An investigation into narrative form in contemporary South African dance and choreography Alan

218 Pages·2013·27.76 MB·English

Corporeal Tales: An investigation into
narrative form in contemporary South
African dance and choreography
A half-thesis submitted in partial fulfilment of the requirements for
the degree of
Master of Arts
of
Rhodes University
I
by
Alan Charles Parker
December 2007
11
Abstract
In the years following the fall of Apartheid in South Africa, dance and
choreography have undergone considerable transformation. This
investigation stems from one observation relative to this change that has been
articulated by two of South Africa's most respected dance critics, Adrienne
Sichel and Matthew Krouse. Both critics have noted a growing concern for
narrative in South African contemporary choreography, coupled with an
apparent propensity for narratives of a distinctly personal and
'autobiographical' nature.
In Part One: 'Just after the beginning', the proposed preoccupation with
narrative in South African contemporary choreography is discussed in light of
the relationship between narrative and the notion of personal identity. The
use of the performed narrative as a medium to explore questions about
identity is offered as one explanation underpinning this increased proclivity,
where the interrogation of the form of the danced narrative provides a site for
exploration of personal identity.
Part Two: 'Somewhere in the middle' interrogates the notion of form
through an in-depth discussion of the experimentation with form within
theatrical and antitheatrical dance traditions over the last fifty years. Specific
works by three selected South African choreographers (Ginslov, Maqoma and
Sabbagha) are discussed in terms of their general approach to narrative form.
This provides an illustration of some of the approaches to narrative form
emergent in contemporary South African choreographic practices.
III
Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case
study to illustrate the practical application of the dance narrative as a means
to interrogate questions relating to personal identity. A detailed analysis of
Tang's particular approach to forming the narrative of Chaste is conducted,
exposing the intertextual, multimedia and multidisciplinary approach to
creating the danced narrative.
Make your own notes.
IV
NEoVER underline or
'Wntf. In " book.
Contents
Narrative Form - in three parts Page 1
Methodology and Research Procedures Page 7
Part One: 'Just after the beginning'
1.1. Discerning the dance narrative in South Africa Page 9
1.2. Conceptualising narrative Page 16
1.3. Connecting narrative and identity Page 24
1.4. Narrative identity in South Africa Page 28
1.5. Towards narrative form Page 35
Part Two: 'Somewhere in the middle'
2.1. A question of form Page 37
2.2. Questioning form Page 40
2.3. Perceiving form Page 53
2.4. Narrative form in South African choreography Page 60
2.4.1. The Self Narrative - Personal experience as
personal narrative Page 61
2.4.2. The SUb-Self Narrative - Re-interpretation as
personal narrative Page 68
2.5. Consolidating form Page 77
Part Three: 'Nearing the end'
3.1. Introducing Acty Tang Page 78
3.2. Tang and personal identity Page 81
3.3. Chaste and narrative form Page 86
In conclusion... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...... Page 102
Bibliography............................................................... ..... Page 105
Appendices...... ......... ............ ..... ............ ........................ Page 118
v
Acknowledgements
I would like to acknowledge the following people for their guidance and
assistance during the process of researching and writing this dissertation:
My supervisor, Ms. Juanita Finestone-Praeg for her enthusiasm, sound
advice, soothing sense of humour and exceptionally high expectations.
Professor Gary Gordon, for his unwavering guidance and support throughout
my academic career.
Acty Tang, for allowing my presence during rehearsals and for so eloquently
answering all of my questions.
My parents, for their love and support.
And lastly, to the Rhodes University Dean of Research and the Financial Aid
Division for making this research possible.
The financial assistance from the following scholarships towards this research
is hereby acknowledged. Opinions expressed and conclusions arrived at are
those of the author and are not necessarily to be attributed to Rhodes
University or the donor.
Rhodes University Masters Scholarship
Jane Osborne Postgraduate Scholarship
Andrew Mellon Mentors Scholarship
1
Narrative Form - In three parts
It has been over a decade since drastic political, social and economic change
swept through South Africa, initiated by the fall of Apartheid in 1994 and
fostered by the introduction of democracy and individual rights under the
political rule of the African National Congress (ANC). So too has the practice
of choreography in South Africa experienced many significant shifts as these
social, political and economic factors continue to bear strong influence on the
development of various artistic aesthetics and tendencies. In terms of a
South African theatre aesthetic (to use a broad term), the new era of
democracy has served to open up many formerly barricaded doors and has
removed certain historical boundaries previously implemented on racial and/or
gender distinctions.1 Contemporary South African dance (as an aspect of the
broader umbrella term 'South African Theatre') has also experienced an
opening of certain freedoms and performance opportunities in this emerging
context (Krouse, 2006; Pienaar, 1999).
It is this process of exploring new artistic territories that has caught the eye
of many local dance and theatre critics and researchers, who continue to
concem themselves with conceptualising the direction and development of
South African theatre in the post-Apartheid era (Bain & Hauptfleisch, 2001;
Blumberg & Walder, 1999; Flockemann, 2001; Hauptfleisch, 1997; Hutchison,
1 These 'doors' and boundaries were both literal and figurative. While many opportunities
were made unavailable to many black performers, certain spaces were also made
unavailable. As suggested by Pienaar (1999: 136), during Apartheid it was problematic for
black performers to perform in exclusively white theatres, with white companies, since the
largest theatres (those in urban areas) were demarcated and reserved for white audiences,
even though they constituted a smaller segment of the national population.
2
1996; Jamal, 2003; Mda, 1996; Pather, 1999; Pienaar, 1999; Purkey, 1996).
This attempt at conceptualisation has given rise to numerous theories and
expressed opinions suggesting where dance and theatre in South Africa are
heading, where they should be heading, as well as where they are not
heading and subsequently falling shorf. In an article after the 2006 FNB
Dance Umbrella in Johannesburg, Mail & Guardian arts journalist Matthew
Krouse (2006) acknowledges the "infinite possibilities" (2) and the "potential
waiting to be unleashed" (2) in the dense programmes of predominantly local
dance. Krouse (2006), however, also notes an apparent struggle to "move
forward" (2) in the development and realisation of this 'untapped' potential.
From Krouse's comments it appears that despite living in a 'free' context,
where previously locked doors (both literal and metaphoric) are now there for
the opening, "new choreographers are fumbling for the keys" (Krouse, 2006:
2).
In Krouse's article an interview is conducted with critically acclaimed,
Amsterdam-based choreographer, Emio Greco, where he offers his
observations of choreography in South Africa3. Greco corroborates Krouse's
own observations and articulates an apparent 'holding back' and an inability to
find "freedom" (2) in much of South African choreography. Greco attributes
this to "the need of the choreographer to talk about the social aspect and the
political aspect" (2). This observation seems to imply an apparent imbalance
in the relationship between content and form in South African choreography,
2 In Bain, K & Hauptfleisch, T (2001), this is discussed in two sections entitled "what the f ... is
going on in South African theatre?" (9) and "During apartheid we had protest theatre - now
we have crap" (15).
3 Although Greco is an international choreographer, he is familiar with South African dance to
a certain degree, having worked with choreographers at numerous international festivals,
such as Gregory Maqoma, and has appeared twice in the FNB Umbrella in Johannesburg
(Krouse, 2006; Sichel, 2006c).
3
with an emphasis on what a dance means, or what it is about, rather than how
it is formed. Pienaar (2002) notes further imbalance in what she calls the
"tug-of-war between the needs of heritage and innovation" (36), where an
emphasis on cultural identity and "renewed national pride" (36) contradicts
processes of expansion and experimentation with form. It is this 'tug-of-war'
between what a dance means, and how it is formed, that 'forms' the crux of
this investigation.
An observed preoccupation with content is further strengthened in light of
the growing propensity for narratives in South African contemporary dance.
The dance narrative is an affinity in South African choreography that has
increasingly been articulated by numerous dance and theatre critics
(Ballantyne, 2005; Fleishman, 1997; Sichel, 1996; 1997; 2001; 2004b; 2006a;
2007b). The 2007 National Arts Festival in Grahamstown, a festival regarded
by many as "a barometer, not only of the state of the performing arts, but of
the state of the nation itself' (Sichel, 2004a)4, displayed a strongly narrative-
based selection of dance on both its main and fringe programmes. The
Festival, in fact, highlighted this surge of narrative dances in its media release
prior to the festival, stating: "Dance tells stories at the National Arts Festival"
(Hemphill,2007b). Beatty (1986) argues that it is this principle of relaying a
'story' that distinguishes "narrative dances" (31) from "abstract dances" (31).
The dance narrative can thus be regarded as a form originating from a
position based in content, where the dance is 'about something' and the
4 The majority of published articles used in this thesis have been accessed from archives
available on the internet, and page references for specific quotations are therefore not
available. A detailed reference with the relevant internet addresses is provided in the
bibliography of this thesis and copies of the articles quoted without page references are also
attached as Appendix G.
4
objective of portraying that meaning to the viewer is central to the creation of
that dance.
A preoccupation with narrative in South African dance is not, to use a
colloquial term, 'a bad thing', nor is it erroneous or 'backwards' as an artistic
trend. There is, however, as alluded to by Greco and Pienaar, a certain
'danger' in placing an overt focus on content without an interrogation of form,
since it is through innovation of the 'how' that artistic progress occurs. The
way in which a narrative dance is formed, and ultimately performed, must
therefore become a site for experimentation where compelling and innovative
approaches to making meaning through narrative can be located.
It must be noted that due to the multitude of dance traditions practiced in
South Africa, the observations and views expressed by the above critics, as
well as those articulated within this investigation, are specific to choreography
in the style of contemporary dance. It is important to note, however, that in
South Africa the contemporary dance style has a meaning distinct to an
American or European interpretation. In South Africa, the term 'contemporary
dance' is often applied to companies and practitioners working in numerous
5
other contemporary styles such as physical theatre , Afro-fusion, and
(
contemporary African dance. For the purposes of this thesis the term
'contemporary dance' is used in its broadest sense, referring to all of the
above-mentioned styles but excluding ballet (both contemporary and
classical), traditional dance forms, and other social dance styles such as Hip-
Hop, Kwaito and Pantsula.
5 Meersman (2007b) suggests that physical theatre in South Africa can be seen to inhabit two
schools: "The mime-based artists, such as Andrew Buckland, and the dance-based school of
Gary Gordon" (2) and The First Physical Theatre Company. It is the dance-based school of
physical theatre referred to here.
5
Selected works and practitioners located specifically within the field of
physical theatre are particularly pertinent to this investigation and will be
discussed in greater detail. As a relatively young performance form in South
Africa, physical theatre has emerged in the country alongside the nation's own
socio-political transformation. This concurrent emergence provides scope for
certain correlations between the development of the form and the context
from which it arose to be made. In addition, by engaging with theatre-based
traditions in conjunction with dance, a propensity for narrative (which is
commonplace in the theatrical tradition) is particularly prevalent within this
form. It can also be argued that, in terms of significant experimentation with
form, physical theatre choreographers and practitioners seem to dominate in
South African contemporary dance practice. This proclivity for
experimentation can be seen as characteristic of physical theatre with its
aesthetic foundations influenced by the innovation of both avant garde theatre
and avant garde dance (Sanchez-Colberg, 1996: 40). In addition, physical
theatre in South Africa bears a strong association with tertiary institutions, with
the majority of its practitioners either teaching in local universities or having
gained their training while reading for performance degrees6. Professor Gary
Gordon, artistic director of The First Physical Theatre Company and Head of
Drama at Rhodes University, suggests that "just as experimentation, invention
and discovery are valued in other academic fields - as in science and
6 South Africa's first official physical theatre company, The First Physical Theatre Company, is
connected to Rhodes University where both its artistic director (Prof. Gary Gordon) and
assistant artistic director (Juanita Finestone-Praeg) lecture in the Drama Department.
Similarly, The Forgotten Angle Theatre Collaborative, originally established as an associated
project of the University of the Witwatersrand, is headed by former Rhodes graduates and
First Physical Theatre Company performers PJ Sabbagha and Tracey Human. other
prominent physical theatre practitioners and choreographers such as Jeannette Ginslov,
Athena Mazarakis, and Samantha Pienaar, all hold teaching positions at universities and
tertiary institutions around the country.