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The Isango Ensemble and the indigenization of opera in post-apartheid South Africa
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Mouyis, Angelique. The Isango Ensemble and the indigenization of opera in post-apartheid South Africa. Retrieved from https://doi.org/doi:10.7282/t3-n6be-6z04

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TitleThe Isango Ensemble and the indigenization of opera in post-apartheid South Africa
NameMouyis, Angelique (author); Cypess, Rebecca (chair); Aldridge, Robert (internal member); Ordway, Scott (internal member); André, Naomi (outside member); Rutgers University; School of Graduate Studies
Date Created2021
Other Date2021-05 (degree)
SubjectMusic, Isango Ensemble
Extent1 online resource (ix, 94 pages)
DescriptionThis dissertation discusses the three film operas by the Isango Ensemble, taking into account both Isango’s process of adaptation as well as their finished artistic product. In Chapter 1, I discuss the process of adaptation by tracking the ensemble’s journey from its first two productions at Spier Festival in late 2000–2001 (Yiimimangaliso: The Mysteries and Carmen) to cementing the ensemble’s approach in the film U-Carmen eKhayelitsha in 2005. These first two productions forecast the ensemble’s approach to content, instrumentation, and musical styles, and the re-imagination of narratives through gender-switching. Furthermore, this journey demonstrates how the South African ensemble adapted the medium of opera to suit its new-found context—that is, how the genre underwent a process of indigenization. Chapters 2 and 3 examine the film operas Unogumbe (2013) and Breathe Umphefumlo (2015), respectively, both of which adapt previously composed operas and cast them in new situations relevant to contemporary South Africa. I show how adaptation of both plot and music alters the original meaning of the operas that form the bases of Isango’s work and refocuses them on the post-Apartheid South African context. In Chapter 2, I address Isango’s adaptation of Britten’s Noye’s Fludde, attending especially to its use of hymns and the inclusion of African hymns, both of which reflect a historical relationship with hymnody. I also discuss the new orchestration; gender-switching and the focus on women and girls; and Isango’s approach to filming, which incorporates live theatrical elements. In Chapter 3, I address indigenization through the hybridization of the genre with jazz and choral music, sound effects and “mickey-mousing,” and the juxtaposition of sound and sonic nothingness. Ultimately, I argue, Isango’s three film operas constitute a reinterpretation of the genre of opera for contemporary South African society.
NotePh.D.
NoteIncludes bibliographical references
Genretheses, ETD doctoral
Persistent URLhttps://doi.org/doi:10.7282/t3-n6be-6z04
LanguageEnglish
CollectionSchool of Graduate Studies Electronic Theses and Dissertations
Organization NameRutgers, The State University of New Jersey
RightsThe author owns the copyright to this work.
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