Theses and Dissertations (Drama)

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Representing issues of South African land ownership in animated film
(University of Pretoria, 2024-07-26) Broodryk, Chris; thombianka@gmail.com; Thom, Bianka
This study aims to understand how issues of South African land ownership can be depicted in animation. A Screenwriting as Creative Practice Research methodology is used to investigate how Conceptual Metaphor Theory can be used as a screenwriting approach. The study examines the use of the conceptual metaphors CATEGORY IS DIVIDED AREA in worldbuilding, HUMAN IS ANIMAL in anthropomorphic characterisation and DEVELOPING/SUCCEEDING IS MOVEMENT FORWARDS in narrative structure. It then proceeds to propose alternative conceptual metaphors as a mode of border thinking and writing from a decolonial perspective. The study is informed by a literature review on South African land ownership, colonial processes creating unequal land distribution and attempts at land reform, as seen through the lens of coloniality and the colonial matrix of power (Maldonado-Torres 2007:243). The overview of land ownership is placed in conversation with the South African film about land ownership, Treurgrond (Roodt 2015) and the conceptual metaphor CATEGORY IS DIVIDED AREA is located in the film’s approach to worldbuilding. The study then moves on to consider animation and the complexities of depicting race in the medium. The Disney film about prejudice, Zootopia (Howard & Moore 2016), is evaluated in its use of the anthropomorphic character metaphor HUMAN IS ANIMAL and the associated metaphor PREDATOR IS BAD, PREY IS GOOD is identified and located within colonial ideology. Four South African animated films, Jock the Hero Dog (MacNeillie 2011), Adventures in Zambezia (Thornley 2012), Khumba (Silverston 2013) and Seal Team (Cameron & Croudace 2021) are evaluated in their use of the Hero’s Journey as narrative structure. The Hero’s Journey is interrogated in terms of neoliberalism and the conceptual metaphor DEVELOPING/SUCCEEDING IS MOVEMENT FORWARDS is identified in the structure of the four films. The literature review and three emerging conceptual metaphors inform the writing of an original animated screenplay about South African land ownership. The conceptual metaphor SEPARATION IS DESTRUCTION is used to structure the screenplay’s narrative, HUMAN IS INSECT is used to construct characters and DECOLONIALITY IS CONNECTION is used to guide worldbuilding. The study concludes that metaphor is a valuable tool in depicting complex social issues but argues for an awareness of hierarchies implicit in the metaphor selection, advocates for the representation of multiple subject positions and aligns itself with Cramer’s (2019:15) view that animated film should endeavour to dismantle systemic injustices maintaining racial inequality and prejudice.
Psychological and visionary modes of creativity : a jungian analysis of westworld towards a potential design pedagogy
(University of Pretoria, 2019-08) Reyburn, Duncan; u13386230@tuks.co.za; De Villiers, Courtney Jade
This study explores the potential pedagogical value Jungian strategies may bring to creativity studies and design education. The study is largely interdisciplinary insofar as it draws from several disciplines including information design, visual studies, analytical psychology and education. Carl Jung’s psychology of art puts forward two modes of creative expression namely: the Psychological and the Visionary. The aim of the study is to establish a distinction between these two creative modes in their use of and approach to images, as well as analyse the interplay between these modes during the creative process, suggesting that engagement with both creative modes may lead to the creation and consumption of images that are inherently more meaningful. Westworld (2016) is selected as a creative text to analyse within Jung’s dialectical framework of Psychological and Visionary creativity. This text affords two layers of analysis which support the overarching aims of the study. Firstly, it allows for exploration of the mechanisms used for and toward creative development in the show which can be understood as a creative production in and of itself. This mirrors a possible approach for students working towards the production of creative outputs. Secondly, it serves as an analogical analysis of indicators of Visionary and Psychological creativity demonstrating the potential of Jungian thinking for approaching real-world creative pedagogy. This mirrors a possible approach for art and design educators assessing, facilitating and developing briefs for creative productions. Jungian developmental theory is synthesised with Piagetian constructivist learning theories and scaffolded upon real-world examples of existing design programmes that already employ these strategies. This ultimately aims at providing educators with possible analogical insights and strategies, and students with conceptual tools towards supporting creative transformation and deeper engagement with the meaningmaking process within design education.
Exploring white Afrikaner identity through filmic fantasy tropes
(University of Pretoria, 2023-12-08) Coetzee, Marie-Heleen; u15106978@tuks.co.za; van Eeden, Marista
This dissertation aims to explore how fantasy tropes and Afrikaans mythological narratives can be used to create a framework for a fantasy screenplay that critically engages with white Afrikaner identity. The investigation is undertaken to explore how fantasy may be used to question what, I argue, is a liminal state of white Afrikaner identity. This liminal identity is likely a consequence of the uprooting of historical identity markers in the course of South Africa’s shift to democracy in 1994. Many young white Afrikaners are attempting to reimagine a white Afrikaner identity distanced from historical Afrikaner nationalist identity markers (Álvarez-Mosquera, 2017: 640). However, such attempts at reimagining identity and, hence, engaging with South Africa’s post-apartheid context are arguably not often reflected in Afrikaans film. The study explores how the fantasy genre may be used to address the perceived lack of engagement of Afrikaans-language films with the post-apartheid socio-political context of South Africa. Moreover, this study addresses what, in my view, is a lack of fantasy films in the Afrikaans film industry. Film functions as a “cultural text” (Steyn 2016: 4) that has become a way of depicting the social world, a means through which people construct meaning about the social world and which, arguably, might influence how they engage with the social world. This is also the case for Afrikaans film, a medium through which many white Afrikaners continue to imagine their comm(unity) on the basis of the nostalgic representation of pre-1994 markers of white Afrikaner identity which manifest as film tropes. By means of these tropes, white Afrikaners maintain their imagining of their cultural identity as an imagined community. In this sense, Afrikaans film can be seen as a mode of myth-making. Fantasy draws from myth to construct imaginative fictional worlds that are ontologically ruptured from phenomenal reality. This rupture, which functions as the supernatural ‘nova’, evokes estrangement through which audiences are critically distanced from their own realities. It is through this distancing that new perspectives can be formed and, hypothetically, that the identity that is represented in the myths can be reimagined within the fantasy world. I identify tropes of the fantasy genre on the basis of Vogler’s (2007) writer’s journey plot structure, Indick’s (2012) fantasy character-archetypes, as well as salient tropes pertaining to fantasy themes, settings and visual iconography. Through these tropes, I investigate how fantasy worlds are constructed, and I discuss how the tropes function to create a critical distance from phenomenal reality. I then investigate how this critical distance might allow for the reimagining of identity within the boundaries of the fictional filmic world. Thereafter, I investigate white Afrikaner identity through the lens of cultural narrative identity. This lens is employed to consider Turner’s (1969) theory of liminality, Anderson’s (2006) imagined communities, and Bhabha’s (1990; 1994) theories of nation as narration, the third space of enunciation and cultural hybridity. These theories are applicable to my study as they are concerned with culture and its hybridity, the role narration plays in the imagining of collective identities, and the impact of rupturing those identities from the myths through which they are imagined. Using the lens of cultural narrative identity, cultural identity is understood as imagined through the myths that construct it, thereby positioning cultural identity as a process of myth-making. I then explore Afrikaner mythological narratives as indicators of white Afrikaner cultural narrative identity, and I identify fantasy tropes in them. To do so, I use thematic analysis as a methodological approach to identify fantasy tropes in these Afrikaner mythologies (FTAMs). This analysis is undertaken on a sample of Afrikaner mythologies which include originary myths and folklore, fables, fairy tales and legends. The identified FTAMs are applied alongside my adaptation of Vogler’s (2007) writer’s journey – from which I construct a new plot-structure framework aimed at subverting white Afrikaner identity. Together, these are used to construct the framework which, in turn, guides the creative implementation of the FTAMs in the process of writing a fantasy screenplay. The study demonstrates that by using fantasy tropes, understanding Afrikaans mythological narratives as expressions of white Afrikaner identity through the lens of cultural narrative identity, and identifying how fantasy tropes manifest in Afrikaner mythological narratives, I am able to construct a framework that can used as a guide to write a fantasy screenplay aimed at questioning white Afrikaner identity. The framework might enable this questioning by rupturing Afrikaner cultural narrative identity from phenomenal reality by means of the use of fantasy tropes, thereby allowing for the reimagination of white Afrikaner identity within the bounds of the fictional world.
Hierdie woorde en sinne het ek iewers geërf : reflecting on Afrikaner identity through intertextuality in Johnny is nie dood nie (Olwagen 2017) and Kanarie (Olwagen 2018)
(University of Pretoria, 2023) Hees, Dené; francois.haasbroek7@gmail.com; Haasbroek, Francois
The research study focuses on configurations of filmic intertextuality in Christiaan Lugones’s feature films Johnny is nie dood nie (2017) and Kanarie (2018), and examines how they enable audiences of the films to reflect on an Afrikaner cultural identity. In this pursuit, the study examines the concept of a cultural identity by considering it as informed through socio-anthropological processes of cultural memory. The study describes cultural memory as operating within a network of culturally significant texts, which a community uses to recall and stabilise their cultural identity. Consequently, the study is able to describe intertextuality as a process through which texts interact within a cultural memory and inform a cultural identity. By establishing cultural memory as the functional link between intertextuality and cultural identity, the study creates a conceptual framework with which to describe the filmic intertextuality that Christiaan Olwagen uses in his films Johnny is nie dood nie and Kanarie. The study then applies this conceptual framework for intertextuality in a textual analysis of Johnny is nie dood nie and Kanarie, with a specific focus on scenes that utilise the formal filmic techniques of tableaux vivant compositions, filmic music, and direct address as techniques of intertextuality. Informed by the textual analysis of the films, the study then illustrates how Olwagen uses intertextuality to draw from a cultural memory of apartheid and thus reflect on the evolution of an Afrikaner cultural identity.
Decolonial storying : embodied memory in facilitating choreographic composition
(University of Pretoria, 2022) Coetzee, Marie-Heleen; Munro, Marth; nicola.haskins@gmail.com; Haskins, Nicola
The study is situated in the field of choreographic composition within the context of higher education in South Africa. It aims to design and qualitatively reflect on the perceived efficacy of decolonial teaching and learning strategies to facilitate movement creation in choreographic composition in a dance programme, at a higher education institute in South Africa. These teaching and learning strategies aim to use decolonial storying as method to access autobiographical, embodied memories that engage with, and contribute to, identity construction in the creation of solo and group choreographic work. In doing so, I aim to contribute to decolonial practices in higher education in South Africa. The call from South African students for quality, decolonised education and to critically engage with the context of decoloniality, provided the motivation for the research. Lecturing in a dance programme at a university in South Africa, my perception is that the dance curriculum is predominantly based on Western, Eurocentric approaches, pedagogy, and modes of thinking reflective of this specific locus of enunciation, and that furthers coloniality. Knowledge must be context-specific, reflect the socio-cultural context from where it emerges, as well as the students’ cultures, languages, and frames of reference to create epistemological diversity. Facilitating teaching and learning strategies for movement creation in choreographic composition, where students can draw from their subjective lived experiences, can potentially contribute to decolonising the choreographic compositional curriculum, in particular, when using memory in relation to identity construction. Designing teaching and learning strategies to access autobiographical memory, specifically embodied memories, acknowledges individual, subjective, lived experiences, socio-cultural contexts and ontological positions. Decoloniality, for me, is about shifting the locus of enunciation rooted in Western, Eurocentric modernity, through engaging in border thinking and epistemic disobedience to delink from the coloniality/modernity collusion. I activate this border thinking and delinking through accessing individuals’ subjective lived experiences and embodied memories through decolonial storying in teaching and learning strategies. Such teaching and learning strategies can significantly contribute to shifting the locus of enunciation of choreographic compositional curricula. This study was located in a qualitative research paradigm, with embodied inquiry as the research methodology, conducted from a phenomenographical frame. Embodied inquiry is an on-going, multimodal process where attention is paid to subjectivity and an acknowledgement of the social construction of being-in-the-world. Embodied inquiry in this research process explored individuals, subjective lived experiences, where the body communicates in interaction with the other performers, a relationality through dancing individuals’ embodied memories. In order to understand how decolonial storying can be activated, I positioned it within the relevant field of study and engaged with the existing literature. I provided the theoretical underpinning of decolonisation, decoloniality, the bodyminded being, memory and specifically, embodied memory. I conceptualised choreographic composition as meshwork towards an emerging trans-ontology. This theoretical underpinning and framework throughout the research contributed to furthering my argument and creating the practical sessions in Chapter 6. This study then mapped the preparation towards the choreographic process from recalling to (re)moving. The theoretical underpinning, framework and preparation towards the choreographic process revealed the strategies for decolonisation. The collective decolonial strategies in the choreographic process facilitated epistemological disobedience and border thinking, allowing delinking and shifting the locus of enunciation, thereby creating my decolonial pedagogy. A decolonial pedagogy revealed strands that interweave, creating the conceptual nodes of this research: embodied memory as a conceptual node; decoloniality as a conceptual node; storying as a conceptual node; and identity as a construction as a conceptual node. These nodes cluster together to construct the particular methodology I used, and which foregrounded the central method of decolonial storying. The conceptual nodes created by a decolonial pedagogy moved my research towards a decolonial choreographic, compositional methodology. I provided the framework of how to re-imagine, re-think and re-model a decolonial choreographic process that engaged multiplicity, diversity and reflexivity within the choreographic, compositional context. The choreographic process allowed the locus of enunciation to be shifted towards a loci of enunciation through multiplicity, an in-between space, a fluid space towards an emerging trans-ontology. Cultures collided and interwove with one another as the moving stories stood testament to participants’ socio-cultural contexts. The choreographic process invited the participants to become the loci of enunciation, as part of the curriculum, which facilitated decolonial processes towards trans-ontology. This allowed an alternative understanding of themselves and their relational being-in-the-world, within their specific, socio-cultural contexts. Facilitating choreographic pedagogy where participants ‘are’ the curriculum, might shift Eurocentric, Western ways of knowing, being-doing in higher education.
Female subjectivity in selected women-centric television drama serials
(University of Pretoria, 2023-01-30) Broodryk, Chris Willem; laurika.de@gmail.com; De Kock, Laurika
Since 2010, there has been a proliferation of women-centric television series and serials in the international television landscape due to substantial socio-political and -economic changes as well a changing television landscape, often referred to as “Peak TV”. Women-centric television series or serials are described as women’s stories told from a female point of view (POV) (and employing a female gaze), dealing primarily with the female experience. This critical shift facilitated the construction of (compelling) female or difficult women characters (Pinedo 2021) who demonstrate female subjectivity. Female subjectivity refers to the experience of a woman/women as individual(s), her/their selfhood/womanhood, identity, race, gender, class, age, sexual preference, inner character, thoughts, feelings, desires and consciousness (Braidotti 1994:98-99). This paper investigates the construction of female subjectivity and consequently the construction of (compelling) female characters in two long form television drama serials, HBO’s Big Little Lies (Kelly 2017a) and the South-African produced Waterfront (Kruger & Swanepoel 2017a) using an interpretive framework based on Murray Smith’s (1995) lexicon of recognition, alignment and allegiance combined with socio-political and -economic frameworks such as post-feminism, neoliberalism and fourth-wave feminism.
Apartheid en verset : die ontwikkeling van 'n politieke protf.steater in Suid-Afrika tot Soweto 1976
(University of Pretoria, 1994) Odendaal, L.B.; Pretorius, Hermanus
When the National Party came into power in 1948, Apartheid began to influence all facets of South African life, also that of the theatre. This study documents Apartheid legislation and the resistance against it, then turns to a consideration of the most important protest dramas. The complex political background is utilized to identify and discuss three distinct lines of development, represented by the Afrikaans, English and Black theatre traditions. The Afrikaans-speaking white playwright was initially part of the Afrikaner's encompassing struggle for self-determination and self-assertion, where language, religion and nationalism played a dominant role. After the realization of the Afrikaner Nationalist ideals the Afrikaans writer gradually developed from mythbuilder to iconoclast: from "national hero" to "traitor". The resulting Afrikaans political protest theatre was aimed mainly at fellow Afrikaners and thus usually took on the guise of a drama of conscience, critically examining the Afrikaner psyche. Such plays did not advocate the subversion of the political system, but rather the humanization thereof. It comes from within the system: an examination of the Afrikaner, his ideas about religion, his ties to the land, his racial fear and prejudice, and his obsession with racial purity. The English speaking white playwright was initially represented as the liberal outsider with a humanitarian concern for the injustices wrought by racial discrimination, but at the same time sharing a sense of complicity in the situation and deeply rooted in the country. This complicity evolved into a full acceptance of responsibility by means of their involvement with black theatre groups, the establishment and management of non-racial theatres and companies, guidance to workshops and community projects, as well as the creation and writing of new plays. The criticism expressed predominantly derives from "white" perspectives on the South African reality (which tend to fix on the colour issue). The exceptions here are Athol Fugard' s workshop productions, which incorporate the "black experience" as well. The Black protest theatre (in its recognizable, Western form) developed late. Exposing the misery of the black citizen's daily existence under Apartheid, these works advocated the violent overthrow of the "regime" as the only permanent solution. Measured against Western standards the plays had a number of flaws: lack of structure, undisciplined acting and production, repetitive themes, cliches, as well as a tendency to over-simplify the political problem. The form incorporates aspects of traditional practices such as story-telling, song, dance, multi-role acting and ceremonial actions, but the content is determined by the urban, industrialized experience. Although there are more similarities between the development of the Black and Afrikaans political protest theatre, co-operation tended to develop largely between the Black and English theatre. In the decade after Soweto 1976 political protest dominated the South African theatre. While this movement did not actually succeed in subverting the "regime" or even in generating full-scale insurgence against the state, it did have an effect. Among the economically advantaged and elite white theatregoers, the "black" theatre fostered an awareness of daily life in the black community, and the "white" theatre a questioning of the morality of the social, religious and political order. The same plays provided the broad mass of black audiences with a heightened awareness of their own identity and self-esteem within the communal escape valve of public protest. By granting this form of theatre a prominent place in the ongoing public debate, the daily newspapers markedly increased the theatre's influence and impact.
Recycling ghosts : reimagining C. Louis Leipoldt's play "Die Laaste Aand" (1930)
(University of Pretoria, 2021) Coetzee, Marie-Heleen; petronella.vandermerwe0@gmail.com; Van der Merwe, Petronella Hendrina
Post-colonial South Africa is haunted. More specifically, contemporary white Afrikaner identity is tormented by ghosts - as vestiges and reminders of the tyrannical injustices of the past. This study investigates how C. L. Leipoldt’s play Die Laaste Aand (1930) can be reimagined and adapted to create a hauntological allegory that speaks to white Afrikanderdom in post-colonial South Africa. The act of looking back into the past and critically engaging with specific histories, affords a chance for a dialogue between the past and the present. This study consists of three parts. In the first part, I contextualise the play Die Laaste Aand (Leipoldt 1930). To do so, I broadly discuss South Africa’s colonial history and unpack the social and political context of South Africa in the 1930s (the time period in which the source text was written), with specific reference to white Afrikaner identity and Afrikaner nationalism. I then provide a brief overview of white Afrikaans theatre history, positioning C. L. Leipoldt and Die Laaste Aand amidst the growing nationalism of the 1930s. In the second part of the study, I turn my attention to the concept of adaptation, followed by magic realism, which I use as the central mode of adapting the source text. Magic realism is a literary and theatre genre that aligns with postcolonial sensibilities. Its capacity for transfiguration, metamorphosis, anthropomorphic personification and transgressing linear time, amongst others, offer strategies for such an adaptation. After contextualising South Africa’s colonial history and locating Die Laaste Aand and C. L. Leipoldt in the 1930s, I will analyse Die Laaste Aand (Leipoldt 1930). Based on my play analysis, I conclude that Die Laaste Aand (Leipoldt 1930), seems to contain extra-realist elements that justify the use of magic realism in my adaptation. I use the concept of the ghost as a central metaphor in creatively engaging with the colonial past that is haunting the postcolonial, and arguably post-colonial, present. In part three of the study, my playtext Dryfhout (2021) is presented and discussed as a collage of historical and intertextual references hauntingly buried beneath the transformations of the reimagined and adapted playtext. In its refraction of white Afrikaner identity, Dryfhout (2021) not only presents a hauntological allegory for contemporary South Africa, but positions post-colonial white Afikanerdom as a hauntology in and of itself.
Orality in playback theatre : a discourse analysis
(University of Pretoria, 2021-12) Munro, Allan; Coetzee, Marie-Heleen; u14450152@tuks.co.za; Zanjam, Ngefor Shella
This thesis explores the dynamics involved in the transitions between an oral and orally-based storytelling mode of narration, and the performance-based presentation of that story, as encountered in the storytelling processes in playback theatre. Oral traditions have always existed in the world at large, and Africa is particularly steeped in oral traditions, of which storytelling is one. Modes of storytelling shape-changed through the ages. As a mode of applied theatre, playback theatre is centred on storytelling. The fundamental aim of playback theatre is to use theatre to bring a ‘critical consciousness’ to an experience that may have been inchoately personal. In the process of translating an orally narrated story to performance, the assumption, therefore, is that there would be some form of close correlation, refinement, reflection on and reflection with the act of enactment of the teller’s story. This is explored through the lens of orality and discourse analysis with particular focus on the theories of Walter J. Ong and James P. Gee. The study shows that characteristics of a purely oral culture and discourse tools are inherent in a contemporary oral form like playback theatre. The thesis argues that an understanding of the combined Oral formulae and discourse characteristics may curb potential miscommunication or mis-reflection between the teller and actors in playback theatre. The study then describes the potential application of orality and D/discourse to theatre in community in general to establish how the two models of analysis might work. Following this, the study re-engages with playback to pinpoint the specific dynamics and working methods of playback theatre to determine the ways in which the teller’s story or narrative found its reflection in the enactment presented by the playback theatre troupe or company. Following, the study analyses a story from a Drama for Life Playback Theatre performance by means of orality formulae, paying attention to both the teller’s ‘presentation’ and the playback theatre enactment. Then, the same was done using the discourse analysis tools. In this way two sets of data emerged. On the one hand the ‘information’ contained in the teller’s utterances could be determined using both analytical models so as to determine similarities and differences around that information, and then the same could be done with the enactment. The second, and particularly important set of data for this thesis could come about by comparingand contrasting the data from the teller’s set of utterances with the data from the enactment of performance moments. In this way the potential miscommunication, or mis-reflection could be determined. Each utterance moment was analysed according to its most dominant Oral formulae and discourse marker or tool interpretation and then these occurrences were added together to show which strategies were more prominent and which least prominent. The study interprets these trends and tendencies between the dominant themes and meanings as they applied to the compare and contrast approach between the teller’s utterances and the playback theatre enactment moments. The findings suggest that this specific enactment by the playback theatre troupe company might not be as reflective of, or capture the crux of the teller’s story, which on turn, might compromise the aim of critical consciousness that playback theatre aims to reach. The limitations of this study point out that these findings cannot be generalised. However, they do show trends around potential areas of miscommunication or mis-reading between the two parties. In summary, the findings pinpoint places, domains and strategies that may enhance an extraordinarily powerful and communal experience. Thus, potentially closing the gap between listening – ‘translating’ - interpreting and performance.
The Lamb's Wrath : Cannibalism, Divinity, and Apocalypse in Hannibal
(University of Pretoria, 2019) Broodryk, Chris Willem; denejvrb@gmail.com; Janse van Rensburg, Dené
This study proposes that the television series Hannibal (Fuller 2013-2015), with its aesthetic and thematic emphasis on Christian motifs and imagery, is a contemporary apocalyptic fiction. Specifically, this study argues that Hannibal provides a new typology: the metamythic apocalypse narrative. To posit these arguments, I approach the analysis of the television text from four of the stronger concepts that surface in the reading of Hannibal, which are the relationship between cannibalism and divinity, the God-Devil opposition, the We(i)ndigo figure as a symbol of the Holy Trinity, and the Apocalyptic narrative. The first three concepts inform the typology of apocalyptic narrative that the series follows and are essential in establishing the criteria for this new typology. Insofar as existing television tropes and conventions go, the first two seasons of Hannibal remain in the vicinity of investigative police procedure, building and perfecting its mythos around the passive- aggressive relationship between Lecter and his prodigy, FBI profiling consultant Will Graham. The procedural formalities are set aside in season three, to focus on and amplify an already ambivalent relationship with religion, providing a wealth of apocalyptic symbolism that calls the rest of the series into the new framework of apocalyptic fiction. This study establishes that Hannibal provides a new apocalyptic narrative typology that challenges the two typologies identified by Conrad Ostwalt (2011:365-356) – the traditional apocalypse and the secular apocalypse. The traditional apocalypse allows for fictionalized events, but includes elements of supernatural (or divine) revelation. The secular apocalypse borrows symbols and themes from the traditional apocalypse, but contemporizes evil and does not adhere to the criterion of a divine agency, positing human heroism as the anthropocentric replacement for God and averting punishment and destruction. Hannibal’s (Fuller 2013-2015) particular symbolic visual vocabulary and the apocalyptic narrative typologies outlined by Ostwalt (2011) allows me to theorise the notion of the metamythic apocalypse narrative. In establishing this new form of apocalypse narrative, I interrogate the role of the We(i)ndigo figure as Hannibal’s reconstitution of the Christian Holy Trinity and demonstrate visually how these three characters constitute this trinity – Dr Hannibal Lecter (Holy Father), Will Graham (Holy Son), and Abigail Hobbs (Holy Spirit). This metamythic apocalypse narrative engages the current secular scientific concern for the end of the world, which remains haunted by religious prophecy. The metamythic apocalypse proposes a return to the symbolic and the archetypal in answering questions about the future amidst the anxieties about the end of the world, as well as the possibility of the post- apocalyptic. Keywords: Hannibal; cannibalism; We(i)ndigo; apocalypse narrative; metamythic apocalypse; symbolism; Holy Trinity
Embodied shiftings to bridge actor-character dissonance
(University of Pretoria, 2020-11-01) Coetzee, Marie-Heleen; Munro, Marth; emil.lehoff@gmail.com; Haarhoff, Emil Ernst
When a script stipulates actions, gestural routines and mental models for a character that clash with the personal values of the actor, it creates dissonance between what the actor (as person) believes, represents or feels, and that which the character (as fictional construct) is interpreted to represent. This dissonance may negatively impact on the believability of the actor inhabiting the ‘as if’ world of the character, or stifle actor engagement with the fictional world. This study proposes a theoretical approach to navigating this potentially performance- restricting dissonance through a cross-disciplinary approach that draws on various disciplines, theories and models. It includes, but is not limited to embodiment, Neuro-Linguistic Programming, Multi-Level Neuro Processing and exposure strategies. Habitual patterning, personal restrictions, behaviours, values, socio-cultural and politico- historical paradigms, socialisation, cognitive dissonance, impulse avoidances and others are subjectively sculpted and embodied in and through lived experiences. In articulating this approach, the study places emphasis on practical guiding and enabling of the actor to manage these embodied and lived experiences, personal values and subjective restrictions in relation to performance material that the actor perceives to be challenging and uncomfortable. This study aims to facilitate ways to navigate actor-character dissonance, whilst remaining sensitive to actors and their respective processes in engaging with, and depicting, a character in a competent and believable manner. Instead of forcing actors to work through restrictions or preventing talented actors from auditioning or participating in a production due to their seemingly unmanageable dissonances and bodyminded non-consent, this study argues for possible solutions to manage contradictory values and stances respectfully, through a multilayered and multidisciplined process. This empirical study was located in a qualitative research paradigm, using qualitative methodologies. The intervention design was based on existing scholarship, as reflected in chapters two to five. To limit the scope of the study, the focus was on nudity and the intimacy surrounding nudity in performance. The study used action research to strategise, implement and reflect on the practical intervention strategy. Data collection took place through practice- based experiences and observations. The research process was realised in three phases ranging from private to semi-public, to explore the hypothetical strategy with a selection of trained male actors. The research phases are discussed in chapters one and six. Phase one consisted of three one-on-one conversation-based coaching sessions calibrating and unpacking the participants’ thinking, perspectives, perceived consequences and limiting beliefs regarding performance-based nudity. Phase two was an optional phase and participants volunteered to engage in this phase after completing phase one. This phase consisted of a three-day workshop, implementing and embodying the tailored research techniques and strategies to alleviate discomforts regarding performance-based nudity. Phase three was another optional phase. Here, the intervention strategy was applied to text. A new play was written specifically for these purposes, entitled Love, and how? This play offered an array of actions which challenged the actors’ subjective and unique discomforts. The purpose of this challenge was to assess the hypothetical facilitation strategy in a real-life simulation of a professional rehearsal process, culminating in two closed performances. The qualitative findings of this study conclude that the integration of these multidisciplinary processes aid the actors in alleviating tension and approaching dissonance in performance with increased control and nuanced acting. In addition, they introduced mid-performance coping mechanisms, derived from these processes, thus enabling the actor to continue to perform safely.
Drama-based second language teaching and learning
(University of Pretoria, 2020) Munro, Marth; Coetzee, Marie-Heleen; marlenekrgr@gmail.com; Kruger, Marlene
This study engages with the domains of second language teaching and learning (L2TL), drama-based teaching and learning (DBTL) and embodied cognition in order to establish how the effective implementation of DBTL may contribute to the efficacy of L2TL practices. There are shortfalls in second language (L2) classrooms and there is a need for a L2 teaching approach, which promotes social interaction in varied sociocultural contexts wherein learners are encouraged to make meaning in order to convey their message. The L2 learning processes created by this approach could overcome the shortfalls of L2TL and offer what is required by Second Language Acquisition (SLA) to acquire a L2. This study proposes that the use of the Common European Framework of Reference for Languages: Learning, teaching, assessment (CEFR) could overcome these shortfalls. However, CEFR can only be effective if the approach that is utilised in its implementation aligns with CEFR’s principles. This study argues that a drama-based teaching approach could adhere to CEFR and address the shortfalls of L2TL. This study explores drama as a facilitation tool and uses elements of process drama to create an approach to DBTL that could create learning experiences which may enhance the efficacy of L2TL and adhere to CEFR. This study argues that for a DBTL approach to be effective in L2TL, it has to foreground embodied cognition. Embodied cognition theories state that in order to create optimal learning opportunities, social, affective learning experiences should be created wherein learners interact with other humans and their environment in order to make and convey meaning. By critically engaging with embodied cognition theories, this study establishes which components of embodied cognition should be considered for DBTL to be effectively implemented in L2 classrooms. Subsequently, this knowledge ensures that the proposed approach to drama-based second language teaching and learning (DBL2TL) could allow for effective implementation. This study argues that a hypothetical DBL2TL programme based on this DBL2TL approach, which is steered by embodied cognition and adheres to CEFR, could overcome the shortfalls of L2TL. Furthermore, the programme could offer insight into how DBTL could effectively be implemented in L2TL, which in turn could enhance the effectual implementation of DBTL in L2 classrooms. Therefore, the hypothetical DBL2TL programme could enhance the efficacy of L2TL.
Expansionary engagements : Butterworth's didactic-democratic spectrum model in physical theatre choreography
(University of Pretoria, 2019) Coetzee, Marie-Heleen; waltjansenvanrensburg@gmail.com; Janse van Rensburg, Walt
This study aims to identify my personal choreographic approach to physical theatre-making and then to experientially expand on it by engaging with Joanne Butterworth‘s five-tier Didactic-Democratic spectrum model for choreography. Being accustomed to, and trained predominantly in, one mode of approaching choreography has become limiting. Butterworth‘s model may aid me in expanding choreographically in the context of physical theatre-making. My research is located in a qualitative paradigm. I use an auto-ethnographic, practice-as-research approach to conduct my research. To apply my practice-as-research approach, I use concrete experience, reflective observations, abstract conceptualisation and active experimentation as outlined by Kolb‘s Experiential Learning Cycle. Kolb‘s model provides an overall structure to this study, but is also the way in which I frame and read each of the three separate choreographic processes that I use in the study. The concrete experience I consider in this study is The Entertainer, a work which I choreographed in 2017. To establish a baseline for my research, I retrospectively reflect on The Entertainer to locate it on Butterworth‘s model by using units of analysis that link to the five tiers of the model. These units of analysis are the choreographer‘s role; performer‘s role; choreographer‘s input; performer‘s input; pedagogical positioning of social interaction; instruction methods; and the pedagogical positioning of performers. By using these units of analysis to consider The Entertainer, I position my initial approach to physical theatre choreography along the spectrum of Butterworth‘s model. I then use Kolb‘s abstract conceptualisation to plan how I will move beyond my initial approach to choreography as located on Butterworth‘s model. I do this by selecting tiers that lie to the extremes of my initial approach on the model. I employ Kolb‘s active experimentation, to choreograph two works, WALK and Swem, that each align with one of the extremes. I utilise the extremes since they are the furthest removed from each other and, as a result, challenge me to approach choreography in two ways that are not just completely different from each other, but also from my initial choreographic approach. Each of the three choreographic processes in this study (consisting of a choreographic approach and a resulting choreographic product) starts a new cycle of Kolb‘s Experiential Learning. I use each rehearsal period, along with panel and performer reflections, to create a thick description by means of a choreographic score based on the choreographic approach of each work. To create these three choreographic scores (the physical documentation of the rehearsal period), I also utilise other auto-ethnographic tools, such as journaling and reflective questions. Each score serves as concrete experience that I retrospectively analyse to locate the choreographic approach on Butterworth‘s model. To choreograph WALK and Swem, I utilised a rehearsal period spanning three weeks with the same three performers to calibrate reflection by asking them to complete reflection sheets based on rehearsals. Three panel members were required for expert analysis and therefore have at least a Master_s degree (with choreography as focus) and at least three years‘ experience of choreographing in physical theatre. These panel members attended two rehearsals of each choreographic work and, like the performers, completed reflection sheets in order to mediate my subjective experience of each choreographic approach for a thicker description of the choreographic instance. The panel also completed reflection sheets based on choreographic tracks (see following paragraph) observable in performance to mediate their experience of each choreographic product with my own subjective view. I identify similarities between a greater range of inputs (my own perspective, the perspective of the performers and the panel), to layer my thick description of the choreographic process as a whole. Since Butterworth‘s model is focused on choreographer-performer interaction and roles, it focuses on the choreographic approaches (rehearsals) and not on the choreographic products that result from each approach. I therefore highlight choreographic tracks that link to Laban Movement Studies. These are the treatment of the theme; general space usage; approach to the kinesphere; utilisation of shape; dynamics of movement (Effort); application of elements of choreographic craft; incorporation of soundscape; arrangement of choreographic structure; and integration of structural components/ assimilation methods.
The efficacy of a pre-recorded digital performing arts skills development module for fourth-year drama students at a South African University : a case study
(University of Pretoria, 2019) Coetzee, Marie-Heleen; Munro, Marth; stephenfabersf@gmail.com; Faber, Stephen
The purpose of this study is to develop, present and assess a skillsdevelopment module in pre-recorded digital performing arts (PRDPA) that may enable performing artists to become practitioners of pre-recorded digital performing arts. The module is encapsulated within the South African educational paradigm. A secondary function of the pre-recorded digital performing arts module is to enable young performers to introduce themselves to an online audience, promote themselves as performing artists and enhance their online presence and digital footprint. The proposed skills-development module potentially enhances agency and an entrepreneurial mindset while democratising the domain of performance in the workspace and entertainment industry. The research consists of three parts. The first part of the research is located in two domains to design a module in pre-recorded digital performing arts. The study draws on the domain of mediality, which includes online presence, digital performance and pre-recorded digital performing arts; and on the domain of education, which includes social constructivism, and teaching and learning in a social network environment. The second part requires the presentation of the module to a select group of participants with the support of a continual feedback loop. The third part is the assessment of the module through an analysis of prerecorded digital performing arts videos created by the participants. To do so, I analyse the pre-workshop videos and the videos created as part of the workshop by the workshop participants, as well as the responses of a group of experts, to the material generated by the participants before and after the presentation of the module. This analysis is supported by a module evaluation by participants. The research concludes that there is a noticeable difference between the two videos created by each participant and that the skills-development module in pre-recorded digital performing arts is effective.
Assessment of a training programme for actors to make the shifts from theatre acting to film acting
(University of Pretoria, 2019) Munro, Marth; lelia.bester@up.ac.za; Bester, Lelia
The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences.
Audience Perception of Emotion in a Physical Theatre Performance
(University of Pretoria, 2020) Munro, Marth; zpapenfus12@gmail.com; Papenfus, Zelné
This article engages with audience perception of emotion in a physical theatre performance. Two primary, yet conflicting, scholarly discourses relating to how human beings perceive emotions in themselves and in others are discussed: Emotion as Humanly Congruent, and Emotion as Personally Unique. There are four expressive/behavioural domains through which humans perceive and observe emotion. These include: facial expressions; body attitude; breath and voice and speech. The perception of three emotions namely anger, fear and disgust are incorporated in this paper. This article discusses audience perception of the three mentioned emotions with reference to the four expressive/behavioural domains whilst highlighting the ways in which the two scholarly discourses are combined when perceiving emotion in theatre performances. Data was collected and discussed in relation to the two scholarly discourses to determine whether the audience members could perceive the three emotions portrayed in a physical theatre performance. Keywords: Physical Theatre; Emotion; Perception of Emotion; Audience Perception
Distinguishing between Intended and Perceived Emotions in a 'Dance-based' Physical Theatre Performance
(University of Pretoria, 2020) Munro, Marth; zpapenfus12@gmail.com; Papenfus, Zelné
Dance-based physical theatre as a sub-strand of Physical Theatre, is positioned as a continuum of dance. Dance-based physical theatre performers are encouraged to embrace their personal uniqueness and previous dance training, when creating and expressing movement. The intended meaning embedded in dance-based physical theatre is often misunderstood or not grasped by audience members. This study incorporates emotion into a dance-based physical theatre performance to determine whether audience members are able to perceive the emotions as intended by the choreographer and portrayed by the performer. The thesis statement of this study is that both the meaning as well as the intent of a physical theatre performance can be enhanced through the incorporation and deliberate application of emotion. The investigative question of this study is: How does an audience perceive and distinguish the intended emotions in a dance-based physical theatre performance? The aim of this study is to determine whether a South African audience can perceive the intended emotions portrayed in a dance-based physical theatre performance. This study suggests that there are two primary scholarly discourses relating to how human beings perceive emotions in themselves and in others. One discourse regards emotion as humanly congruent, suggesting that humans are able to express and perceive emotions such as fear, anger, disgust, happiness, sadness and surprise, regardless of cultural and personal differences (Roether et al. 2009:1); the second discourse regards emotion as personally unique, suggesting that cultural differences, as well as personal circumstances and unique bodily and facial features play a role in how emotion is expressed and perceived (Masuda et al. 2008:378). These two discourses on emotion are considered throughout the study. It is further suggested that emotion is perceived through ‘four domains’ namely: facial expressions; body attitude and orientation; breathing patterns; as well as voice and sounds that are produced. This study draws on qualitative, quantitative and practice-based research approaches in order to answer the investigative question. Elements of accepted scholarly approaches, such as: Effector Patterns (EP) drawing on the work of Bloch (2015) and Bond (2017); Laban Movement Studies (LMS) drawing from the Effort Elements and Factors, as well as the Shape category (Wahl 2019; Bradley 2009); and Lessac Kinesensics (LK) drawing from the body NRG’s (Lessac 2019; Lessac & Kinghorn 2014) are integrated to formulate ‘three strategies’ to facilitate the embodiment of three emotions: anger, fear and disgust. These three emotions are portrayed randomly throughout the dance-based physical theatre performance choreographed specifically for this study. Combining the two opposed discourses concerning emotion turned out to be valuable. This study concludes that emotion in performance comprises both humanly congruent and personally unique aspects. A significant number of audience members perceived emotion through both a humanly congruent and a personally unique lens. The audience recognised the different emotions portrayed in the performance. The final conclusion of this study was based on the analysis of the raw data collected by the Mobile Application that was specifically designed for this study. It was deduced from the analysed data that 51% of the audience members perceived more than 50% of the emotions that were portrayed in the performance. The conclusion my thus be drawn that emotion is both humanly congruent and personally unique, and that the intent of a dance-based physical theatre performance can possibly be enhanced by embracing and applying emotion.
Angels in South Africa. Playing with queerness in South African theatre
(University of Pretoria, 2018) Homann, Greg; Coetzee, Marie-Heleen; u11014459@tuks.co.za; Vermeulen, Vasti
Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa through Theatre is a thesis based on the development of the South African experimental play, Angels in South Africa. The play is a reimagination of Tony Kushner’s Angels in America: Millennium Approaches and Angels in America: Perestroika in a South African setting. The play explores the marginalised narratives of a postcolonial South African landscape and focusses on issues of sexuality, race, gender, physical illness (with specific reference to HIV and AIDS), and mental illness. The objective of the play is to redeem narratives that adhere to these themes – and by redemption, it is meant that one voices these narratives in order to understand their value in present realities. The landscape is described as postcolonial – a state in which colonial histories still affect present realities on the landscape – post-apartheid and post-reconciliation dystopia. In Angels in South Africa (Vermeulen, 2016), I created a fictional, futuristic post-apocalyptic South African landscape that can best be described as a landfill. The play adheres to Landscape Theatre and Magic Realism. Landscape Theatre is a paradigm in which a play is mapped out as a landscape or, in the case of the research, as a landscape consisting of multiple landscapes. I used Magic Realism in order to create a space in which the boundaries between fiction and non-fiction can be blurred. The play is described as a constellation of images – ideas, thoughts, visual images, writings and events – making meaning in relation to one another. Even the actors are described as thought images – I refer to them as “Performing Denkbilder” and I refer to the constellation through which the play is created as the “Progress-Queer Constellation”. The theory used consists mainly of notions around Historical Materialism as described in Benjamin’s (1926) Theses on History, and Queer Theory as described in Halberstam’s (2011) connected to past events. The past is defined as an image to be retrieved from the ruins of time, in order to create a better lens of the present. To retrieve this image is to go against notions of linear progression, which is described in the research as Capitalistic Progression. Halberstam (2011:89) defines the notion of being queer as to have, either through circumstance or by design, failed normative capitalistic notions on creating one’s lifestyle. The research marries the notion of being queer with that of being a Historical Materialist. The research also argues that it is necessary to deviate from capitalistic, linear progressive means of structuring one’s lifestyle in order to voice the landscape’s marginalised histories. The notion is to create an environment in which newer realities can be created, instead of repeating past oppression.
The empathetic physician : using process drama to facilitate the training of empathy skills in healthcare education
(University of Pretoria, 2018) Coetzee, Marie-Heleen; Van Staden, C.W.; u96212773@tuks.co.za; Schweickerdt, Louise
Introduction This study used elements of process drama to explore and facilitate training of empathy skills in medical students. To do so, a training session through role-play was introduced, which was evaluated through qualitative reflections and pre- and post-training ratings. Background and Objectives Research has proven that students of medicine lose their empathy during the course of study. Introducing an aspect of humanities into medical training is advocated as a sensible way for medical students to retain and develop the empathy they inherently possessed at the time they enrolled. However, no study has been done before to explore the qualitative effect on empathy when introducing an aspect of humanities into their training. The objective of this study was to explore the qualitative effect on retaining or acquiring of skills in empathy when students partake in a training session of role-play. Process drama and empathy were studied and described from a theoretical point of view by reviewing both the internal (psychological) as well as external (aspects of process drama) mechanisms that enable these processes to occur. These formed the framework that constructed the context in which this study was situated. Methods The research was designed to take place in four phases. Phase 1 included the review of scholarship relating to empathy in healthcare and healthcare training. It also investigated how process drama may enable metaxis to take place, allowing for reflection following the oscillation between the two worlds of real life and the world of the role that was entered into. Phase two established levels of empathy among eight fifth-year medical students by making use of the Jefferson Scale of Physician Empathy (JPSE) student version (S-version). This phase obtained themes extracted from student reflections on empathy in themselves, their peers and other Healthcare Practitioners (HCPs) regarding empathy. Phase three comprised a training session through introducing elements of applied drama, specifically role-play. The training was followed by a post-training exploration of empathy using the JPSE (S-version) as well as qualitative reflection. The reflection sheets were analysed qualitatively, while the JPSE (S-version) was analysed descriptively by making use of data transference. Phase 4 compared pre- and post-training data by using a mixed-method approach through a convergent parallel design. Findings Eight, fifth year medical students were engaged in a training session of role-play during which they were ascribed the opportunity to portray both the role of the HCP and the patient. The training session of role-play opened up the possibility of entering the sphere of metaxis where the participants found themselves in both the real as well as the fictional worlds at the same time. Following the training through role-play, qualitative findings showed that the participants felt more confident in themselves with regard to becoming the kind of HCPs they would like to be. They also felt less threatened and more capable to display empathy towards their patients. According to the post-training themes that were extracted, empathy had a positive qualitative effect by which patients trusted the participants more and shared more personal information, which allowed for improved diagnostic practice and adherence to treatment. The participants further stated that patients were also less likely of trying to take advantage of the students as had been the case before partaking in the training. The quantitative results showed an improvement in empathy in five and a decline in three of the eight participants. During the training session of role-play, participants became aware of where they lack in an empathetic engagement between themselves as HCPs and patient. This rendered them more critical concerning their levels of empathy and they scrutinised more when completing the JSPE (S-version) during the post-production phase of the research. The decline in empathy could thus partly be ascribed to a more acute awareness – or the lack thereof in the participants themselves - of what an empathetic connection between HCPs and patients entail. Conclusion Comparing both qualitative data and quantitative pre- and post-training scores through a mixed method convergent parallel design indicated the positive qualitative effect that partaking in role-play had on the training of empathy in medical students. This study suggests that using humanities in medical education may sensibly be investigated further.
Bosbok Ses films: Exploring postheroic narratives
(University of Pretoria, 2017) Broodryk, Chris Willem; daniellebritz1@gmail.com; Britz, Danielle
Much of Afrikaans cinema before and after 1994 is characterized by a historically dominant heroic narrative. In response to this dominance, this study offers a postheroic framework for contemporary Afrikaans cinema to demonstrate the ways in which selected contemporary Afrikaans films, especially those films produced by the Bosbok Ses production company � Roepman, Verraaiers and Stuur Groete aan Mannetjies Roux � offer alternatives to Afrikaans cinema�s regular nostalgic and nationalistic indulgences. To arrive at a conceptual framework of the postheroic, this study examines Afrikaner nationalism in traditional historical Afrikaans cinema and contemporary Afrikaans cinema and how it thematically manifests through a heroic narrative. In response to the particular crystallization of nationalism in contemporary Afrikaans cinema, a postheroic framework is demonstrated to negate ideological and social exclusion in selected contemporary Afrikaans films. In this sense, flawed attempts at multiculturalism in contemporary Afrikaans cinema are replaced with double occupancy. This framework is primarily informed by the work of pre-eminent German film scholar Thomas Elsaesser. Elsaesser theorises a postheroic narrative for a European post-nation. Drawing on Elsaesser�s work extensively, this study uses relevant elements of a postheroic narrative to interrogate the social and political content of a contested space such as South Africa. Furthermore, the notion of the postheroic in cinema illuminates and informs my critical reading of the Bosbok Ses historical dramas, Verraaiers (Eilers 2013) and Stuur Groete Aan Mannetjies Roux (Eilers 2013). The study identifies the following markers for a postheroic narrative for contemporary Afrikaans cinema: � atemporality (a non-adherence to chronological and linear screen time) � the film screen as surface of flux (the screen as site of contestation instead of placation) � the cinematic spatial inclusion of the political other as an act of double occupancy � a posthero who repeatedly fails as a traditional hero and performs, in the end, Elsaesser�s notion of parapraxis � the abjectification of the hero�s physical body (as evidenced primarily in Verraaiers) � stronger female characters who counter the historically nationalistic heroines of the preceding decades (as evidenced primarily in Stuur Groete aan Mannetjies Roux). By using these markers to critically discuss these films I argue for the legitimacy of a postheroic framework for selected contemporary Afrikaans films. This postheroic framework dismantles Afrikaner nationalist rhetoric. The study concludes that a postheroic framework, drawing on Elsaesser�s work in this regard, provides a politically productive set of key ideas and concepts with which to critically engage with selected contemporary Afrikaans films.

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