusto Boal, involving audiences in scenes depicting oppression. Spectators become participants, offering solutions, and engaging in dialogue to explore social issues and potential transformations. In recent decades, global socio-political landscapes have seen the rise of many protest movements looking to address diverse concerns, ranging from human rights and environmental issues to socioeconomic inequalities and systemic injustices. The FMF movement emerged in response to increasing tuition expenses and educational inequalities, showcasing how collective action effectively promotes dialogue and drives change within both academic institutions and broader society. While traditional forms of protest, such as rallies and demonstrations, continue to be central to activist strategies, there exists a notable gap in scholarly exploration of innovative and creative avenues for protest. FT, pioneered by Augusto Boal, has the potential to offer an alternative approach, fostering a platform for dialogue, empathy, and transformative engagement. Despite its clear promise, the application of FT as a form of protest stays an underrepresented area of investigation within both theatrical studies and protest literature. The FMF movement, which started in South Africa's higher education sector in 2015, is a notable socio-political protest advocating for accessible education by demanding reduced or eliminated tuition fees. Central to the efficacy of FT as a form of protest is its ability to help open dialogue among participants. This resonates with the ethos of movements like FMF, which emphasize the importance of diverse voices, shared experiences, and collaborative problem-solving. By structuring the research within the backdrop of FMF, this investigation aims to explore how FT can amplify the movement’s call for inclusivity, democratic engagement, and grassroots mobilization. My study aspires to contribute significantly to the fields of both theatre studies and social activism. By rigorously investigating FT as a form of protest, the research looks to shed light on its potential to inspire meaningful change, bridge societal divides, and reimagine the dynamics between art and activism. The findings may provide practitioners, educators, and activists with valuable insights into harnessing the creative arts as tools for promoting social justice, thereby expanding the repertoire of effective protest strategies. In essence, this practice-based investigation intends to explore how FT, with its interactive and dialogic nature, can serve as a compelling and innovative form of protest within the context of the FMF movement. By engaging with this uncharted territory, the research aims to contribute to a deeper understanding of the interplay between artistic expression and social change, while offering a potential avenue for enhancing the impact of contemporary protest movements. The drive to examine Forum Theatre (FT) as protest stems from apartheid's lasting injustices, especially in education. The 1976 Soweto protests against Afrikaans highlight this ongoing struggle. Despite post-1994 liberation, inequities persist, notably in rising student fees that sparked the 2015 Fees Must Fall movement. This context, rooted in apartheid's legacy since 1948, underscores the urgency of exploring FT's potential as an effective protest tool in contemporary South Africa's sociopolitical landscape. 3 The FMF movement is a significant socio-political protest movement that appeared in South Africa, primarily within the higher education sector. It gained prominence in 2015 and has since been a rallying cry for students and activists advocating for accessible and affordable education for all. The movement’s name, FMF succinctly encapsulates its central demand: a reduction in, or complete elimination of, tuition fees for higher education institutions. The FMF Campaign, which unfolded in the realm of higher education, stands as a resonant emblem of contemporary socio-political activism. Against the backdrop of escalating tuition fees and systemic inequalities, this movement underscored the potency of collective action in challenging established norms and advocating for change. By situating the investigation within the context of the FMF Campaign, the study aims to unravel how FT can intersect with and contribute to modern protest endeavours. It seems no wonder that the movement originated from dissatisfaction with rising university costs, imposing financial strain on students and families. South Africa's legacy of apartheid and social inequalities worsened the problem, further restricting education access for marginalized communities. The integration of Forum Theatre (FT) into the Fees Must Fall (FMF) movement represents a pivotal evolution in South African theatre, transitioning from cultural expression to a potent tool for activism and societal change. Early developments from 1945 to 1962, including the establishment of formal theatre studies and the National Theatre Organisation, laid the groundwork for theatre’s role in societal dialogue, despite criticisms of its initial focus on white audiences. The period of political awakening between 1970 and 1985 further highlighted theatre’s capacity for protest and education, mobilizing communities and shifting public consciousness, even as sceptics questioned its tangible impact on political change. The post-apartheid focuses on reconciliation and healing through theatre underscored its ability to address societal wounds, demonstrating FT’s substantial social impact beyond symbolic efforts. The dynamic alliance between FMF and FT challenges the perception of theatre as merely performative, showcasing its transformative potential in amplifying voices, engaging participants in problem-solving, and mobilizing action. This evolution from entertainment to a vital tool for resistance and dialogue underscores the indispensable role of theatre in envisioning a more equitable society, affirming its critical place in activism. I will use Practice as Research (PaR) as my method of research. Following Robin Nelson’s four stages of research practice: which are: i) Engagement with Artistic Practice: This phase entails direct involvement in the artistic process, acknowledging the unspoken, physical, and instinctive knowledge practitioners acquire through their creative endeavours. For Forum Theatre, this would involve active participation in and facilitation of sessions to gain firsthand experience, recognizing practitioners' distinct insights derived from their artistic engagement. This stage also involves introspective analysis, delving deeply into practitioners' choices, actions, and decisions. ii) Critical Analysis: Researchers are encouraged to scrutinize assumptions, evaluate their practices' efficacy, and explore how their creative work aligns with broader theoretical frameworks. In the context of Forum Theatre, this might encompass studying participant interactions, intervention outcomes, and the role of the "Joker" in guiding the process. iii) Conceptual Contextualization: This phase involves placing the artistic practice within a wider theoretical and conceptual landscape. Researchers use existing knowledge, theories, and academic literature to enrich their understanding of their work, exploring connections between their artistic endeavours and larger socio-cultural, historical, and philosophical contexts. In the case of Forum Theatre, this could involve examining intersections between theatrical performance, activism, and societal change, drawing insights from the Theatre of the Oppressed field. iv) Audience Impact: The final 4 stage concentrates on how the artistic practice affects its intended audience or participants. It examines how the practice is perceived, interpreted, and understood by those engaged with it. For Forum Theatre, audience research may involve seeing and analysing the responses, insights, and transformations of participants involved in interactive performances, underscoring the relational dimension of artistic practice and its resonance with the audience. (Nelson, 2013) Overall, I acknowledge that Nelson’s four stages of practice supply a structured approach for artists and researchers to engage in a holistic exploration of their creative work, moving from embodied knowledge to critical analysis, conceptual grounding, and a deeper understanding of audience reception. This framework encourages a dynamic and iterative process that fosters rich insights and contributes to the advancement of both artistic practice and scholarly inquiry. The intricate relationship between art, activism, and societal change has been a subject of profound scholarly inquiry. In this pursuit, FT appears as a compelling avenue that calls for meticulous examination. The confluence of FT and the backdrop of the FMF Campaign offers a unique terrain for investigating the potential of this participatory theatrical form as a means of protest. This study aspires to delve into the praxis of FT, exploring its role in shaping perceptions, fostering active engagement, and potentially catalysing transformative societal shifts. The central aim of this research is to explore the extent to which FT can function as a distinctive form of protest within the dynamics of the FMF Campaign. Through a nuanced investigation, I intend to uncover participants’ feelings, experiences, and embodiment of protest in the year 2023, centring on the thematic underpinnings of the FMF movement. This inquiry is motivated by first-hand observations of FT’s potential to galvanize collective action by facilitating discussions on oppression, thereby potentially paving the way for protests. Employing a practice-based research methodology, this study will embrace the immersive praxis of FT. By orchestrating FT workshops and performances, I seek to gauge the influence and progress that this form of artistic expression may wield within the realm of protests. One of the paramount inquiries revolves around whether FT has the potential to challenge the mentalities of both oppressors and the oppressed, potentially leading to a shift in their perspectives and fostering a pathway toward liberation. This level of investigation holds promise in several domains. It is poised to enrich the discourse surrounding the intersection of art and activism, particularly within the context of contemporary protest movements. Moreover, the findings may shed light on the evolving dynamics of liberation and transformation in post-apartheid South Africa, uncovering how society has imbibed lessons from preceding generations. Furthermore, the study may underscore FT’s capacity to galvanize meaningful dialogue and potentially foster transformative change within the crucible of protests, potentially offering a fresh lens through which to perceive protest’s multifaceted dimensions. Effective knowledge dissemination thrives on interactive reciprocity, mirroring life’s call-and-response mechanism. Guided by this principle, my study delves into FT’s praxis, where engagement, questioning, and transformation converge. Practice as Research underscores the performative and embodied nature of participant responses, a cornerstone for my exploration. FT, with its focus on proactive problem-solving through audience involvement, stands juxtaposed with protests, primarily designed for raising awareness. The research targets participants aged 18 and above from diverse segments of Johannesburg, connected by their exposure to FMF or protest experiences. There will be 5 participants, namely three men and two women. I believe that five people are sufficient to hold and handle the practice itself. 5 This cohort unveils the nuanced interplay between FT and protest, revealing their collective impact on perceptions and actions. This research thus unravels FT’s potential as a catalytic platform, intertwining with protest dynamics to shape agency and societal change. In his seminal work "Pedagogy of the Oppressed" (1970), Paulo Freire passionately addresses the harrowing phenomenon of dehumanization. He uncompromisingly asserts that the corrosive forces of injustice, exploitation, and oppression can systematically reduce individuals to mere objects, eroding their very humanity. Paulo Freire’s “Pedagogy of the Oppressed” (1970) passionately addresses the dehumanizing effects of injustice, exploitation, and oppression. He asserts that these corrosive forces can strip individuals of their humanity and agency. His work serves as a guide for the oppressed, empowering them to rise against their subjugation, reclaim their humanity, and achieve full humanization. Freire emphasizes that understanding humanization is the crucial first step for the oppressed to rebuild their identities and regain agency. This foundational knowledge unites individuals in their collective pursuit of selfhood and rightful place in the human narrative. Freire’s work embodies empathy and a commitment to justice, showcasing the resilience of the human spirit and the potential for liberation even in the face of dehumanization. FT, as a form of protest, aligns with Freire’s ideas. FT allows participants to engage with oppressive systems and roles, seeking transformative change. It provides a platform for the oppressed to collectively explore their experiences and envision alternatives. Just as Freire emphasizes the acquisition of knowledge as a vital step toward liberation, FT promotes awareness and critical thinking. It encourages participants to deconstruct oppressive narratives and collaborate in reshaping their realities, aligning with Freire’s vision of empowered, humanized individuals. I believe that FT operates as a mechanism of protest, endowing both individuals and communities with the capability to challenge and reform systems of social oppression. It offers a realm for dialogue and introspection, enabling the exploration of varying viewpoints and potential resolutions. This interactive endeavour propels us toward the cultivation of a more equitable society. The continued utilization of theatre as a tool of protest holds paramount importance in instigating constructive transformation. As participants engage with the thematic content of performances, they acquire the competencies, assurance, and mindfulness requisite for combating oppression within their contexts. This cooperative process engenders a sentiment of communal cohesion, unity, and collective accountability in the face of adversity and the pursuit of change. This study will be guided by a cohort of influential theorists and practitioners, including Augusto Boal (Theatre of the Oppressed) and Paulo Freire (Pedagogy of the Oppressed), as well as Ashwin Desai, Mady Schutzman, Jan Cohen-Cruz, Temple Hauptfleish and Dr Sibongile Bhebhe. Notably, Augusto Boal, a distinguished Brazilian theatre practitioner, introduced FT as an integral component of his comprehensive “Theatre of the Oppressed” framework. The Theatre of the Oppressed is a series of interactive, participatory, and community-based techniques of theatre that aims to empower individuals and communities to challenge and change oppressive social systems. No pedagogy which is truly liberating can remain distant from the oppressed by treating them as unfortunate and by presenting their emulation models from among the oppressors. The oppressed must be their example in the struggle for their redemption (Freire, 1970:54) Theatre of the Oppressed (TO), developed by Augusto Boal, pays homage to Freire’s Pedagogy of the Oppressed. Freire referred to the process of poor and exploited people learning to conduct their analysis of their social, political, and economic reality as conscientization. This enables them to take action against their oppression. 6 Research Rationale This study investigates the use of Forum Theatre (FT) within the “Fees Must Fall” movement, aiming to address a significant gap in the existing literature on performance arts as a tool for protest and social change in South Africa. Although Forum Theatre has been widely recognized for its applications in conflict resolution, community engagement, and educational settings, its role in student-led protests remains underexplored. The "Fees Must Fall" movement, a pivotal event in South Africa’s recent history, provides a unique context in which to examine the potential of Forum Theatre to mobilize, empower, and give voice to participants within a politically charged environment. While previous research has focused on the educational and social benefits of Forum Theatre, there is a distinct lack of studies examining its effectiveness as a form of protest and its impact on the collective identities of those involved. This research seeks to bridge this gap by exploring how Forum Theatre was utilized during the “Fees Must Fall” protests to articulate the frustrations, demands, and aspirations of the student body. The findings from this study are expected to contribute to the broader discourse on the intersection of performance, activism, and socio-political movements, offering insights that are valuable to both scholars and practitioners in the fields of applied theatre and social change. Research Questions: 1. Is Forum Theatre a form of protest? If so, in what ways and to what extent can it be used within the style of protest? 2. From practice-based research, what arguments can we set forth to say Forum Theatre is a form of protest? 3. Using the backdrop of the ‘Fees Must Fall’ campaign what roles does Forum Theatre play as a form of protest? 4. Are there elements of protest in Forum Theatre? If so, what are they? Aim and Objectives: This research endeavours to investigate the role of FT as a potent form of protest. The study’s overarching aim is to delve into how protest manifests as a multifaceted expression encompassing social, political, and economic dimensions, particularly within the context of FT. By engaging in a collaborative exploration with participants aged 18 years and older, primarily drawn from the youth demographic who have first-hand experience with economic injustices within educational institutions and active involvement in the FMF Campaign, this study aspires to unravel the intricate interplay between FT and protest. Objectives: My study seeks to unravel the nuanced ways in which protest finds articulation through FT, encompassing its diverse social, political, and economic dimensions. Practice-Based Exploration Through employing a practice-based approach, the research aims to delve into the TO process, utilizing tools such as Theatre of the Oppressed game, Image Theatre and positioning FT as a main technique of investigation in this research FT endeavours to uncover the multifaceted roles it assumes as a distinct form of protest. It seeks to understand how FT serves as a platform for active expression and collective engagement in challenging oppressive systems. This will be achieved through various workshops and rehearsals that will explore the subject under study. This exploration seeks to cast a comprehensive spotlight on FT’s distinctive role as a form of protest, thereby advancing our understanding of its potential to foster socio-political change and contribute to a more just and equitable society. Through a praxis-driven methodology, this study endeavours to 7 unearth the intricate dynamics that characterize FT within the landscape of protest, ultimately substantiating the contention that FT is indeed a poignant and efficacious form of protest. Literature Review: This research is underpinned by a profound acknowledgement of those who have illuminated my path, nurturing my growth within the realm of discovery. A constellation of influential figures, including Mady Schutzman, Jan Cohen-Cruz, Steve Biko, Temple Hauptfleish and Adrian Jackson, form the guiding constellations shaping the trajectory of this study. As I embark on this intellectual voyage, I am acutely aware of the insights, wisdom, and transformative perspectives that these luminaries offer. Central to this explorative odyssey is the indelible imprint of Steve Biko, a luminary within the landscape of anti-apartheid activism. Steve Biko’s legacy as a trailblazing South African antiapartheid activist resonates vibrantly through history and in this study. As the founder of the Black Consciousness Movement, Biko kindled the flames of empowerment and self-awareness, forging a profound shift in the battle against systemic oppression. His instrumental role in co-founding the South African Students’ Organization and the Black People’s Convention during the 1960s and 1970s heralded a watershed moment in the trajectory of social change. Tragically, Biko’s unwavering dedication to justice and equality led to his martyrdom. On September 12, 1977, he succumbed to injuries sustained while under police custody—a poignant testament to his unyielding commitment to the struggle. Biko’s enduring impact endows him with a legacy that extends beyond his mortal years, steadfastly etching his name as a symbol of Black nationalism and resilience. I must admit that I am very proud that my mother, a political activist in her own right chose the 12 September to be my birthday, in remembrance and honour of Steve Biko. The most potent weapon in the hands of the oppressor is the mind of the oppressed. (Biko, n.d) This quote reflects Biko’s belief in the importance of challenging not only the physical manifestations of oppression but also the mental and psychological aspects. Biko emphasized the need for a shift in consciousness, empowerment, and self-awareness as crucial elements of effective protest against systemic injustice and oppression. While this quote doesn’t explicitly use the word “protest,” it encapsulates Biko’s overarching philosophy that the struggle for liberation and equality requires a fundamental transformation of mindset—a form of protest the deeply ingrained structures of oppression. In the realm of protest, Biko’s voice reverberates with timeless significance. His incisive perspectives on protest illuminate the essence of collective action. While the specific quote remains a harbinger of enlightenment, Biko’s overarching philosophy encapsulates the idea that protest transcends the boundaries of physical demonstration, infiltrating the realm of consciousness. His profound articulation serves as a beacon, guiding us toward a nuanced comprehension of protest as a multifaceted tool for societal transformation. Mady Schutzman and Jan Cohen - Cruz (1994) might express the excellence of FT in its ability to empower marginalized communities, saying that: Forum Theatre serves as a dynamic platform for communities to not only voice their concerns but also collectively shape narratives of change, fostering a participatory space where transformation is sparked by the very individuals who inhabit the stories. (Schutzman and Cohen- Cruz 1994) Schutzman and Cohen- Cruz believed that while FT can provide a platform for marginalized voices to be heard and engage in dialogues about oppression, I think it runs the risk of oversimplifying complex 8 social issues. The theatrical nature of the medium might inadvertently prioritize performance over substance, leading to superficial discussions that do not delve into the structural, systemic causes of oppression. In some cases, FT might even perpetuate the illusion of progress by offering a temporary catharsis for participants without necessarily translating into meaningful real-world change. To truly address oppression, it is crucial to complement FT with concrete, strategic activism that tackles the underlying power dynamics and policy issues. Otherwise, it can become a performative and selfindulgent exercise that does not produce a substantial impact beyond the theatre space. Adrian Jackson, the artistic director of Cardboard Citizens, a theatre company that works with homeless people, has written about the use of FT to provoke intervention from audiences. In his book “The Applied Theatre Reader,” he writes: At best Forum Theatre retains the subversive intentions of its origins, as a counterweight to the standard power relations obtained in the theatre context and, by extension, in the society which supports that theatre. However, on both occasions, the work succeeded in provoking quite extreme reactions, and indeed interventions, from members of the audience. A considerable preoccupation of mine since then has been how to provoke and seduce meaningful intervention from audiences – and how sometimes one sees Forum Theatre in which intervention is solicited (or even begged) for all the wrong reasons and by all the wrong methods. (Jackson: 9) While Adrian Jackson’s perspective on the use of FT to provoke intervention from audiences has its merits, there are also grounds for a critical disagreement. The approach to provoking intervention can be seen as both a strength and a potential weakness of FT, and here’s a critical viewpoint on this matter. While Jackson’s intention to provoke intervention and engagement from audiences is noble and aligns with the transformative potential of applied theatre, there are concerns about the potential pitfalls of actively asking for or even “begging” for intervention. This approach might risk compromising the authenticity and spontaneity of audience responses. Genuine interventions should stem from a sincere connection to the issues presented and a personal desire to engage, rather than being prompted by external pressures. Furthermore, the focus on deliberately eliciting extreme reactions and interventions may divert attention from the primary purpose of FT, which is to encourage critical reflection, dialogue, and problem-solving. The emphasis on provocation could lead to sensationalism and distraction from the underlying socio-political issues that FT seeks to address. Additionally, the idea of “meaningful intervention” might be subjective and complex. What is considered meaningful can vary greatly based on individual perspectives and experiences. While asking for intervention may yield immediate visible responses, it might not necessarily lead to deeper and lasting societal change. The true power of FT lies in its ability to facilitate genuine dialogue and collective exploration of alternatives, rather than focusing solely on immediate and perhaps superficial reactions. In essence, while Adrian Jackson’s approach highlights the importance of engaging audiences and evoking responses, there is room for criticism in terms of the potential consequences of actively seeking interventions for the sake of provocation. Balancing the desire for meaningful audience engagement with the integrity of the artistic and transformative process is crucial in the realm of applied theatre like FT. The statement by Adrian Jackson about provoking interventions from audiences in FT could potentially restrain the roles that FT plays as a form of protest, especially when using the FMF movement as a backdrop. Here’s how this perspective might impact the roles of FT within this context in my opinion: 9 FT should focus on sensationalism over substance and if the primary goal of FT is to provoke extreme reactions and interventions from the audience, there is a risk that the focus might shift towards creating dramatic and sensationalist moments rather than fostering deeper understanding and critical reflection. In the context of the FMF movement, this could overshadow the real issues of institutional racism, inequality, and the struggles of students. Superficial Engagement involves actively soliciting interventions for the sake of provocation might lead to superficial engagement from the audience. Instead of genuinely empathizing with the challenges faced by students and understanding the complexities of the movement, audience members might react impulsively without fully grasping the nuances of the issues. Neglecting collaborative solutions in FT’s strength lies in its ability to encourage collective problem-solving and dialogue. However, if interventions are prioritized over collaborative solutions, the potential for finding sustainable and actionable resolutions within the context of the FMF movement could be limited. Undermining grassroots empowerment The FMF movement is rooted in grassroots activism and empowerment. An approach that seeks to elicit interventions for the wrong reasons or by the wrong methods might overshadow the voices and agency of the actual participants in the movement. This could in my opinion inadvertently undermine the authenticity and impact of FT as a form of protest. The distraction from structural change that FT has the potential to ignite discussions about broader societal structures and systemic issues. An emphasis on provocation for its own sake might distract from addressing the deeper structural changes needed to address the root causes of the FMF movement and similar protests. While Adrian Jackson’s perspective on provoking interventions from audiences has its merits in certain contexts, I think it could potentially limit the effectiveness and roles of FT as a form of protest, especially when applied to movements like FMF. The movement’s complexities and the need for nuanced understanding and meaningful dialogue could be overshadowed by an approach that prioritizes immediate reactions and interventions. Boal (1970: n,d ) states: Forum Theatre is an interactive form of community-based theatre that empowers marginalized groups to challenge oppressive systems. Key aspects include: 1. Empowerment: Allowing marginalized voices to express and envision change collectively. 2. Spect-actors: The audience becomes active participants, solving problems on stage. 3. Oppression: Focusing on systemic marginalization like racism or sexism. 4. Simultaneity: Scenes unfold together, enabling intervention to alter outcomes. 5. Rehearsal for reality: Preparing participants to confront oppression in real life. 6. Intervention: The audience interrupts to suggest alternatives, promoting critical thinking. 7. The Joker: Neutral facilitator ensures a safe, supportive environment. 8. Reflection: Discussion after interventions encourages critical thought and learning. 9. Flexibility: Adaptable to various contexts and issues, tailored to participants. 10. Collaboration: Relies on active engagement, fostering community and shared responsibility for change. 10 I could argue that while FT may share certain elements with traditional protest movements, it’s important to question whether its impact can truly match the scale and urgency of real-world protests. While FT provides a controlled and artistic environment for exploring social issues, it might not generate the same level of public attention, disruption, or policy change as large-scale street protests. The concept of “spect-actors” participating in a theatre performance, while engaging, could also be seen as a diluted form of activism compared to the bold and often risky actions taken in protests. While FT may raise awareness and promote dialogue, its ability to directly challenge oppressive systems and effect tangible change remains questionable when compared to the historical and societal impact of traditional protest movements. I concur with Bhebhe’s (2013) assertion that participation in FT begins with understanding the body. However, it’s worth delving deeper into the implications and significance of this initial step. By aligning with Bhebhe’s perspective, we acknowledge the foundational role of bodily awareness in the FT process. This recognition highlights the fundamental connection between physicality and empowerment in confronting oppression. In essence, knowing the body serves as the crucial groundwork upon which the subsequent stages of expression, language, and discourse are built. This acknowledgement not only validates Bhebhe’s findings but also underscores the transformative potential that Forum Theatre holds in fostering active resistance against oppressive forces through embodied spect-actorship. Central to Bhebhe’s (2013) study on FT is the Joker (who is the facilitator in FT). The Jokers role aligns with the empowerment of the spectators’ empowerment. This perspective according to Boal (1970), the Joker and spect-actors function to combat oppression through embodiment. The process consists of four sequential stages: understanding the body, expressing the body, employing theatre as language, and advancing to theatre as discourse. The various stages eventually lead to the exploration of solutions and multiple viewpoints, all under the guidance of the Joker. I fully agree with Bhebhe’s assertion that the first focus on understanding the body in FT is of paramount significance. However, it is imperative to delve deeper into the nuanced implications of this foundational step rather than merely acknowledging agreement on the surface. By examining how this initial bodily awareness informs and shapes subsequent stages, we can more comprehensively appreciate the pivotal role it plays in cultivating the transformative potential of FT. Between 1945 and 1962, South African theatre evolved from literary focus to a diverse, professional industry, marked by the 1947 establishment of the National Theatre Organisation and the start of university theatre studies. This period, part of five critical phases in South African theatre history from 1925 to 1999, saw the growth of politicized theatre, the rise of applied theatre practices, and the development of a theatre research community. It laid the groundwork for theatre’s role in addressing social issues and exploring identity, amidst debates on recognizing creative output as research. This evolution reflects theatre’s increasing engagement with South Africa’s socio-political landscape, particularly its contribution to the liberation struggle and post-apartheid reconciliation. (Hauptfleish, 2010) Theoretical Framework: This research proposal is grounded in a theoretical framework encompassing the profound insights of esteemed theorists: Paulo Freire, Augusto Boal, and Ashwin Desai. Their contributions form the foundation upon which this study seeks to explore the transformative potential of FT as a form of protest oppressive systems. Paulo Freire’s Pedagogy of the Oppressed (1970) serves as a cornerstone for understanding the dynamics of dehumanization. Freire’s framework unveils the harrowing consequences of injustice, exploitation, and oppression, resulting in the objectification of individuals. At its core, the Pedagogy 11 of the Oppressed seeks to ignite a reclamation of humanity among the oppressed. Freire charts a path towards this reclamation by advocating for knowledge acquisition as a potent tool. He asserts that the journey to reclaiming lost humanity begins with an intimate understanding of the very concept of humanization itself. Augusto Boal’s Theatre of the Oppressed augments the theoretical underpinning by providing a transformative platform for marginalized voices. Boal’s methodology empowers individuals and communities to engage actively in challenging and reshaping oppressive societal structures. Central to his approach is the concept of “spect-actors,” participants who transcend passive observation to become active agents of change. Boal’s framework aligns with the essence of protest, fostering critical dialogue, reflection, and intervention. Ashwin Desai’s (2016), a South African sociologist “Protest Nation” theory developed by highlights how protest is deeply ingrained in South Africa’s history and society due to colonization, apartheid, and ongoing struggles for justice. It emphasizes grassroots movements, labour unions, and social justice campaigns as integral to a culture of protest. This theory underscores how protest in South Africa goes beyond grievances, shaping the nation’s identity and fight for transformation. Spectacle over substance critics might argue that both "Protest Nation" and FT prioritize spectacle and emotional engagement over substantive solutions. While these forms of protest can raise awareness and evoke empathy, they might not necessarily lead to concrete changes or policy reforms. Instead, they could be seen as fleeting moments of sentimentality that don't address the underlying structural issues causing the protests. Limited reach and impact both “Protest Nation” and FT may have a limited reach, primarily attracting audiences who are already sympathetic to the cause. This can create an “echo chamber” effect, where participants and audiences are simply reaffirming their existing beliefs without reaching broader segments of society. As a result, the potential for widespread change might be limited. Intellectual elitism some I would argue that both “Protest Nation” and FT are more likely to appeal to educated and privileged segments of society who have the leisure to engage in cultural activities. This could reinforce a sense of intellectual elitism and alienate those who are directly affected by the issues being protested. Lack of tangible action sceptics could claim that forum theatre and similar forms of protest often fail to translate emotional engagement into concrete actions. While these forms of expression might encourage dialogue and awareness, they might not lead to the practical changes needed to address systemic problems. Apathy and Complacency I would say might contend that “Protest Nation” and Forum Theatre could inadvertently lead to a sense of complacency among participants. Engaging in these artistic and performative activities might create the illusion of making a difference, reducing the motivation for more direct and impactful forms of activism. Depoliticization and Symbolism for FT and similar forms of artistic protest might be accused of depoliticizing complex issues by reducing them to symbolic gestures. Critics might argue that these approaches don’t delve deeply into the intricate political, economic, and social dynamics that underpin them. In amalgamating these influential theoretical perspectives, this study endeavours to unravel the intricate relationship between FT, protest, and societal change through the backdrop of the FMF movement. By examining how these theories converge and interact, I aim to contribute to a deeper understanding of how FT can serve as a potent form of protest oppressive systems, offering a creative and participatory avenue for marginalized voices to reclaim their agency and humanity. (Desai, 2016) Paulo Freire’s (1968) Pedagogy of the Oppressed directly relates to the study of FT as a form of protest. Freire addresses dehumanization stemming from injustice, exploitation, and oppression. His work aims to empower the oppressed, guiding them to regain their humanity through acquiring knowledge. Similarly, FT offers a space for rehearsing change, reflecting on social injustices, and 12 acting. Both approaches unveil oppressive structures and counter false consciousness, aligning with the Pedagogy of the Oppressed. Within the context of the FMF campaign, FT and protest synergize to raise awareness and ignite activism among the oppressed. FT breaks barriers between actors and audience, fostering understanding and intervention. Spect-actors practice action, resisting manipulation and envisioning change. Freire’s concepts of liberation and the role of the oppressed resonate, enhancing the study of the FMF campaign. No pedagogy which is truly liberating can remain distant from the oppressed by treating them as unfortunate and by presenting their emulation models from among the oppressors. The oppressed must be their example in the struggle for their redemption. (Freire, 1970:54) In the context of the FMF campaign, where students are advocating for free or reduced tuition fees, Paulo Freire’s words are particularly relevant. The ongoing struggle for affordable education is evidenced by protests and demonstrations, highlighting the unresolved nature of the issue. Despite facing challenges, students remain determined and resilient in their fight for their rights and a more just and equitable society. The term "Theatre of the Oppressed," the framework devised by Boal, pays tribute to educator Paulo Freire (1988), who highlights in his work “Pedagogy of the Oppressed” the transformative journey of marginalized individuals from being mere objects to becoming empowered subjects. Freire terms this process “conscientizacao”, wherein exploited individuals grasp the tools to analyse their social, political, and economic reality. They evolve into proactive participants in the historical process, shedding light on their oppression and taking action against it (Freire 1988:20). This aligns with Schutzman and Cohen-Cruz’s perspective (1994: 2-3) on Boal’s Theatre of the Oppressed, underscoring the significance of marginalized people transitioning from being acted upon to acting for their liberation. The Theatre of the Oppressed, developed by Augusto Boal, is a theatrical practice that uses theatre as a tool for social change. Influenced by Paulo Freire’s Pedagogy of the Oppressed, Boal’s techniques aim to promote democratic and cooperative interaction among participants, encouraging social and political change. In this participatory form of theatre, the audience becomes active “spect-actors” who explore, analyse, and transform their reality through the theatrical experience. (Boal, 2008). Protest embodies a spectrum of strategies and principles aimed at voicing opposition and catalysing social or political change. Key elements include: Cause or Grievance: The core of protest, driven by issues ranging from social injustices to political grievances, seeking to spotlight and address these matters. • Mobilization: Gathering individuals and groups through various means, including groups of people, to unite for a common cause. • Public Demonstration: Visible actions like marches or rallies, serving to publicly assert support for the cause. • Symbols and Messages: Utilizing visual and verbal cues to communicate the protest’s core messages to unite participants. • Nonviolent Resistance: Emphasizing peaceful methods to effect change, avoiding violence with the belief that Forum Theatre is one peaceful method. • Direct Action: Taking assertive steps to disrupt the status quo and draw attention to the cause. • Media Engagement: Leveraging both traditional and social media to amplify the protest’s visibility and reach. 13 • Solidarity and Alliance Building: Forming partnerships with other groups to strengthen the protest through shared resources and support. • Persistence and Adaptation: Maintaining efforts over time while adapting tactics as necessary. • Outcome and Impact: Aiming for concrete results, such as policy changes or increased public awareness, to measure the protest’s success. (Tarrow, 2012) In the FMF FT event, the integration of protest with theatre effectively mirrored student struggles, empowering the participants and sparking dialogue on educational equity. By using nonviolent resistance and collective action within a theatrical framework, these events became a powerful platform for activism, deepening understanding of the FMF movement and preparing individuals for societal engagement. This approach underscores the role of art in driving social change, highlighting the need for strategic unity and adaptability in activism. Research Method: I will be using Practice as Research as my research method. Practice as Research (PaR) is a smart way of studying that mixes artistic or creative activities with academic research. It’s about using what artists know, like their gut feelings, practical skills, and experiences, to learn new things. In PaR, artists think carefully about what they do, like trying things out and figuring out what they learned. They also consider how their work fits with what other artists have done before and how people see it. They use important ideas and how people understand things to make their work better. The main goal of PaR is to discover fresh ideas and knowledge by connecting art with learning in an ongoing way (Nelson, 2013). Data will be gathered through the observation of gestures, actions, bodily movements, and emotional responses. In my role as the researcher, I will engage in a process of attentive witnessing, recognizing, and recording the visual, auditory, and tactile elements. This method is inspired by Nelson's practical know-how approach to data collection, which has been deliberately selected for its ability to facilitate an immersive exploration of FT's application as a theatrical form. The embodiment of FT takes on a crucial role in this data collection process, serving to unravel its significance within the context of protest. Employing a PaR methodology through with FT, I will adopt a multifaceted approach as the researcher. This approach entails orchestrating and guiding FT sessions (also known as Jokering) and extracting data through a range of dynamic activities, including hot-seating, spect-acting, and reflective exercises. Central to this research is the astute observation of how participants' physicality responds within the FT space, offering insights into the interplay between embodiment and protest themes. This intricate exploration will enable a comprehensive understanding of the spatial dynamics where the essence of protest becomes intertwined with the FT practice. Ethical Considerations: Ethical considerations will be taken as I journey throughout my research however through my general introduction which is FT as a form of Protest. Through my Theoretical framework with theorist such as Augusto Boal and Paulo Freire, it will be in my methodology as I develop the FT, Analysis of protesting and spect- actorship, analysis through Jokering, analysis of Has Forum Theatre become a new form of Protest. What new ways has been learnt and finally in my general conclusion? In conclusion, the study “Forum Theatre as a Form of Protest: A Practice-Based Investigation” illuminates the potential of participatory theatre for empowering marginalized voices and challenging oppression. Ethical clearance and consent are paramount due to the involvement of human 14 participants. Obtaining proper approval and informed consent safeguards participants’ rights and dignity, ensuring responsible and respectful research. Upholding these ethical principles not only enhances the research’s integrity but also reflects our commitment to scholarly excellence and societal progress. Chapter Two: Literature Review: 2.0 Introduction This chapter delves into the intricate relationship between FT and contemporary protest movements, with a particular focus on the FMF campaign, a pivotal movement among South African university students. The FMF campaign, emblematic of the current wave of student-led activism, provides a fertile ground for examining the transformative potential of FT as an innovative medium for social change. This exploration is predicated on the hypothesis that traditional forms of protest, while instrumental in past liberation struggles, may not fully resonate with today’s generation, necessitating the exploration of alternative, more engaging forms of activism. Central to this explorative odyssey is the indelible imprint of Steve Biko, a luminary within the landscape of anti-apartheid activism. Steve Biko’s legacy as a trailblazing South African antiapartheid activist resonates vibrantly through history and in this study. As the founder of the Black Consciousness Movement, Biko kindled the flames of empowerment and self-awareness, forging a profound shift in the battle against systemic oppression. His pivotal contribution to establishing the South African Students’ Organization and the Black People’s Convention in the 1960s and 1970s marked a significant turning point during social transformation. Tragically, Biko’s unwavering dedication to justice and equality led to his martyrdom. On September 12, 1977, he succumbed to injuries sustained while under police custody—a poignant testament to his unyielding commitment to the struggle. Biko’s enduring impact endows him with a legacy that extends beyond his mortal years, steadfastly etching his name as a symbol of Black nationalism and resilience. I must admit that I am very proud that my mother, a political activist in her own right chose the 12 September to be my birthday, in remembrance and honour of Steve Biko. The most potent weapon In the hands of the oppressor is the mind of the oppressed. (Biko, n.d) This quote reflects Biko’s belief in the momentousness of challenging the intangible manifestations of oppression but also the mental and psychological aspects. Biko emphasized the need for a shift in consciousness, empowerment, and self-awareness as crucial elements of effective protest systemic injustice and oppression. While this quote doesn’t explicitly use the word “protest,” it encapsulates Biko’s overarching philosophy that the struggle for liberation and equality requires a fundamental transformation of mindset—a form of protest the deeply ingrained structures of oppression. In the realm of protest, Biko’s voice reverberates with timeless significance. His incisive perspectives on protest illuminate the essence of collective action. While the specific quote remains a harbinger of enlightenment, Biko’s overarching philosophy encapsulates the idea that protest transcends the boundaries of physical demonstration, infiltrating the realm of consciousness. His profound articulation serves as a beacon, guiding us toward a nuanced comprehension of protest as a multifaceted tool for societal transformation. 15 Mady, Schutzman and Jan Cohen – Cruz (1994) might express the excellence of FT in its ability to empower marginalized communities, saying that: FT serves as a dynamic platform for communities to not only voice their concerns but also collectively shape narratives of change, fostering a participatory space where transformation is sparked by the very individuals who inhabit the stories. (Schutzman, Mady and Cohen- Cruz 1994) Schutzman, Mady and Cohen-Cruz (1994) praise FT for empowering marginalized communities by providing a space to voice concerns and shape change narratives. However, there’s a risk of oversimplifying complex social issues. The focus on performance might lead to superficial discussions, neglecting deeper systemic causes of oppression. While FT can offer temporary catharsis, it may create an illusion of progress without real-world impact. To effectively address oppression, it should be paired with strategic activism that confronts underlying power structures and policy issues. Without this, FT risks becoming a performative act with limited impact outside the theatre. Adrian Jackson serves as the artistic director of Cardboard Citizens, a theatre group that engages with individuals experiencing homelessness, has written about the use of FT to provoke intervention from audiences. In his book “The Applied Theatre Reader,” he writes: FT seeks to disrupt traditional power dynamics in theatre and society, sparking active audience engagement. The focus is on refining strategies to foster meaningful participation while avoiding misuse of audience intervention. (Jackson: 6) Adrian Jackson’s approach in FT, focusing on provoking audience interventions, is a double-edged sword. While it aims to engage audiences and stimulate responses, this method risks compromising the authenticity and spontaneity of these interventions. Genuine audience engagement should come from a real connection to the issues, not from external pressure or sensationalism. Overemphasizing provocation can distract from FT’s goals of fostering critical reflection and addressing socio-political issues. Moreover, the concept of “meaningful intervention” is subjective. Pushing for interventions might result in visible but superficial responses, which may not lead to lasting societal change. FT’s strength lies in facilitating genuine dialogue and exploring alternatives, rather than just eliciting immediate reactions. In the context of movements like FMF, prioritizing dramatic interventions over substance could overshadow the real issues, such as institutional racism and inequality. Superficial engagement, neglecting collaborative solutions, and undermining grassroots empowerment are potential pitfalls of this approach. The focus should be on fostering understanding and dialogue, not just on provocation. While Jackson’s method has merits, balancing audience engagement with the integrity of the artistic and transformative process is crucial in applied theatre. Boal (1970: n,d ) states: Forum Theatre is an interactive form of community-based theatre that empowers marginalized groups to challenge oppressive systems. Key aspects include: 1. Empowerment: Allowing marginalized voices to express and envision change collectively. 2. Spect-actors: The audience becomes active participants, solving problems on stage. 3. Oppression: Focusing on systemic marginalization like racism or sexism. 4. Simultaneity: Scenes unfold together, enabling intervention to alter outcomes 5. Rehearsal for reality: Preparing participants to confront oppression in real life. 16 6. Intervention: The audience interrupts to suggest alternatives, promoting critical thinking. 7. The Joker: Neutral facilitator ensures a safe, supportive environment. 8. Reflection: Discussion after interventions encourages critical thought and learning. 9. Flexibility: Adaptable to various contexts and issues, tailored to participants. 10. Collaboration: Relies on active engagement, fostering community and shared responsibility for change. FT, while sharing elements with traditional protests, may lack their scale and urgency. Its controlled setting and “spect-actor” participation, though engaging, might not match the direct impact of realworld protests. Despite promoting awareness and dialogue, its effectiveness in enacting significant change is uncertain. Bhebhe (2013) highlights the importance of bodily awareness in FT, a key step in empowering participants against oppression. This foundational aspect underpins further stages of expression and discourse, emphasizing FT’s potential for active resistance. The study also focuses on the Joker’s role in empowering spect-actors, following a process from bodily understanding to employing theatre as language and discourse, guided by the Joker. This process is crucial for exploring diverse solutions and perspectives. Agreeing with Bhebhe, it’s essential to recognize the significance of bodily awareness in FT, which plays a pivotal role in its transformative potential. Investigating protest through the lens of FT, as inspired by Augusto Boal’s assertion that “Theatre is a weapon, and it is the people who should wield it,” (Boal, 1979: 122) Exploring protest through FT, inspired by Augusto Boal’s perspective of theatre as a powerful tool giving backing to social activism, offers a fresh perspective on performative arts in activism. This study examines how FT empowers, especially marginalized communities, turning the stage into a platform for social change. In FT, audiences become active ‘spect-actors,’ directly engaging and suggesting changes to oppressive scenarios, embodying Boal’s idea of theatre as a weapon for change. This involvement goes beyond passive observation, preparing participants to confront real-life oppression with strategies and confidence. FT’s use of real-world issues, like those in the FMF movement, facilitates direct engagement with the multifaceted nature of protest. It mirrors societal issues, fostering critical analysis, diverse perspectives, and understanding of protest complexities through interactive participation. The collective experience in FT, like the collective power in protests, brings individuals together to collaboratively find solutions, enhancing the understanding and participation in protest movements. This research leverages FT to explore its role in social activism, aiming to contribute to the understanding of performative arts in socio-political change. It aligns with Boal’s vision, recognizing theatre’s potential as a catalyst for social change and empowerment. Bertolt Brecht asserts, “Art is not a mirror to reflect reality, but a hammer with which to shape it,” (Brecht, 2007:15) is particularly relevant in the context of South Africa’s FMF movement. This student-led protest rising university fees and for increased government funding highlights how FT goes beyond merely depicting student struggles to actively shaping solutions. In FT, participants from the movement re-enact their experiences, using this creative platform not just to reflect on their challenges but to actively participate in shaping their socio-political reality. This empowers them to explore and articulate potential solutions to economic injustices in education. Furthermore, FT sparks broader discussions and awareness among audiences, extending its impact to the larger community and emphasizing the role of art as a transformative tool in social activism and addressing issues like educational accessibility and economic fairness. 17 “We can consider theatre as a rehearsal for revolution” (Boal, 1970) Boal’s concept that “theatre is a rehearsal for revolution” transforms FT into a tool for social change. Participants simulate real-life injustices, preparing them for actual activism. This approach extends beyond the stage, empowering individuals to enact change in their communities. Moreover, FT promotes critical thinking and skills essential for activism, using hands-on techniques for practical learning. Its collaborative nature, involving diverse participants, breaks traditional performance barriers, fostering empathy and a shared understanding of social issues. This inclusive and dynamic exploration encourages a comprehensive view of problems and collective commitment to social action. In essence, FT, inspired by Boal’s vision, becomes more than performance art; it’s a platform for personal and societal transformation, preparing participants for practical activism and fostering community-driven solutions to social challenges. Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other. (Freire 1970:72) Freire’s notion, emphasizing that knowledge constantly grows and changes through active participation and questioning, is key to how FT operates. In FT, people create and change real-life scenarios, making learning always relevant and evolving. The process involves deep questioning and challenging usual ways of thinking, just as Freire emphasized. This keeps participants actively engaged in learning and rethinking ideas. FT is also about working together and sharing experiences, which aligns with Freire’s belief in learning as a shared, hopeful journey. This collaborative learning helps everyone understand issues better and feel part of a community. Overall, FT is a practical example of Freire’s teaching philosophy, combining theory with action. It’s a way to learn dynamically and actively work towards social change, reflecting Freire’s idea of education as a powerful tool for making a difference. 2.1 Conclusion In this chapter, I have delved into the complex relationship between Forum Theatre (FT) and the Fees Must Fall (FMF) movement, underscoring FT’s capacity as a catalyst for social change. Drawing inspiration from Steve Biko’s legacy and guided by Augusto Boal’s methodologies, I argue for the necessity of novel forms of activism that engage today’s generation. FT stands out as a potent tool for empowerment, fostering dialogue, and enacting societal transformation, challenging conventional protest tactics, and deepening involvement with pressing social matters. Through this exploration, I aim to broaden the discourse on the role of performative arts in activism, presenting new avenues for collective empowerment and action in the ongoing struggle for justice and equity. Chapter Three Research Method 3.1 Introduction This chapter aims to delve deeply into the methodology that underpins this study, specifically focusing on Practice as Research (PaR) as the foundational research design. PaR, a methodological approach that integrates practical theatre-making processes with academic inquiry, serves as the cornerstone of this investigation. Unlike traditional research paradigms that prioritize theoretical analysis, PaR emphasizes the generation of knowledge through the act of creation itself, situating the 18 artistic practice as both the method of investigation and the medium through which findings are communicated. In the context of this research, PaR has been instrumental in exploring the dynamics of protest through the lens of the FMF movement in South Africa, utilizing FT as a primary mode of engagement. This approach not only facilitated a rich, participatory exploration of the themes central to FMF but also allowed for the embodiment and enactment of these themes, thereby deepening the understanding of protest and its impact on individual and collective identities. By leveraging the principles of PaR, this study has embraced a holistic approach to research, one that acknowledges the complexity and nuance of social movements by engaging directly with the experiences and perceptions of those involved. This chapter will outline the specific ways in which PaR has been employed as a research design, detailing the processes of conception, contextualization, mapping, and realization within the project. It will also reflect on the personal journey of conducting research through PaR, highlighting the challenges and insights gained from merging the roles of researcher, practitioner, and participant within the context of the FMF movement. Through this, the chapter aims to not only provide a technical explanation of PaR but also offer a personal account of how this methodological approach has shaped and enriched the research process. This chapter outlines the Practice as Research (PaR) methodology, chosen for its integrative approach that combines theoretical depth with practical engagement. PaR is particularly apt for exploring dynamic social movements like 'Fees Must Fall' because it allows for direct engagement with the phenomena under study, providing insights that traditional observational methods may not capture. The following sections will detail the specific components of PaR, its application in this study, and the methodological challenges addressed. 3.2 The Methodological Underpinnings of Practice as Research Protest lies within social, psychological, political, and theatrical forms of oppression, liberation and transformation can occur within the environment we gather. Transformation is also a line of protest action. Through this practice-based approach of using FT, I aim to find out what progress and influence it has on or alongside protests. I aim to use PaR as my research method because it is an ideal vehicle for collecting information. I acknowledge such people like Robin Nelson. Ultimately, the FMF movement epitomizes the quest for fair education, serving as a poignant reminder of South Africa’s continuous struggle to reach social, economic, and educational justice. In 2023, the FMF movement gained momentum, sparking widespread protests, and leaving many students questioning their country’s difficulties. The campaign, however, became violent and it did not so much serve its purpose. It is in this light that I sought to use PaR as my method of research: Following Robin Nelson’s (2013), four stages of research practice: i) Engagement with Artistic Practice: This phase entails direct involvement in the artistic process, acknowledging the unspoken, physical, and instinctive knowledge practitioners acquire through their creative endeavours. For FT, this would involve active participation in and facilitation of sessions to gain firsthand experience, recognizing practitioners’ distinct insights derived from their artistic engagement. This stage also involves introspective analysis, delving deeply into practitioners’ choices, actions, and decisions. ii) Critical Analysis: Researchers are encouraged to scrutinize assumptions, evaluate their practices’ efficacy, and explore how their creative work aligns with broader theoretical frameworks. In the context of FT, this might encompass studying participant interactions, intervention outcomes, and the role of the “Joker” in guiding the process. 19 iii) Conceptual Contextualization: This phase involves placing the artistic practice within a wider theoretical and conceptual landscape. Researchers use existing knowledge, theories, and academic literature to enrich their understanding of their work, exploring connections between their artistic endeavours and larger socio-cultural, historical, and philosophical contexts. In the case of FT, this could involve examining intersections between theatrical performance, activism, and societal change, drawing insights from the TO field. iv) Audience Impact: The final stage concentrates on how the artistic practice affects its intended audience or participants. It examines how the practice is perceived, interpreted, and understood by those engaged with it. For FT, audience research may involve seeing and analysing the responses, insights, and transformations of participants involved in interactive performances, underscoring the relational dimension of artistic practice and its resonance with the audience. (Nelson, 2013) I acknowledge that Nelson’s four stages of practice supply a structured approach for artists and researchers to engage in a holistic exploration of their creative work, moving from embodied knowledge to critical analysis, conceptual grounding, and a deeper understanding of audience reception. This framework encourages a dynamic and iterative process that fosters rich insights and contributes to the advancement of both artistic practice and scholarly inquiry. Using FT as an experiment would be a way to find out how FT can be used as a form of protest. I aim to show participants, even those who are merely witnessing or spect-actors, that through the process of FT, mindsets can change and hopefully the silence on issues like the FMF campaign will finally be heard by the oppressors. FT stemmed from TO, created by Augusto Boal, and protest is a sign of fighting against oppression. Not only did Augusto Boal use FT to fight against oppression but used it as a weapon for protest and activism against socio-political injustices. In my PaR exploration centred on the FMF campaign, the performances themselves emerged as pivotal research instruments, offering profound insights into collective engagement with the campaign’s issues. Staging these performances, along with observing audience responses and the solutions enacted to address presented problems, provided direct, invaluable data on how individuals collectively perceived and interacted with the themes of the movement. Particularly enlightening were the audience interventions, where spectators became active participants, suggesting alternative narratives or solutions, thus serving as unique expressions of engagement and offering a range of perspectives on addressing the challenges of the FMF campaign. These interventions, alongside the audience’s verbal and non-verbal reactions during and after the performances, were meticulously observed and recorded, revealing the immediate impact and resonance of the FT process. Following the insights of (Smith, 2022), this approach underscored the performances not merely as artistic expressions but as dynamic tools for data collection, capturing nuanced understandings of social engagement and the transformative potential of FT. Through detailed analysis of these performance- based interactions, my research was able to delve deeply into the collective consciousness surrounding the FMF issues, illustrating the capacity of FT to foster meaningful dialogue, reflection, and potential pathways to social change that seek to navigate and bridge the epistemological gaps between practice and theory. (Nelson, 2013) Here is a list of the Methodological underpinnings of PaR. 1. Integration of Practice and Theory: PaR methodology blurs the traditional boundaries between doing (practice) and thinking (theory), advocating for a symbiotic relationship where each informs and enriches the other. (Barrett & Bolt, 2010) 20 2. Embodied Knowledge: It emphasizes the generation of knowledge that is embodied within the artistic process and product, recognizing the body as a site of inquiry and a source of data. (Coessens Crispin & Douglas, 2009) 3. Documentation and Reflexivity: The methodological approach requires rigorous documentation of the artistic process, including reflections, which are critical for articulating the research journey and findings. (Nelson, 2013) 4. Multi-modal Research Outputs: PaR acknowledges diverse outputs including performances, installations, and visual art, alongside traditional academic texts, as legitimate forms of knowledge dissemination. (Borgdorff, 2012) 5. Collaboration and Co-creation: This approach often involves collaborative and participatory methods, where knowledge is co-created with participants, challenging the conventional researcher-subject hierarchy. (Frayling, 1993) Epistemological Challenges: 1. Validity and Rigor: Establishing the validity and rigor of knowledge generated through artistic practices poses a challenge, given the subjective and often intangible nature of artistic outcomes. (Biggs& Karlsson, 2011) 2. Standardization and Replicability: The unique, context-dependent nature of artistic research raises questions about the standardization of methods and the replicability of findings, which are central to traditional research paradigms. (Schwab & Borgdorff, 2014) 3. Interpretation and Ambiguity: The interpretation of artistic outputs as research findings can be highly subjective, leading to challenges in ensuring a shared understanding of the knowledge produced. (Barrett & Bolt, 2010) 4. Interpretation Assessment: Developing criteria for evaluating the quality and impact of research conducted through artistic practice requires a rethinking of traditional academic metrics. (Sullivan, 2009) 5. Ethical Considerations: Navigating the ethical implications of research that deeply involves human experience, emotion, and often personal narratives, especially in participatory projects, presents complex challenges. (Candy & Edmonds, 2011) Central to the understanding and development of PaR is the work of Robin Nelson, whose seminal text “Practice as Research in the Arts” (2013) provides a comprehensive guide for navigating the complexities of integrating practical artmaking with scholarly research. Nelson advocates for a “multi-mode” approach to research, which harmonizes the practical, the theoretical, and the documentation processes, allowing for a holistic production of knowledge that is both embodied in the art and articulated through critical reflection. (Nelson 2013) Similarly, Brad Haseman’s (2006) concept of “performative research” plays a pivotal role in expanding the scope of PaR by emphasizing the performative aspects of research outputs. Haseman challenges the conventional primacy of textual documentation in academia, arguing for the inclusion and recognition of non-textual forms of knowledge expression and dissemination within research paradigms. This argument aligns with the broader aims of PaR to validate and elevate the epistemological contributions of artistic practice within academic contexts. The contributions of Estelle Barrett and Barbara Bolt (2007) further enrich the discourse on PaR, they postulate that the methodological underpinnings and epistemological challenges of conducting research through artistic practice. Barrett and Bolt argue for the legitimacy and rigor of knowledge 21 produced through creative processes, highlighting the capacity of artistic inquiry to engage with complex, nuanced questions in ways that traditional research methodologies may not. “The Conflict of the Faculties: Perspectives on Artistic Research and Academia.”, (Borgdorff, 2012) investigates into the profound ways in which the arts contribute to academic knowledge, pushing for a broader recognition of artistic practice as a significant, intellectual pursuit. Borgdorff’s exploration is grounded in the idea of epistemological plurality, arguing for the acceptance of diverse forms of knowledge that extend beyond traditional scientific methods. He positions artistic practice as a unique form of inquiry, capable of generating tacit, embodied knowledge that is deeply embedded in the creative process. This knowledge, according to Borgdorff, is often expressed through the aesthetics of artworks, suggesting a complex interplay between aesthetic experiences and cognitive understanding. He emphasizes the critical role of reflective practice in artistic research, where creators engage in continuous self-examination and critical thinking about their work. Borgdorff also tackles the challenges related to documenting and disseminating the nuanced forms of knowledge produced through art, advocating for innovative documentation techniques that can accurately represent the multifaceted nature of artistic inquiry. Furthermore, he underlines the importance of interdisciplinary approaches, recognizing artistic research as a field that naturally bridges gaps between art, science, and the humanities. Through these philosophical and theoretical lenses, Borgdorff champions a reevaluation of how the academic world views artistic practice, urging for its acknowledgment as a rigorous, reflective, and critical endeavour that enriches the broader landscape of academic research. PaR is about focusing on the researcher’s feelings and knowledge, such as their instincts and skills, to discover new things. In PaR, researchers think a lot about what they do, try different things, and learn from them. They also think about how their work fits with other artists’ work and what people think of it. They use big ideas and how people understand stuff to make their work better. The main idea of PaR is to keep finding new ideas and knowledge by mixing art and learning (Nelson, 2013). 3.2.1 How PaR is Carried out Practically. Carrying out PaR practically involves a hands-on, iterative process that integrates artistic creation with scholarly investigation. Here’s a straightforward, practical walkthrough of how I conducted my PaR project on Forum Theatre as a form of protest, focusing on the FMF campaign: a) Conceiving the Idea and Questions Initially, I recognized my inquisitiveness regarding the capacity of FT to serve as a catalyst for societal transformation. I formulated specific questions: Could FT be an effective form of protest? How might it impact participants and audiences within the context of the FMF movement? b) Literature Review and Contextualization I immersed myself in existing literature on FT, protest art, and the specifics of the FMF campaign. This step helped me understand the historical and theoretical background of my research area, informing my approach to the practical elements of the project. c) Designing the Methodology I decided on a series of FT workshops as my primary research method. This involved planning the logistics of these workshops, including participant recruitment, session structures, and methods for documentation (such as video recording and participant journals). d) Implementing Artistic Practice 22 The core of my PaR project was the FT workshops. Here, I facilitated the creation and performance of scenes inspired by the FMF campaign, observing, and participating in the process. This practical engagement was vital for exploring my research questions. e) Documentation and Reflection Throughout the workshops, I documented the process meticulously recording performances, collecting participant feedback, and maintaining a personal reflective journal. This ongoing documentation was essential for capturing the experiential knowledge generated through the artistic practice. f) Analysis and Interpretation After completing the workshops, I analysed the collected data to draw insights related to my initial questions. This analysis involved reviewing video recordings, participant feedback, and my reflections to understand the impact of FT on participants and its efficacy as a form of protest. g) Dissemination of Findings I prepared to share my findings with the academic community and the public. This involved writing academic papers and organizing public showcases of the FT performance. Sharing the outcomes was crucial for contributing to the broader conversation about the role of art in social movements. h) Reflecting on the Process Finally, I reflected on the entire PaR process, evaluating what worked, what didn’t, and how the project could inform future research. This reflection was an opportunity to assess the value of my findings and to consider new research directions. Practically carrying out PaR required a blend of creativity, critical thinking, and rigorous academic practices. By engaging directly with the artistic process and reflecting on this engagement through a scholarly lens, I navigated the complexities of using FT as a form of protest, contributing new insights to the field of applied theatre and social activism. As the researcher, I paid close attention and noted down everything I saw and heard. This way of collecting data, which Nelson (2013) As indicated, it is selected for its ability to deeply engage with the real-life experiences of participants, capturing the intricacies of their interactions, emotions, and surroundings. This approach allows for a deeper understanding of the communal dynamics and the cultural backgrounds in which the participants operate. It enables the researcher to observe and document the complexities of human behaviour in a naturalistic setting, thereby providing rich, detailed insights that are often missed by more quantitative forms of research. Through this immersive method, the researcher being me, can gain a holistic view of the subject matter, facilitating the identification of underlying themes, patterns, and meanings. This method is especially beneficial in the realm of Applied Drama and Theatre, where the interactions and performances are deeply rooted in the socio-cultural fabric of the community. By engaging in this meticulous observation and documentation, being the researcher, I became a conduit through which the voices and experiences of the participants can be authentically represented and critically examined, contributing to a more nuanced and comprehensive understanding of the impact of theatre and drama on social issues. 3.2.2 The Role of Forum Theatre in Practice as Research The FT’s role was important in my study. Using PaR through FT, I had to take on different roles as a researcher. I ran FT sessions, as the Joker, and also looked closely at how participants acted and reacted in different situations, such as hot-seating or when they stepped into the play themselves. I watched how participants’ bodies responded in FT, which told me a lot about how they felt about the protest themes in the play. This helped me understand how the space where the play happens, the 23 place where the protest ideas in the play come together and the environment plays a crucial role in the process. The role of FT as a methodological approach in my research project was pivotal, serving as a bridge between theoretical exploration and practical application in understanding social protests, particularly within the context of the FMF campaign. This dynamic and interactive form of theatre, rooted in Augusto Boal’s TO, offered a unique lens through which to examine, engage with, and potentially transform the social realities being studied. Engaging and Empowering Participants FT empowered participants by turning them into “spect-actors”, actively involving them in the creation and re-creation of real-life situations related to the FMF movement. This approach democratized the research process, blurring the lines between researcher and participant, and allowing for a collective exploration of the themes at hand. Generating Data through Interaction The performances and workshops became live data generation sessions, where every interaction, intervention, and dialogue contributed to the pool of insights being gathered. This live, interactive method of data collection provided a depth of understanding that traditional research methods might not capture, offering nuanced perspectives on the motivations, challenges, and aspirations of those involved in the protests. Facilitating Reflection and Dialogue The reflective discussions that followed each FT session were integral to the methodological approach, allowing for immediate processing and analysis of the enacted scenarios. These discussions served as a platform for participants to voice their interpretations, challenge assumptions, and collectively ideate potential solutions to the issues portrayed, enriching the research findings with diverse viewpoints. Documenting and Analysing Complex Dynamics Systematic documentation of the FT process, including video recordings and reflective journals, captured the fluid and complex dynamics of social protest as experienced and enacted by the participants. Analysing this rich body of data enabled me to identify key themes, patterns, and insights related to the efficacy of protest movements like FMF as well as the transformative potential of FT itself as a tool for social change. Disseminating Insights The findings derived from the FT methodological approach were disseminated through various channels, including academic papers, conferences, and public forums, highlighting the innovative use of FT in researching social movements. This not only contributed to academic discourse but also raised awareness about the FMF campaign and the role of performance art in activism. In essence, the role of FT as a methodological approach in my research project was multifaceted—it was a means of engaging participants, a method for data collection, a catalyst for reflection and dialogue, and a vehicle for disseminating insights. Through this approach, the research transcended traditional boundaries, offering a participatory, immersive, and reflective exploration of the FMF campaign and the broader implications of using FT as a form of protest. The situating of FT in PaR methodology, particularly within the context of the FMF movement in South Africa, represents a significant and innovative approach to exploring and addressing social and 24 political issues. This movement, which calls for the decolonization of education and the elimination of tuition fees, underscores the urgent need for platforms that facilitate dialogue, critical engagement, and collective action. FT, by its very design, offers such a platform, aligning closely with the principles and objectives of PaR by embedding the research process within the lived experiences and active participation of those directly impacted by the issues at hand. Thus, presenting elements of protest. a) Significance in Empowering Voices and Facilitating Dialogue: FT’s application in the context of the FMF movement is particularly poignant because it empowered the participants to voice their experiences, frustrations, and aspirations concerning educational equity and accessibility. This form of theatre becomes a rehearsal for reality, providing a participatory space where individuals can experiment with overcoming obstacles and addressing injustices. This not only aligns with Nelson’s (2013) multi-mode approach, which emphasizes the blending of practical, b) Reflecting Reality through Engaged Audience Participation: The methodology’s emphasis on audience engagement and problem-solving encourages a departure from passive observation to active involvement, transforming spectators into ‘spect-actors’ who directly influence the course of the play. This shift promote a sense of community and collective brainstorming but also ensures that the scenarios depicted on stage resonate with the real-life issues faced by the participants. Such an approach is reflective of Haseman’s (2006) performative research, where the performative acts themselves become a form of inquiry and knowledge production. c) Empathy, Empowerment, and Critical Reflection: By engaging participants in the creation and performance of plays based on their own stories and experiences, FT fosters empathy and a deeper understanding of the issues at stake. This process of collaborative creation and reflection embodies the essence of Barrett and Bolt’s (2007) articulation of PaR, where the act of making (in this case, theatre) is inseparable from the process of critical inquiry and reflection. Furthermore, the dialogue and discussion that form an integral part of FT sessions extend the research beyond the performance, facilitating a deeper exploration of themes and fostering a critical reflexivity among participants. d) Adapting to Challenges through Flexibility and Responsiveness: The adaptive strategies employed in conducting Forum Theatre workshops—such as leveraging digital communication and accommodating participants’ schedules—demonstrate a responsive and flexible approach to PaR. This adaptability is crucial for maintaining the integrity and inclusivity of the research process, ensuring that all voices are heard and valued. This aspect of the methodology echoes Borgdorff’s (2012) discussion on the challenges and opportunities within artistic research, highlighting the importance of responsiveness to the research context. In summary, the use of FT as a PaR methodology in the context of the FMF movement not only provides a powerful mechanism for exploring and addressing complex social issues but also aligns with the core principles of PaR by integrating t