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This study discusses the African perspective of the role of language in explaining development issues through the medium of drama and theatre in Zimbabwe. The problem of the study is centred on the idea that development was hardly measured through art. The researcher argues that language used in drama and theatre as a form of art can also contribute to development in Zimbabwe. This development can be witnessed through people’s changing lifestyles, acknowledging the importance of their mother tongue in communication and restoring hope in situations characterised by hopelessness and despair. Descriptive research design was used in the study because it allowed the researcher to dig much deeper into the subject. Data from respondents was gathered through the use of questionnaires, interviews and content/textual analysis of some scripts. In interrogating the issues of development through language in drama and theatre, the research was guided by the African Renaissance theory, Theatre for development and Hymes’ SPEAKING model. As a result, the study observes that language, a people’s indigenous language should be placed at the centre of a performance if that message being conveyed is to change or develop them. The key respondents to the study bring out the idea that there is no language which is superior to the other and the choice of language to be used in a work of art should be determined by the circumstances that prevail. Even the language which is used by the smallest population of people should be given space to flourish and be used by its people. Another major finding of the research is that language itself cannot change people but people change themselves through the use of a language that they understand. This calls for the initiative by the indigenous people and the powers that be to make sure that they use their language at different levels so that all facets of development can be witnessed within their lives. In the final analysis, the researcher recommends that policies that allow the total usage of all declared official languages in Zimbabwe. / African Languages / D. Litt. et Phil. (African languages)

This study discusses the African perspective of the role of language in explaining development issues through the medium of drama and theatre in Zimbabwe. The problem of the study is centred on the idea that development was hardly measured through art. The researcher argues that language used in drama and theatre as a form of art can also contribute to development in Zimbabwe. This development can be witnessed through people’s changing lifestyles, acknowledging the importance of their mother tongue in communication and restoring hope in situations characterised by hopelessness and despair. Descriptive research design was used in the study because it allowed the researcher to dig much deeper into the subject. Data from respondents was gathered through the use of questionnaires, interviews and content/textual analysis of some scripts. In interrogating the issues of development through language in drama and theatre, the research was guided by the African Renaissance theory, Theatre for development and Hymes’ SPEAKING model. As a result, the study observes that language, a people’s indigenous language should be placed at the centre of a performance if that message being conveyed is to change or develop them. The key respondents to the study bring out the idea that there is no language which is superior to the other and the choice of language to be used in a work of art should be determined by the circumstances that prevail. Even the language which is used by the smallest population of people should be given space to flourish and be used by its people. Another major finding of the research is that language itself cannot change people but people change themselves through the use of a language that they understand. This calls for the initiative by the indigenous people and the powers that be to make sure that they use their language at different levels so that all facets of development can be witnessed within their lives. In the final analysis, the researcher recommends that policies that allow the total usage of all declared official languages in Zimbabwe. / African Languages / D. Litt. et Phil. (African languages)

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need.

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need.

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need. / Applied Science, Faculty of / Mining Engineering, Keevil Institute of / Graduate

This research started as a quest to understand better the ethics of doing Theatre for Development/Applied Theatre with under-served, marginalized and vulnerable populations especially in post-conflict zones in the Global South. As a theatre practitioner-researcher from Africa who has lived and worked in post-conflict zones, I was interested in fostering appropriate ethical protocols for arts-based practices for social engagement, advocacy and social justice. Thus, in this dissertation, I focus on two concepts in applied theatre practice: participation and ethics. I examine how participation can be re-conceptualized in applied theatre practice and focus on the ethics around conducting research among vulnerable populations especially on refugees and internally displaced persons. On participation, I use existing case studies from various fields to argue that participation in community engagement and socially-engaged art practices can become a tool to reposition voices on the margin to the centre in order to unsettle centres of power. However, for this to happen, participation needs to engage a communicative action that is both epistemic and ontic in its approach. An epistemic discourse provides a way of seeing the world while an ontic discourse provides people with a way of being in the world. The former is a ‘theoretical’ discursive practice that is fundamentally epistemological, and the latter is an ‘embodied’ praxis that is fundamentally ontological. I examine the famous Ngugi wa Thiongo’s Kamiriithu Community Theatre project in Kenya and Michael Balfour et al’s refugee project in Australia to foreground this new thinking on verb-oriented and noun-oriented notions of participation. On ethics, I raise a series of critical questions around interventionist or humanitarian performances. It is hoped that these questions will deepen discourses in applied theatre practice and further challenge practitioners to rethink why we do what we do. Using narrative inquiry, I glean lessons from my field research facilitating drama workshop among secondary school students who have been internally displaced due to an ongoing socio-political crisis in Nigeria. I also reflect on my other applied theatre experiences in Canada and Sudan. I propose an ethical practice that is built on relational interaction. In the context of working in post-conflict zones or in places of war, I argue that precarity becomes a determining factor in framing the ethics of practice. The questions around ethics are raised to also draw attention to decolonizing ethical practices. Finally, I articulate the connection between participation and ethics in that participation becomes a tactic to ensure that applied theatre researchers/practitioners conduct their work in ethical ways. This is because through participation, concerned communities can challenge unethical practices and transform the research to create outcomes that are beneficial. Thus, as an example of reflective practitioner research, the projects in this dissertation offer opportunities to examine critically how participation has been conceptualized and the need for a decolonizing understanding towards ethics in applied theatre practice especially in post-conflict zones. / Graduate

This dissertation for the M.A. in Creative Writing consists of a full-length play, titled Last Laugh and a mini-dissertation. The mini-dissertation explores the phenomenon of Theatre-for-Development, which differs significantly from the performance tradition of classical African drama. The study identifies ways in which Theatre-for-Development practitioners, animators or catalysts, (interchangeable names given to agents who teach target community members theatre-for-development skills) abandon the conventions of classical African drama performances, in terms of the form of plays, stage management and costumes. They find different and less formal ways to tackle the social problems which the target communities experience. The origins of Classical African drama are traced from the western tradition, from which it borrows heavily, and there is some discussion of the socio-historical conditions that prevailed during the time when African playwrights performed those plays, and the rise of nationalism in colonised African states, which in part influenced their production. This study then examines how the socio-political dynamics in the Zimbabwean post-farm-invasions era gave rise to Theatre-for-Development projects in the newly resettled farming communities that faced social development challenges. Despite the land gains peasants enjoyed, the resettled communities found themselves in places far away from schools, hospitals, shops and social service centres. That was the source of their problems. It will be shown how government sponsored Theatre-for-Development groups to mobilise the people, through theatre, to initiate home-groomed solutions to their social and economic problems during a time when the government was bankrupt and the country’s economy was shattered by the destruction of the agricultural and mining sectors, triggered by the invasions of the white commercial farms. The Ziya Community Theatre’s production of Sunrise is analysed in the light of these considerations. / Dissertation (MA)--University of Pretoria, 2012. / English / unrestricted

The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.