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Drawing on principles of Dance Movement Therapy practice in a South African water research context

- Copteros, Athina

Authors: Copteros, Athina
Date: 2017
Subjects: Water-supply -- Management -- South Africa , Dance therapy , Movement therapy , Dance therapy -- South Africa , Movement therapy -- South Africa , Interdisciplinary research , Interdisciplinary approach to knowledge , Environmental education , Environmental education -- South Africa
Language: English
Type: Thesis , Doctoral , PhD
Identifier: http://hdl.handle.net/10962/50759 , vital:26024
Description: Research that draws on principles of Dance Movement Therapy in a South African water research context has not been done before. In order to initiate this exploration, culturally relevant themes from professional training in the United Kingdom were identified that could be developed in the context of trans-disciplinary water resource management research in South Africa. Hermeneutic phenomenology provided the methodological framing for this study. Interpretative Phenomenological Analysis was used to discover culturally relevant themes based on the recorded perceptions of the phenomenon of the training while it was taking place. The themes of: ‘awareness of power and difference'; ‘therapeutic adaptability'; ‘safety and ownership' and ‘connecting with the environment' emerged as overriding themes. Influences from Artistic Inquiry informed the inclusion of a creative embodied response to the themes that emerged. These themes then informed the application of some relevant principles of Dance Movement Therapy practice within a trans-disciplinary complex social-ecological systems researcher group. Eight members of the group participated in the study. They represented a range of academic research roles, genders and backgrounds. They reflected on their experience of an introductory session and five Dance Movement Therapy based sessions in semi-structured interviews. Using Interpretative Phenomenological Analysis, four themes were identified that capture the quality of the participants' shared experience of the phenomenon: ‘community engagement'; ‘embodiment'; ‘individual and group identity' and ‘integration'. Based on the integration of themes, it is concluded that principles of Dance Movement Therapy have a contribution to make. Core tenets of Dance Movement Therapy such as: inclusion of body and emotion; healing from trauma through embodiment; group processes held with safety and acceptance; and a deep level of connection to self, each other and the wider ecology, address some of the basic challenges of trans-disciplinary complex social ecological systems research practice. Through researchers experiencing principles of DMT practice for themselves and reflecting on their experience, it is possible that their embodied knowledge and reflections will influence and inform their engagement with communities in the future.
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Date Issued: 2017

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Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown

- Madiba, Elijah Moleseng

Authors: Madiba, Elijah Moleseng
Date: 2019
Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
Language: English
Type: text , Thesis , Masters , MMus
Identifier: http://hdl.handle.net/10962/76599 , vital:30611
Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
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Date Issued: 2019

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