Curated by Maipelo Gabang, ANOTHER BIBLIOGRAPHY is compiled from the reference lists generated by seven Southern African dance and performance scholars during the course of their artistic research studies. ANOTHER BIBLIOGRAPHY is offered here with the hope that in sharing references and perspectives from the Southern African research context we are contributing to an international artistic research future that is protean and inclusive, one that incorporates Artists of Colour as producers of knowledge.
Baxter, V. 2013. “Practice as Research in South Africa.” In Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances, edited by Robin Nelson, 163–174. London: Palgrave Macmillan.
Bertram, C., and I. Christiansen. 2014. Understanding research: an introduction to reading research. Pretoria: Van Schaik.
Blay, Y. 2008. “All the ‘African’ are men, all the ‘sistas’ are ‘American’,’ but some of us resist: Realising African Feminism(s) as an Africological Research Methodology.” The Journal of Pan African Studies, volume 1, (2): 58–73.
Bunn, D. 2009. “Ends of the Rainbow: South African Arts Funding in the Post-Mbeki Years.” International Conference on African Culture and Development. nac.org.za/research/debates .
Chang, J. 2017. “Why ‘Moonlight’ deserves to win the best picture Oscar.” Los Angeles Times, Feb 17, 2017. www.latimes.com/entertainment/movies/la-et-mn-oscars-critic-why-moonlight-deserves-to-win-best-picture-20170217-htmlstory.html .
Chimamanda, A. 2009. “The danger of a single story.” TED Talks. www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story/transcript
Chweneyagae, P., and M.P. Grootboom. 2006. Relativity: Township Stories. Johannesburg: Real African Publishers.
Conquergood, D. 2002. “Performance Studies: Interventions and radical research.” The Drama Review, volume 46, (2): 145–156.
Copteros, A. 2002. Workshop Theatre in Post-Apartheid South Africa: A Case Study. Grahamstown: Rhodes University Press.
Creswell, J. W. 2009. Research Design: Qualitative, Quantitative and Mixed Methods Approaches, 3rd edition. California: SAGE Publications.
Cripps, T. 1993. Making Movies Black. New York: Oxford University Press.
Denoon, D. and B. Nyeko. 1973. Southern Africa Since 1800. New York: Praeger.
Desmond, J. 1993. “Mapping Identity onto the Body: Women and Performance, A Journal of Feminist Theory.” Women and Performance, volume 6 (2): 103–126.
Dhlomo, H. I. E. 1960. The Girl Who Killed to Save: Nongqause the Liberator. Eastern Cape: Lovedale Press.
Diawara, M. 2010. African film: New Forms of Aesthetic and Politics. Munich: Prestel.
Durden, E., and R. Twijnstra. 2014. Theatre Directing in South Africa: Skills and Inspirations. Durban: Twist Theatre Development Projects.
Fleishman, M. 2009. Knowing Performance: Performances as knowledge paradigm for Africa. South African Theatre Journal, volume 23, 116–134.
Fleishman, M. 2012. Remembering in the Postcolony: Refiguring the Past with Theatre. Cape Town: University Press.
Gqola, P. 2012. “What is slavery to me? Postcolonial/slave memory in post-apartheid South Africa.” Postcolonial Text, volume 7, no. 1. www.postcolonial.org/index.php/pct/article/viewFile/1388/1294 .
Greig, N. 2008. Young people, new theatre: A practical guide to intercultural process. New York: Routledge.
Harris- Perry, M. 2011. Sister Citizen: Shame, stereotypes, and Black women in America. New Haven, Tale University Press.
Hauptfleisch, T. 1997. Theatre and Society in South Africa: Some reflections in a fractured mirror. Pretoria: Van Schaik.
hooks, b. 2006. Outlaw Culture: Resisting Representation. New York, Routledge.
Horton, Y., P. Raagan, and E. Brown. 1999. “Portrayal of Minorities in the Film, Media and Entertainment Industries.” Edge. web.stanford.edu/class/e297c/poverty_prejudice/mediarace/portrayal.htm .
Irlam, S. 2004. “Unravelling the Rainbow: The Remission of Nation in Post-Apartheid Literature.” The South African Theatre Quarterly, volume 103, (4): 695–718.
Junction Avenue Theatre. 2012. Sophiatown. Johannesburg: University of Witwatersrand Press.
Krueger, A. 2007. “Performing Transformations of Identity: Ethic Nationalisms and Syncretic Theatre in Post-Apartheid South Africa.” South African Theatre Journal, volume 24, (1): 51–60.
Kruger, L. 1999. “Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama (review).” Research in African Literatures, volume 30, (4): 212–215.
Lewis, J. and T. Qwabe. 2016. “Collaborative South African Fieldwork Community Arts Development Program.” In Contemporary perspectives in art and international development, edited by D. Stupples & K. Teaiwa, 189–205. Abingdon: Taylor and Francis.
Lewis, J. 2012. Devising and Montage: Physical Action to Create (Re)Conceptual Performance. Pretoria: Tshwane University of Technology.
Maishe Maponya. 2012. Encyclopaedia of South African Theatre, Film, Media and Performance [Online]. esat.sun.ac.za/index.php/Maishe_Maponya.
Manzoor, S. 2014. “The slow rise of black cinema.” The Guardian, September 21, 2014. [online] www.theguardian.com/film/2014/sep/21/slow-rise-black-cinema-african-american-hollywood .
Mbembe, A. 2001. “African Modes of self-writing.” Identity, Culture and Politics, volume 2(1). [Electronic version]. calternatives.org/resource/pdf/African%20Modes%20of%20Self-Writing.pdf
Memmi, Albert. 1974. The Colonizer and the Colonized. London: Eartscan Publications.
Mhlope, G., H. Moore, F. Dada, L. Hofmeyer, and J. Snaddon-Wood. 2002. Horns only (Stars of Africa). South Africa: Maskew Miller Longman.
Nelson, R. 2013. Practice as research in the arts: principles, protocols, pedagogies, resistances. Palgrave Macmillan.
Orkin, M. 1995. At the Junction Four plays by the Junction Avenue Theatre Company. Johannesburg: Witwatersrand University Press.
Powel-Wright, D., and C. Henderson (eds). 2010. Imagining the Black female body: Reconciling image in print and visual culture. New York: Palgrave Macmillan.
Quashie, K. 2004. Black women, identity, and cultural theory: (un)becoming the subject. Piscataway: Rutgers University.
Reid, M. 1993. Redefining Black Film. Berkeley: University of California Press.
Romm, Norma R.A. 2010. New Racism: Revisiting Researcher Accountabilities. Springer.
Solberg, R. 2011. Introducing Bra Gib: Father of South Africa’s Township Theatre. Kwa-Zulu Natal: University of Kwa-Zulu Natal Press.
Sutherland, A. 2017. “Method and madness: de/colonising scholarship and theatre research with participants labelled mad.” Research in Drama Education: The Journal of Applied Theatre and Performance, volume 22, (3): 427–435.
Taylor, J. 1998. Ubu and the Truth Commission. Cape Town: Juta Company Ltd. 2007. Ubu and the Truth Commission. Cape Town: University of Cape Town Press.
Thiong’o, Ngugi wa. 1986. Decolonising the mind: the politics of language in African literature. Nairobi: East Africa Educational Publisher Ltd.
Van Graan, M. 2006. “From Protest Theatre to Theatre of Conformity?”. South African Theatre Journal, volume 20, (1): 276–288.
Van Kerkhoven, M. 1994. “Introduction to ‘On Dramaturgy’.” Theaterschrift. 5 & 6: 8–34.
Vaughan, M. 1988. “The Writer as a Storyteller?.” African Studies Seminar Paper. Witwatersrand: University Press.
Walker, D., A. Rausch, and C. Watson. 2009. Reflections on Blaxploitation: Actors and Directors Speak. Maryland: Scarecrow Press.
Wells, J. 2012. The Return of Makhanda: Exploring the Legend. KwaZulu Natal: University of KwaZulu Natal.
Gabang is a performer and facilitator whose educational background includes a B.A in Drama and Organisational Psychology and a MA in Choreography and Movement Research from Rhodes University in South Africa.
Gabang has worked and collaborated with institutions and organisations such as the Swiss Arts Council, The South African School of Motion Picture Medium and Live Performance (AFDA), Mophato Dance Theatre and the South African State Theatre. As well as performed and showcased work at various international festivals and platforms.
Gabang firmly believes that creativity speaks directly to a country’s capacity for ingenuity. She is passionate about growing and developing the socio-economic role of the Creative Economy particularly in regard to Botswana’s arts, culture and heritage, and making it more accessible to African women by elevating their visibility and leadership.