{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/36728"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/36728","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Reflections on a body of work/water: re-membering the post-slave female body through performance practice","abstract":"This study attempts to ‘re-member' the post-slave South African female body through personal performance practice. It addresses re-membering both as an embodied activity of Recalling erased memory and as a recuperation of the dis-membered post-slave female body. Through reflecting on two examples of personal performance practice, What the Water Gave Me (2000) and Spice Root (2005), I use my own post-slave body as the locus of Intersection between the private and the political, the biological and the historical. The transmission of cultural memory through performance is traced through Joseph Roach's (1996) ‘surrogation' and Diana Taylor's (2003) ‘Repertoire'. Specifically, I employ a syncretic spirituality and objects of cultural memory to re-member a diasporic narrative continuity and recuperate embodied feminine agency. Gabeba Baderoon's (2014) perspective on the Indian Ocean as site of colonial slavery and cultural memory across diaspora and Raissa De Smet Trumbull's (2010) monograph on ‘Oceanic liquidity' inspire a figuration of the Ocean as an embodied, affective, anti-colonial presence. These modalities also inflect the style of writing in my inquiry, thus privileging the material/maternal, cyclical, leaky and excessive qualities of water a counter-hegemonic practice.","abstract_html":"This study attempts to ‘re-member' the post-slave South African female body through personal performance practice. It addresses re-membering both as an embodied activity of Recalling erased memory and as a recuperation of the dis-membered post-slave female body. Through reflecting on two examples of personal performance practice, What the Water Gave Me (2000) and Spice Root (2005), I use my own post-slave body as the locus of Intersection between the private and the political, the biological and the historical. The transmission of cultural memory through performance is traced through Joseph Roach's (1996) ‘surrogation' and Diana Taylor's (2003) ‘Repertoire'. Specifically, I employ a syncretic spirituality and objects of cultural memory to re-member a diasporic narrative continuity and recuperate embodied feminine agency. Gabeba Baderoon's (2014) perspective on the Indian Ocean as site of colonial slavery and cultural memory across diaspora and Raissa De Smet Trumbull's (2010) monograph on ‘Oceanic liquidity' inspire a figuration of the Ocean as an embodied, affective, anti-colonial presence. These modalities also inflect the style of writing in my inquiry, thus privileging the material/maternal, cyclical, leaky and excessive qualities of water a counter-hegemonic practice.","abstract_has_math":false,"creators":["Abrahams,Rehane"],"institution":"Department of Drama","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Stopford, Clare","Mtshali, Mbongeni"],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017","date_published":"2017","updated_at":"2026-07-22T22:23:18Z","subjects":["theatre and performance"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/36728","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Stopford, Clare","Mtshali, Mbongeni"]},{"key":"dc:creator","label":"Author","values":["Abrahams,Rehane"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2022-08-29T15:24:10Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-08-29T15:24:10Z"]},{"key":"dc:date.issued","label":"Date","values":["2017"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Department of Drama"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters","MA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["theatre and performance"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/36728"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This study attempts to ‘re-member' the post-slave South African female body through personal performance practice. It addresses re-membering both as an embodied activity of Recalling erased memory and as a recuperation of the dis-membered post-slave female body. Through reflecting on two examples of personal performance practice, What the Water Gave Me (2000) and Spice Root (2005), I use my own post-slave body as the locus of Intersection between the private and the political, the biological and the historical. The transmission of cultural memory through performance is traced through Joseph Roach's (1996) ‘surrogation' and Diana Taylor's (2003) ‘Repertoire'. Specifically, I employ a syncretic spirituality and objects of cultural memory to re-member a diasporic narrative continuity and recuperate embodied feminine agency. Gabeba Baderoon's (2014) perspective on the Indian Ocean as site of colonial slavery and cultural memory across diaspora and Raissa De Smet Trumbull's (2010) monograph on ‘Oceanic liquidity' inspire a figuration of the Ocean as an embodied, affective, anti-colonial presence. These modalities also inflect the style of writing in my inquiry, thus privileging the material/maternal, cyclical, leaky and excessive qualities of water a counter-hegemonic practice."]},{"key":"dc:title","label":"Title","values":["Reflections on a body of work/water: re-membering the post-slave female body through performance practice"]}]}],"canonical_facts":{"dc:contributor.advisor":["Stopford, Clare","Mtshali, Mbongeni"],"dc:creator":["Abrahams,Rehane"],"dc:date.accessioned":["2022-08-29T15:24:10Z"],"dc:date.available":["2022-08-29T15:24:10Z"],"dc:date.issued":["2017"],"dc:description.abstract":["This study attempts to ‘re-member' the post-slave South African female body through personal performance practice. It addresses re-membering both as an embodied activity of Recalling erased memory and as a recuperation of the dis-membered post-slave female body. Through reflecting on two examples of personal performance practice, What the Water Gave Me (2000) and Spice Root (2005), I use my own post-slave body as the locus of Intersection between the private and the political, the biological and the historical. The transmission of cultural memory through performance is traced through Joseph Roach's (1996) ‘surrogation' and Diana Taylor's (2003) ‘Repertoire'. Specifically, I employ a syncretic spirituality and objects of cultural memory to re-member a diasporic narrative continuity and recuperate embodied feminine agency. Gabeba Baderoon's (2014) perspective on the Indian Ocean as site of colonial slavery and cultural memory across diaspora and Raissa De Smet Trumbull's (2010) monograph on ‘Oceanic liquidity' inspire a figuration of the Ocean as an embodied, affective, anti-colonial presence. 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