This dissertation aims to investigate an extended notion of site within site-specific dance theatre. Using multiple theoretical frameworks, which include second wave feminism and its recognition of the body as a site of/for struggle (Goldberg, 1987) in conjunction with site-specific performance theory (Kaye, 2000; Kwon, 2004), Foucault's (1979) notion of 'biopower' and cultural studies, this dissertation seeks to engage site-specific dance theatre as a mode of social and cultural production. Multiculturalism (Schechner, 1988/1991) and interculturalism (Bharucha, 1996; Schechner, 1991) in performance theory and practice, are also engaged to solidify debates around performance as instances of cultural production. These frameworks are engaged in relation to the contemporary production of site-specific dance theatre in Durban, South Africa. Local dance practitioner and academic Jay Pather's site-specific/installation works CityScapes, Durban (2002) and Home, Durban (2003) are used as case-studies for interrogation and investigation in relation to the chosen theoretical discourses. CityScapes and Home provide two instances of site-specific dance theatre that have emerged from within post-apartheid South Africa. The two works are engaged in close relation to the post-apartheid South African context, and its promotion of a 'rainbow nation' in the 'New South Africa'. CityScapes provides a platform to engage ideas of access to and ownership of dance forms and the spaces which they occupy - prompting critical questioning around the impact of South Africa's historical segregations and their influence upon contemporary (South African) society/societies. Similarly, Home provides a platform to engage notions of 'homespaces' as these relate to access to and ownership of private and public spaces, and how this impacts cultural inter(re)actions in post-apartheid South Africa. Both case-studies provide instances of critical performance practice, which allows for meaningful theoretical inter(re)action in relation to the two chosen performance works. In this light, this dissertation also provides an instance of much needed academic enquiry into the local, South African contemporary dance-scape. / Thesis (M.A.)-University of KwaZulu-Natal, 2006. / Thesis (M.A.)-University of KwaZulu-Natal, 2006.

This thesis examines the emerging intercultural dialogues around disability, performance dance and children in the multicultural context of KwaZulu-Natal. It focuses on creative dance (or modem educational dance), as it has emerged in KwaZulu-Natal schools post-1994. The intervention of the arts and a holistic approach to education is examined by appropriating Rudolf Laban (1948), Smith-Autard (1992) and other guiding principles for dance education. The thesis presents an analysis of how creative dance has come to influence notions of contemporary performance dance. This has provided a framework to argue in favour of dance making by untrained (sic) dance teachers and children with and without disabilities. The period under investigation post-1994 coincided with fundamental transformations within the South African cultural landscape, including the following: restructuring of performing arts council, the merging of former separate education departments and the strengthening of disability consciousness within human rights culture. These topics are briefly discussed. The transformation of the arts at The Playhouse Company in KwaZulu-Natal contributed to changes within dance development programmes. These dance development works addressed previously marginalized communities, including the disabled. The potential shifts to mainstream notions of performance dance by children with disabilities have provided an opportunity to theorise the practice of dance in special education and its relation to performance dance in the multicultural KwaZulu-Natal setting. Chapter one begins by firstly problematising disability, which it argues is an occurrence constructed by medical, social, political, historical, cultural and gender identities. Chapter one goes onto explore the changing concepts of dance for children with disabilities by offering a critique of existing notions of performance dance for children with disabilities. Distinctions between social dance. performance dance, dance therapy and educational dance are clarified and the practice of children's dance is contextualised. Chapter two argues that 'disability' within a context of multiculturalism in South Africa could be seen as a culture in and of itself. It does this by accessing the critical writings of Schechner (1991), Pavis (1992), Brustein (1991) and others. Definitions of 'culture' are problematised and the debates: high art vs culture, fusion, multi-, intra-, and inter-culturalism in the South African context are explored. Chapter three looks at three specific dance projects, which emanated from The Playhouse Company. The case studies explore how children between the ages of 8 - 18, who are defined as disabled, have engaged with dance and have had little or no interaction with the performing arts particularly as performers. It critiques and evaluates these projects in order to make conclusions around the following: the need for training of dancers and choreographers with disabilities and to underscore the role of the media in the disabled's plea for access to the performing arts. The idea of integrated 'enablers'(children and adults) with disabled children in the same performance dance work was innovative. Such inclusion and re-dress, as also expressed by The White Paper 6 on Special Education are supported by this thesis. Many children and their teachers have, through these creative movement and dance projects, begun to challenge notions of disability and of performance dance within the 'mainstream' performing dance environment as they emerge as potential artists in their own space. The thesis concludes by offering suggestions for how dance by those defined as 'disabled' is understood, critiqued and reported by reviewers and researchers of dance. It is hoped that these suggestions would strengthen the wider acceptance of notions of dance that emerge from a range of previously marginalised groups. / Thesis (M.A.)-University of Natal, Durban, 2001.