Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa最新文献

Chapter 7. Women, Protest and Theatre 第七章。妇女、抗议和戏剧

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181008

B. Orton

{"title":"Chapter 7. Women, Protest and Theatre","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181008","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181008","url":null,"abstract":"Abstract \u0000During the apartheid era many women, such as Albertina Sisulu and Lilian Ngoyi to name only two, spent time in solitary confinement. Women were punished for taking part in political activities by being issued with banning orders or placed under house arrest. Women placed under banning orders were treated differently to men. At the Special Hearings which were organised by the Truth and Reconciliation Commission (TRC) women were provided with an opportunity to talk about their experiences as women living under apartheid instead of talking about what had happened to someone in their family. The silencing of women continued even after the new government came to power. This is clearly illustrated in the negligible space allotted to the experiences of women’s oppression and human rights violations in the hearings before the TRC. My concern that an understanding and appreciation of the suffering, oppression, political activism and contribution by South African women during apartheid will be lost to future generations is shared by Annie Coombes’s statement in her book History After Apartheid: Visual Culture and Public Memory in a Democratic South Africa (2003).","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129975138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chapter 3. Glass House: A Clash of Two Cultures, Detention and Aggression 第三章。玻璃屋:拘禁与侵略两种文化的冲突

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181004

B. Orton

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Chapter 4. Born in the RSA: Lies, Manipulation, Violence and Solitary Confinement 第四章。出生在RSA:谎言，操纵，暴力和单独监禁

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181005

B. Orton

{"title":"Chapter 4. Born in the RSA: Lies, Manipulation, Violence and Solitary Confinement","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181005","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181005","url":null,"abstract":"Abstract \u0000There are seven main characters of which five are women: Sindiswa, Mia, Susan, Thenjiwe and Nicky. The other two characters, Glen and Zaccaria, represent males from very different socio-economic and political backgrounds. The character of Dumasani, a young boy, is referred to in the play. What makes the play especially significant is that of a cast of seven, five are women. Throughout the play the character of Glen, a spy for the apartheid government, reveals the manipulative and deceitful manner in which the members of the South African police force and political informers carried out their work. He forms relationships with people about whom he professes to care; however, his only concern is that they are able to provide information that will secure financial reward for his spying activities for the apartheid government. Born in the RSA offers the audience an interesting exchange of ideas and thoughts about the political, economic and social situation in apartheid South Africa. Through the exploration of narratives and improvisation a landscape of violence is thrown open. A landscape of violence, that is not only physical, but also psychological. The play presents a complex situation in which violence does not only come from one source but from various sources such as the government, the youth, the opposition parties, the comrades, the private domestic space, subversive activities and political organisations. Any opposition to government policies results in harsher and more extreme violence by the apartheid regime strengthening their oppressive forces.","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125673426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chapter 5. Have You Seen Zandile? Gogo and her Granddaughter 第五章。你见过赞迪尔吗?果果和她的孙女

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181006

B. Orton

{"title":"Chapter 5. Have You Seen Zandile? Gogo and her Granddaughter","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181006","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181006","url":null,"abstract":"Abstract \u0000Zandile is an autobiographical play about Mlophe’s childhood. It begins with her living with her Gogo (her grandmother) in Durban and then being forcefully removed to live with her mother, Lulama, in the Transkei. The play focuses on Zandile and her development as she becomes an adult woman as well as her awareness of the tensions between traditional and Western expectations, political conflicts and social pressures. Zandile, Gogo (Zandile’s grandmother), Lulama (Zandile’s mother), Bongi (Zandile’s imaginary friend) and Lindiwe (Zandile’s friend) are women whose lives are directly and indirectly affected by the rules of the apartheid regime. The play skews the emphasis away from the oppression of African men and provides a space for the women to tell their personal stories of struggle, identity, harassment, dreams, expectations and journeys. Throughout the play the men are mentioned, but are not seen. Zandile provides the reader with an insight into the lives of three generations of African women, and the impact of the political situation on their disparate reactions highlight the conflicting interpretations of the African woman’s role in theatre, at home, as an activist, and the woman’s duty – to her husband, family and the struggle.","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126482788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chapter 1. A Brief Overview of the Dynamic Herstory of South Africa 1912–1993 第1章。简论南非1912-1993年的动态历史

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181002

B. Orton

{"title":"Chapter 1. A Brief Overview of the Dynamic Herstory of South Africa 1912–1993","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181002","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181002","url":null,"abstract":"Abstract \u0000This chapter is an overview of herstorical, political and theatrical developments in South Africa. It provides an overview of the background to the herstory of South Africa from 1912–1993. \u0000 \u0000Dates are included which have relevance to the herstory of South African Women; for example, 1912 was the year of the formation of the African National Congress (ANC); in 1913 Charlotte Maxeke led a march against pass laws for African women; the Native Land Act of 1913 stated that natives were no longer able to buy, sell or lease outside the stipulated reserves; the Influx Control and The Natives Urban Act of 1923 and amendments to the Act in 1937 had devastating consequences for African women as it severely restricted their movements from rural to urban areas. The year 1930 is important because this was when white South African women acquired the vote which gave political activists such as Helen Joseph and Helen Suzman a political voice. In 1948 the ANC Women’s League (ANCWL) was formed. Political events from the 1970s through to 1993, demonstrate how the Black Consciousness Movement (BCM), the African National Congress (ANC), other anti-apartheid organisations and the apartheid government realised the effectiveness of theatre as a political weapon","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123629234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chapter 8. Twenty Years On and ‘So, What’s New?’ 第八章。二十年过去了，有什么新鲜事吗?”

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181009

B. Orton

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Index 指数

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181010

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Chapter 6. ‘So What’s New?’ The Bold and the Beautiful 第六章。“有什么新鲜事吗?”《勇敢与美丽》

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181007

B. Orton

{"title":"Chapter 6. ‘So What’s New?’ The Bold and the Beautiful","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181007","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181007","url":null,"abstract":"Abstract \u0000So What’s New? is a play that centres on the lives of four female characters, Dee, her daughter Mercedes, Thandi and Pat. The play text provides a structural oppressive and gender specific framework exposing a social, political and economic background which demonstrates how African women used the informal sector in order to survive economically. It also provides a discussion about mothers and daughters and sexual activity. As the play progresses Mercedes talks to Thandi about the harm of selling illegal drugs to young people. The play centres on the impact of these relationships on the women and how they deal with their problems and fears. In this play African women’s experiences are not peripheral but are brought to the fore and celebrated with humour, pathos and admiration. Dike uses the play text to juxtapose two very different images of South Africa. One is the background of violence (perpetrated mainly by males) and the other is the lives of three women and one young girl centred round The Bold and The Beautiful, a soap opera (a feminine genre). Dike used the lives and stories of three women on which to base her play. All three women are independent and obsessed with the soap The Bold and The Beautiful. Dee’s daughter, Mercedes, is a schoolgirl who is politically aware and her boyfriend, Victor, is a political activist. These two characters provide the political background that underpins the fighting and the continuation of the struggle. By locating the play in a shebeen Dike is acknowledging the important role shebeens play in their communities.","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115328240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chapter 2. ‘Wathint Abafazi’Wathint’ – You Strike the Woman, You Strike the Rock 第二章。“你打女人，你就打石头。

Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa Pub Date : 2018-09-24 DOI: 10.1108/978-1-78754-525-020181003

B. Orton

{"title":"Chapter 2. ‘Wathint Abafazi’Wathint’ – You Strike the Woman, You Strike the Rock","authors":"B. Orton","doi":"10.1108/978-1-78754-525-020181003","DOIUrl":"https://doi.org/10.1108/978-1-78754-525-020181003","url":null,"abstract":"Abstract \u0000The play text, You Strike the Woman, You Strike the Rock, (Klotz, 1994) takes its title from a protest slogan ‘Wathint Abafazi’Wathint’. This slogan is associated with the Women’s Protest March in 1956, the largest mass gathering of women in South African herstory where women gathered to demonstrate peacefully against the imposition of pass laws on black South African women. The play recalls the story of the Women’s March and their courage as they fought against the imposition of the pass laws and is based on the lives of three women, Sdudla, Mampompo and Mambhele who sell chickens, vetkoek and oranges near a taxi rank in the squatter camp of Crossroads in Cape Town. Sdudla is the political activist who tries throughout the play to politicise both Mampompo and Mamphlele by making frequent references to the Women’s March and recalling the defiance and strength of the women who went on that March. What You Strike the Woman You Strike the Rock does is firstly to emphasise and explore the personal experiences, and perspectives of three women and, importantly, to represent a break from tradition, secondly to use consciousness-raising as a way for the women to talk about their experiences; to offer their testimony and, thirdly, to use the process as a bonding experience.","PeriodicalId":320591,"journal":{"name":"Women, Activism and Apartheid South Africa: Using Play Texts to Document the Herstory of South Africa","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130058815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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