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How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics
In this paper I endeavor to chart the trajectory through my Practice as Research process into, and later development of, what eventually became a performance and literary work entitled Jesus Thesis and Other Critical Fabulations. The paper details in the first part, Modes of Disidentification, the p...
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| Format: | Thesis |
| Language: | English |
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Department of Drama
2021
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| _version_ | 1867614091076435968 |
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| access_status_str | Open Access |
| author | Maroga, Kopano Tiyana |
| author2 | Pather, Jayendran |
| author_browse | Maroga, Kopano Tiyana Pather, Jayendran |
| author_facet | Pather, Jayendran Maroga, Kopano Tiyana |
| author_sort | Maroga, Kopano Tiyana |
| collection | Thesis |
| description | In this paper I endeavor to chart the trajectory through my Practice as Research process into, and later development of, what eventually became a performance and literary work entitled Jesus Thesis and Other Critical Fabulations. The paper details in the first part, Modes of Disidentification, the practices of three black, interdisciplinary artists: Todd Gray, Sethembile Msezane and Athi-Patra Ruga operating at different intersections of black identity and how their practices exemplify different possibilities for disidentification in creative practice. Using the framework of queer cultural theorist José Esteban Muñoz' Disidentifications (1984) as a theoretical base, I endeavor to explore the different techniques that these artists use in response, retaliation and, possibly, congruence to the politics of representation . In order to elucidate and experiment with these techniques I employ a Practice as 1 Research methodology that I unpack in the second half of the paper, Biomythography, critical fabulation and disidentification in Practice. In Biomythography, critical fabulation and disidentification in practice I engage the performance works I created during my masters in Theatre and Performance, namely Jesus Thesis and Other Critical Fabulations and icarus descent and illustrate how the theory of disidentification can be performed utilizing the techniques of biomythography (Lorde, 1982) and critical fabulation (Hartman, 2008) that gesture towards a complication of rigid identity theory. Underpinning this research is the desire to explore artistic techniques that complicate rigid, categorical identity theory and practices in the hope that these techniques can serve towards alternatives to and liberation from the social, categorical identity model inherited in Southern Africa through the colonial systems of identity based categorization. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/32827 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:46:31.618Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| 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:11427/32827 How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics Maroga, Kopano Tiyana Pather, Jayendran Theatre and Performance In this paper I endeavor to chart the trajectory through my Practice as Research process into, and later development of, what eventually became a performance and literary work entitled Jesus Thesis and Other Critical Fabulations. The paper details in the first part, Modes of Disidentification, the practices of three black, interdisciplinary artists: Todd Gray, Sethembile Msezane and Athi-Patra Ruga operating at different intersections of black identity and how their practices exemplify different possibilities for disidentification in creative practice. Using the framework of queer cultural theorist José Esteban Muñoz' Disidentifications (1984) as a theoretical base, I endeavor to explore the different techniques that these artists use in response, retaliation and, possibly, congruence to the politics of representation . In order to elucidate and experiment with these techniques I employ a Practice as 1 Research methodology that I unpack in the second half of the paper, Biomythography, critical fabulation and disidentification in Practice. In Biomythography, critical fabulation and disidentification in practice I engage the performance works I created during my masters in Theatre and Performance, namely Jesus Thesis and Other Critical Fabulations and icarus descent and illustrate how the theory of disidentification can be performed utilizing the techniques of biomythography (Lorde, 1982) and critical fabulation (Hartman, 2008) that gesture towards a complication of rigid identity theory. Underpinning this research is the desire to explore artistic techniques that complicate rigid, categorical identity theory and practices in the hope that these techniques can serve towards alternatives to and liberation from the social, categorical identity model inherited in Southern Africa through the colonial systems of identity based categorization. 2021-02-12T09:54:10Z 2021-02-12T09:54:10Z 2020 2021-02-12T04:34:48Z Master Thesis Masters MA http://hdl.handle.net/11427/32827 eng application/pdf Department of Drama Faculty of Humanities |
| spellingShingle | Theatre and Performance Maroga, Kopano Tiyana How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| thesis_degree_str | Master's |
| title | How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| title_full | How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| title_fullStr | How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| title_full_unstemmed | How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| title_short | How to Disappear: Disidentification and biomythography as tools for queering and querying oppressive identity politics |
| title_sort | how to disappear disidentification and biomythography as tools for queering and querying oppressive identity politics |
| topic | Theatre and Performance |
| url | http://hdl.handle.net/11427/32827 |
| work_keys_str_mv | AT marogakopanotiyana howtodisappeardisidentificationandbiomythographyastoolsforqueeringandqueryingoppressiveidentitypolitics |