Samuel Ravengai
Biographic Data
| ID | 285696 |
|---|---|
| NAME | Samuel Ravengai |
| GIVEN NAMES | Samuel |
| FAMILY NAME | Ravengai |
| SIGNATURE | RAVENGAI S |
| AFFILIATIONS | University of the Witwatersrand |
| ORCID | 0000-0002-3202-6622 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Stephen Joel Chifunyise and his contribution to the praxis of Afroscenology
Decolonising Theatre: Subverting the Western Dramaturgical Frame in Zimbabwean Theatre and Performance
The official cultural policy of the colonial state in Zimbabwe was premised on the anglicisation of cultural production with a slavish adherence to the Western dramatic canon. Although this policy was resisted by cultural producers, the resistance was not mainstreamed in any meaningful way as a broad-based policy to be pursued. With independence from Great Britain on 18 April 1980, cultural producers took it upon themselves to mainstream this res…
Performing the archive and re-archiving memory: Magnet Theatre's Museum and Reminiscence Theatre
In this article I examine the performance of Magnet Theatre's Tears Become Rain and also make reference to several other performances by the same company. My major thrust is to evaluate Magnet Theatre's Clanwilliam Art Project against its set objectives, using Tears Become Rain as a starting point. Tears Become Rain was a single performance of one of the stories of //Kabbo. Every year the creative collective comprising Magnet Theatre, and the Uni…
Subversion of socialist realist theatre and the rise of post-realist theatre in Zimbabwe, 1980–1996
This article takes a theatre historiography approach by scrutinising key developments in Zimbabwean theatre between 1980 and 1996. While theatre historiography often deals with critiquing source materials, theatre reconstruction and theatre iconography, in this article my emphasis is on historical periodisation, with a particular interest in intellectual and artistic change. At independence in 1980, the Ministry of Education and Culture sought to…
Embodiment, Mobility and the Moment of Encounter in Jonathan Nkalaâ s The Crossing
The Political-Aesthetic Function of Song and Dance in Zimbabwean Theatre 1980–1996
This article focuses on the behaviour of the African body in performance as well as the internal organisation of the songs. In focusing on the body and mechanics of songs I want to investigate how the African body and vocal skill reflect, mediate and challenge the relations of domination and subordination between western dramatic theatre and indigenous cultural text. What identities of theatre emerge out of this process and how are they produced?…
Reimagined rural–urban landscapes and Zimbabwean cultural identities in Zimunya's country dawns and city lights
This article seeks to explore the ways in which Zimunya constructs Zimbabwean rural and urban landscapes and cultural identities at a time when the city is making inroads into the rural terrain and the rural hinterland is encroaching into the city. I argue that even though Zimunya seems to blame the white man's culture for ‘contaminating’ the rural landscape and cultural identities and seeks to purify his home space, the tale unfolding in the poe…
Unhappily, we are afraid of it’: Modernism as deracination on the Rhodesian/Zimbabwean stage
Culturally, white theatre in what was known as Rhodesia replicated the bourgeois theatre of London's West End. The many theatre companies that mushroomed at various forts, towns and cities churned out farces, comedies, musicals and pantomimes. Occasionally (white) Rhodesians appropriated Greek plays and Shakespeare as well as other Western genres. Rhodesians seem to have become fossilised in this tradition, which played out the values and tastes …
African Theatre 9: Histories 1850-1950
Political theatre, national identity and political control: The case of Zimbabwe
This article intends to situate Zimbabwean political theatre within the discourse of national identity. National identity is deployed here as denoting any given set of myths, stories and beliefs propagated to justify a dominant group in maintaining power and in the case of Zimbabwe such generated myths and images are sectarian. Institutions such as theatre must be established to protect, nourish, articulate and perpetuate such identities. What is…
Political theatre, national identity and political control: The case of Zimbabwe
This article intends to situate Zimbabwean political theatre within the discourse of national identity. National identity is deployed here as denoting any given set of myths, stories and beliefs propagated to justify a dominant group in maintaining power and in the case of Zimbabwe such generated myths and images are sectarian. Institutions such as theatre must be established to protect, nourish, articulate and perpetuate such identities. What is…
Subversion of socialist realist theatre and the rise of post-realist theatre in Zimbabwe, 1980–1996
This article takes a theatre historiography approach by scrutinising key developments in Zimbabwean theatre between 1980 and 1996. While theatre historiography often deals with critiquing source materials, theatre reconstruction and theatre iconography, in this article my emphasis is on historical periodisation, with a particular interest in intellectual and artistic change. At independence in 1980, the Ministry of Education and Culture sought to…
African Theatre 9: Histories 1850-1950
Political theatre, national identity and political control: The case of Zimbabwe
This article intends to situate Zimbabwean political theatre within the discourse of national identity. National identity is deployed here as denoting any given set of myths, stories and beliefs propagated to justify a dominant group in maintaining power and in the case of Zimbabwe such generated myths and images are sectarian. Institutions such as theatre must be established to protect, nourish, articulate and perpetuate such identities. What is…
Unhappily, we are afraid of it’: Modernism as deracination on the Rhodesian/Zimbabwean stage
Culturally, white theatre in what was known as Rhodesia replicated the bourgeois theatre of London's West End. The many theatre companies that mushroomed at various forts, towns and cities churned out farces, comedies, musicals and pantomimes. Occasionally (white) Rhodesians appropriated Greek plays and Shakespeare as well as other Western genres. Rhodesians seem to have become fossilised in this tradition, which played out the values and tastes …
The Political-Aesthetic Function of Song and Dance in Zimbabwean Theatre 1980–1996
This article focuses on the behaviour of the African body in performance as well as the internal organisation of the songs. In focusing on the body and mechanics of songs I want to investigate how the African body and vocal skill reflect, mediate and challenge the relations of domination and subordination between western dramatic theatre and indigenous cultural text. What identities of theatre emerge out of this process and how are they produced?…
Reimagined rural–urban landscapes and Zimbabwean cultural identities in Zimunya's country dawns and city lights
This article seeks to explore the ways in which Zimunya constructs Zimbabwean rural and urban landscapes and cultural identities at a time when the city is making inroads into the rural terrain and the rural hinterland is encroaching into the city. I argue that even though Zimunya seems to blame the white man's culture for ‘contaminating’ the rural landscape and cultural identities and seeks to purify his home space, the tale unfolding in the poe…
Embodiment, Mobility and the Moment of Encounter in Jonathan Nkalaâ s The Crossing
Performing the archive and re-archiving memory: Magnet Theatre's Museum and Reminiscence Theatre
In this article I examine the performance of Magnet Theatre's Tears Become Rain and also make reference to several other performances by the same company. My major thrust is to evaluate Magnet Theatre's Clanwilliam Art Project against its set objectives, using Tears Become Rain as a starting point. Tears Become Rain was a single performance of one of the stories of //Kabbo. Every year the creative collective comprising Magnet Theatre, and the Uni…
Subversion of socialist realist theatre and the rise of post-realist theatre in Zimbabwe, 1980–1996
This article takes a theatre historiography approach by scrutinising key developments in Zimbabwean theatre between 1980 and 1996. While theatre historiography often deals with critiquing source materials, theatre reconstruction and theatre iconography, in this article my emphasis is on historical periodisation, with a particular interest in intellectual and artistic change. At independence in 1980, the Ministry of Education and Culture sought to…
Decolonising Theatre: Subverting the Western Dramaturgical Frame in Zimbabwean Theatre and Performance
The official cultural policy of the colonial state in Zimbabwe was premised on the anglicisation of cultural production with a slavish adherence to the Western dramatic canon. Although this policy was resisted by cultural producers, the resistance was not mainstreamed in any meaningful way as a broad-based policy to be pursued. With independence from Great Britain on 18 April 1980, cultural producers took it upon themselves to mainstream this res…
Stephen Joel Chifunyise and his contribution to the praxis of Afroscenology
Art (8 works) · Political science (7 works) · Sociology (7 works) · African studies and sociopolitical issues (6 works) · Gender Studies (6 works) · Law (6 works) · Aesthetics (5 works) · History (5 works) · Politics (5 works) · Theatre and Performance Studies (5 works)