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Breaking my silence as a 'trained' dancer in post-apartheid South Africa
This research is a personal reflection and a self-study of two performances that have taken place over the course of two years. My Medium Project titled, When Memories Break, set out to navigate ways of decolonising oppressive dominance and investigating the ramifications of indoctrination in dance....
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| Format: | Thesis |
| Language: | English |
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Department of Drama
2020
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| _version_ | 1867613162125131776 |
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| access_status_str | Open Access |
| author | Jones, Danielle-Marie |
| author2 | Baxter, Veronica |
| author_browse | Baxter, Veronica Jones, Danielle-Marie |
| author_facet | Baxter, Veronica Jones, Danielle-Marie |
| author_sort | Jones, Danielle-Marie |
| collection | Thesis |
| description | This research is a personal reflection and a self-study of two performances that have taken place over the course of two years. My Medium Project titled, When Memories Break, set out to navigate ways of decolonising oppressive dominance and investigating the ramifications of indoctrination in dance. In 2017, during my Honours Degree in Dance Studies at the University of Cape Town, I created a poster-painting with a fellow #FeesMustFall artist-activist. This poster-painting, entitled, Amputation, was introduced at UCT School of Dance' Confluences 9: Deciphering decolonisation in Dance Pedagogy in the 21st Century in Cape Town, South Africa. Since then, Amputation has become a personal credo that I have carried with me in my Practice as Research field of study. In 2018, as part of my Minor Project, I not only highlighted my memories and experiences in Classical Ballet, but also included my memories of other informal1 dance influences. The purpose of this essay is therefore not to depict ballet as a current colonialist art form but rather to draw attention to what it represented during the years of colonialism, apartheid, and the aftermath of that. It is against this background that I explore the issues related to the relationship I have with my dance training to date. As a performer-researcher, I will use my living experience as a case study. This article provides a perspective from a performer-researcher's position using selfreflexivity as a research methodology. My conclusion supports the notion that self-reflection in the quest for decolonisation in dance by performer-researchers is important for the evolution of a more democratic society. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/32275 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:31:45.395Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2020 |
| publishDateRange | 2020 |
| publishDateSort | 2020 |
| publisher | Department of Drama |
| publisherStr | Department of Drama |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/32275 Breaking my silence as a 'trained' dancer in post-apartheid South Africa Jones, Danielle-Marie Baxter, Veronica Job, Jacki Decolonization dance trained reflection self-reflexive methodology This research is a personal reflection and a self-study of two performances that have taken place over the course of two years. My Medium Project titled, When Memories Break, set out to navigate ways of decolonising oppressive dominance and investigating the ramifications of indoctrination in dance. In 2017, during my Honours Degree in Dance Studies at the University of Cape Town, I created a poster-painting with a fellow #FeesMustFall artist-activist. This poster-painting, entitled, Amputation, was introduced at UCT School of Dance' Confluences 9: Deciphering decolonisation in Dance Pedagogy in the 21st Century in Cape Town, South Africa. Since then, Amputation has become a personal credo that I have carried with me in my Practice as Research field of study. In 2018, as part of my Minor Project, I not only highlighted my memories and experiences in Classical Ballet, but also included my memories of other informal1 dance influences. The purpose of this essay is therefore not to depict ballet as a current colonialist art form but rather to draw attention to what it represented during the years of colonialism, apartheid, and the aftermath of that. It is against this background that I explore the issues related to the relationship I have with my dance training to date. As a performer-researcher, I will use my living experience as a case study. This article provides a perspective from a performer-researcher's position using selfreflexivity as a research methodology. My conclusion supports the notion that self-reflection in the quest for decolonisation in dance by performer-researchers is important for the evolution of a more democratic society. 2020-09-16T09:41:35Z 2020-09-16T09:41:35Z 2020 2020-09-15T16:54:02Z Master Thesis Masters MA http://hdl.handle.net/11427/32275 eng application/pdf Department of Drama Faculty of Humanities |
| spellingShingle | Decolonization dance trained reflection self-reflexive methodology Jones, Danielle-Marie Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| thesis_degree_str | Master's |
| title | Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| title_full | Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| title_fullStr | Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| title_full_unstemmed | Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| title_short | Breaking my silence as a 'trained' dancer in post-apartheid South Africa |
| title_sort | breaking my silence as a trained dancer in post apartheid south africa |
| topic | Decolonization dance trained reflection self-reflexive methodology |
| url | http://hdl.handle.net/11427/32275 |
| work_keys_str_mv | AT jonesdaniellemarie breakingmysilenceasatraineddancerinpostapartheidsouthafrica |