The interrogation of power dynamics and students’ cultural beliefs through the performing arts in a University context: The case of Sisukaphi.

Abstract

This research is situated within the performing arts scholarly field to examine the workshop theatre approach, a process where a director and a group of performers collaborate to improvise creative performance pieces with explosive energy, sophistication, and eloquence by drawing on their collective memories and perceptions. This research project brings to light the experiences of the participants who participated in the Sisukaphi? workshopping process. AmaZulu cultural beliefs, norms, and performance conventions were used as the context of reflection for this research to inquire about how the workshopping process can be used as a site for learning and celebrating the cultural heritages, questioning the power dynamics, and transforming the cultural beliefs and identities of the participants involved in the process. The study also reflected on the challenges of workshopping a cultural performance during the COVID-19 pandemic. This study was conducted using performance ethnography and autoethnography. I engaged my teaching experience through my African Music and Dance tuition at the University of KwaZulu-Natal. Convenient and purposive sampling enabled all 14 students to participate based on their availability and willingness to do so. Data was gathered through participant observation, in-depth interviews, focus groups, and personal reflexivity. Reflexive thematic analysis was then utilised to analyse the data. This study discusses how the workshopping process of Sisukaphi? took the shape of theatricalised African storytelling at a temporary and imaginary cultural heritage site. The study discusses how rural areas serve as institutions for preserving culture while influencing the performing arts industry to suppress female performers. This study has politically coined the terms ‘female inyosi’ and ‘female igosa’ as strategies for empowering women during the AmaZulu cultural performances. The study further details how ‘spoken dance’ was used as a strategy to teach dance choreographies during the COVID-19 pandemic. These findings indicate a need for extensive research on AmaZulu cultural performances that focus on empowering women during the performances. If not, women will continue to be oppressed during AmaZulu cultural performances.