Productive docile bodies in Zimbabwean dance training: the African body in classical ballet training at Afrikera Arts Trust

ABSTRACT

In this paper, we deploy Foucault’s theories of power to interrogate body politics in ballet training in Zimbabwe. To achieve this, we critically examine instances of ballet-related discourse-induced docility occurring in the Afrikera Professional Dance Training (APDT) students’ bodies during training. From a Foucauldian perspective, we interrogate how a ballet dancer’s body that has been timeously ‘subjugated’ to a standard of expected behaviour by the society and has acclimated to a normalized African body posture which is conditioned to become ‘ideal’ through APTD’s ballet training. Through the intensive case study examination of the Afrikera Professional Dance Training ballet process, we observe possible shortfalls in Foucault’s theories of bio-power in social and community development advocacy.

KEYWORDS:

• Docility
• ballet
• African
• body
• subjugation
• embodied

Disclosure Statement

No potential conflict of interest was reported by the authors.

Notes

1. http://www.icapatrust.org/IIFF2016Catalogue.pdf.

2. In the Zimbabwean education set-up, ordinary level is Form Four (4). It is the secondary education exit point where students are nationally examined by the Zimbabwe School Examination Council (ZIMSEC). Five ordinary level passes (in most cases these must include English Language and Mathematics) are a basic entry qualification that is always demanded by colleges and employers from prospective employees and students.

Additional information

Notes on contributors

Alina Zhuwawo

Alina Zhuwawo is a Mandela Washington Fellow. She is currently completing a Masters in Intercultural Communication Studies at Shanghai Theatre Academy and where she is also working as a musical theatre director. Her research interests include dance and psychological health, movement, choreography and dance education.

Nkululeko Sibanda

Nkululeko Sibanda holds a Ph.D. (Drama and Performance Studies) from the University of KwaZulu-Natal (Howard College). The need to develop a formidable, relevant and effective performance (scenographic) theory and practice model within Zimbabwean performance practice (from an African paradigm) sits at the base of his research endeavours. His research interests include African Theatre, alternative scenography, alternative performance and identity, and performance and memory.