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Alex Halligey , University of the Witwatersrand. At a superficial glance city spaces might seem defined by road layouts and buildings, infrastructure and zoning laws. But my interest as a researcher and theatre maker is in investigating the kinds of everyday interactions that give these spaces an identity — that make them places. Anthropologist Tim Ingold has suggested that we make to know. In other words, making something allows us to learn about the people, place and materials we work with.
I used this approach when I set out to make a play in Bertrams as a way of learning something of its daily placemaking activities: the routes people walk or drive, what they see and feel and do in the area. I volunteered at Bertrams Inner City Farm , a local organic market garden. With my research assistant Baeletsi Tsatsi, I walked the grid of the area. We observed all we could sense and talked to people along the way. Eventually, all this work led to the creation of a play which took us as performers, Bertrams residents and outsiders on a journey through those same streets. The play making was a tool for using bodies, voices and actions to find out about and reflect on the way people use their bodies, voices and actions daily to make city spaces into places.
Theatre, when used in this way, offers an experiential engagement with daily acts of placemaking. Taking theatre out of traditional theatre spaces and into the everyday world is a common practice globally So are art practices that invite everyday people to collaborate with professional artists in creating artworks. In recent years there has also been an increasing scholarly and artistic interest in the confluence of performance and cities. Ulwembu models the use of theatre as research tool. Its collective of academics, and professional and community theatre makers pooled their discipline-specific research tools to engage drug users, their families, and the police to make a play about the impact of the street drug nyaope in Durban.
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