Transformative Pedagogy as Academic Performance: #ShimlaPark as a Plane of Immanence

Abstract

In this performative text, we explore the events that unfolded around the #ShimlaPark incident on February 22, 2016, on the Bloemfontein campus of the University of the Free State (UFS), South Africa. The text consists of four voices; that of a student, an educator, theory, and the official report commissioned by the UFS after the #ShimlaPark incident. These voices are conceptualized as an assemblage of experience. We employ arts-based research as an affective event that enables us to generate new problems, to create new concepts that allow for the emergence of a different world.

Keywords

performative text assemblage arts-based research #ShimlaPark

A Practice That Thinks

In this performative text, we engage with the events surrounding the #ShimlaPark incident that unfolded on February 22, 2016, on the Bloemfontein campus of the University of the Free State (UFS), South Africa. We use an arts-based approach to conceptualize research and research reporting as performative and affective; as research-creation. Central to this approach stands creativity, which Colman (2008) argues function as a destructive actioning force. In a similar vein, Colebrook (2002, pp. 24-25) avers that “[a]rt may well have meanings or messages but what makes it art is not its content but its affect, the sensible force or style through which it produces content.” In drawing on Coleman and Colebrook, we take up arts-based research as an affective event that enables us to generate new problems, to create new concepts that enable the emergence of a different world. Thus, as “a practice that thinks” (Manning, 2015, p. 53), we employ arts-based research to engage with the complexity and messiness of the space in which we work. We present our performative text as a script, enabling us to creatively explore and experiment with different practices of what may constitute transformative pedagogy.

#ShimlaPark as a Plane of Immanence

Scene 1: Chaos

It is the end of a hot summer’s day, 22 February 2015, on the Bloemfontein campus of the University of the Free State (UFS). A student and a lecturer are engaged in an informal conversation as they make their way home after class. A WhatsApp message comes through on the student’s phone. The student watches in shocked silence, and then turns to the lecturer to show her the video of #ShimlaPark. It shows the event that unfolded just a few minutes earlier on the main rugby sport field not far from where they are standing.

Student:

Did you see this?

[The lecturer takes the phone and looks at the video ( https://www.youtube.com/watch?v=cmuYGj5gVuM ). The video shows a violent clash between a group of protesters and rugby supporters during a Varsity Cup rugby game played between the teams from the UFS and Nelson Mandela University].

Official report:

During the first half of the match, about 20 minutes after kick-off, the protesters moved onto the pitch. They stood in a circle in the middle of the pitch and sang the “Solomon Mahlangu struggle song” for the purpose of stopping the match and getting the attention of UFS management. The protesters explained to the Panel that they held hands as a symbol of peace and to demonstrate that theirs was a non-violent protest. The referee called the players off the field when the protesters entered the pitch. The spectators sitting in the stands were displeased with the disturbance and booed the crowd on the pitch. Four or five spectators then went onto the pitch. They threatened that they would end the disturbance quickly if the protesters did not hurry off the pitch. The protesters did not budge but instead insisted over the loudhailer that they were not there to fight. One of the spectators signaled for reinforcement from the spectators still in the stands. The white spectators responded and moved onto the field in droves. The spectators started beating up the protesters on the pitch. The protesters threw stones into the field from behind an embankment as they ran away. The spectators who were the targets of the stone throwing picked up the stones and threw them back in the direction of the protesters and taunted the protesters at the embankment to come back so they could “donner” (hit) them some more. The onlookers in the stands cheered on their fellow rugby supporters for clearing the field of protesters. They cheered for the rugby players too when they came back onto the pitch to continue with the match (UFS, 2016, pp. 41-43).

[They stand in silence. Somewhere in the audience a voice speaks. It is the voice of theory].

Theory:

“Chaos is defined not so much by its disorder as by infinite speed with which every form taking shape in it vanishes. It is a void that is not a nothingness but a virtual, containing all possible particles and drawing out all possible forms, which spring up only to disappear immediately, without consistency or reference, without consequence. Chaos is an infinite speed of birth and disappearance” (Deleuze & Guattari, 1994, p. 118).

Scene 2: It Became a Black and White Thing

A few days have passed. The student and lecturer are walking across the UFS campus. There is an eerie silence; the campus is almost deserted. Here and there an overturned rubbish bin or a piece of graffiti shows the aftermath of violent clashes that had raged over campus.

The air is thick with tension. Their conversation is strained, and bounces around awkwardly between the #Feesmustfall protests of the previous year and the protests associated with #ShimlaPark.

Lecturer:

Look I do agree with the whole thing about the fees, because I do believe higher education should be accessible to students who have the potential, because there are many students out there who might not have, who can’t come because they can’t afford it.

Student:

With #FeesMustFall it was a thing of all students ganging up against the system, the varsity. It was not a black and white thing.

Lecturer:

I was disappointed with . . . it became like a black people’s fight and student’s fight, like “these students shouldn’t be here.” You know it is exam time.

Student:

But then after the Shimla Park incident, it became a black and white thing. It was like, oh okay, it’s us against them.

[They turn towards the audience. The voice of theory in the audience echoes the student’s words].

Theory:

It became a black and white thing, it’s me against them. Pouvoir “is the instituted and reproducible relation of force, a selective concretization of potential [on a] plane of organization” (Massumi in Deleuze & Guattari, 1987, p. ix). Pouvoir pertains to the actual, where the actual is the articulation of the virtual within a particular space-time. “Power [pouvoir] builds walls” (Massumi, 1992, p. 6).

Scene 3: There Are a Couple of Concerns

The student and the lecturer reach the campus food court on the Thakaneng bridge. All the food stalls are closed and there are no people in sight. Tables are overturned and the floor is covered in trash. The student and the lecturer both take out their phones to take photographs. They share the photographs with their different friends and colleagues on WhatsApp groups and read parts of the messages they receive in response aloud.

Lecturer:

“What is going on there?”

Student:

“Colonial white supremacy rule which protects white minority.”

Lecturer:

“There are a couple of concerns that came out of our meeting last night.”

Scene 4: For the First Time We Felt Unity

It is 4 months earlier, October 2015, and the #FeesMustFall protests are ongoing on campus. The lecturer and student are in the exact same spot on the Thakaneng bridge where the food court is located. They are sitting at the same table but with their backs to one another, each speaking to an audience falling outside the field of vision.

Lecturer:

I think we are seeing a new generation of students.

Student:

Ja, I went to the strike.

Lecturer:

If we have free education then most higher education institutions would not be able to survive on the subsidy they receive from the state.

Student:

The previous days there were only black people. You’ll get a minimum amount of white people. But last night, white people . . .

Lecturer:

I think they want things for free, they are not willing to work hard. I am not against, you know, free education, because I saw how my own mother struggled, based on my fees, but I think there should be a sense of accountability.

Student:

White people actually joined us. So for the first time we felt the unity. We were fighting the same cause together.

[The unseen audience, theory responds].

Theory:

For the first time we felt unity, we were fighting the same cause together. Puissance is “an active micropolitics. This is the opposite of macropolitics in which it is a question of knowing how to win or obtain a majority. As Faulkner said, to avoid ending up a fascist there was no other choice but to become-black” (Deleuze & Guattari, 1987, p. 292). “Force in its wild state [puissance] arrives from outside to break constraints and open new vistas” (Massumi, 1992, p. 6). Puissance pertains to the virtual where the virtual is the genesis of all actualisations. It is the open field of potentiality.

Scene 5: Traitor?

Still at the same table on Thakaneng bridge the student and the lecturer remain in the same position, sitting at the same table facing away from each other. They both receive new WhatsApp messages, and read parts of the content out loud as they continue their individual conversations with the invisible audience outside of the field of vision.

Lecturer:

Should a resolution not be reached all campuses will face complete closure until further notice.

Student:

Whether management will stick to their promises or not, remains to be seen.

Police have also left campus, only private security remains.

Lecturer:

Traitor? The university pays me!

Student:

But hey, let me learn about the other side of the story?

Lecturer:

Uhm, protesting is probably something that is seen as disruptive, hooliganish.

Student:

The one white friend I made.

Lecturer:

Who said I am not supporting you?

Student:

Talking about Apartheid and what, what, what.

Lecturer:

Also the group that came here to strike.

Student:

And if I think back to Reitz, people were forced to drink urine!

Lecturer:

That one guy did not even pass his first semester!

Student:

But they will reap whatever we are sweating for.

Lecturer:

Why didn’t he study to keep his bursary? Now he is here striking for free education?

Student:

It came down to a thing of white people are just generally scared of black people.

Lecturer:

Because if you can’t identify against what the struggle is you can’t be there in solidarity.

[Again the voice of theory responds from the unseen audience].

Theory:

Apartheid, traitor, black, white, solidarity. Through pouvoir, order-words are employed to fix certain meanings. Through repetition and in reducing differences they “function as explicit commands or implicit presuppositions” (Conley, 2010, p. 199); order-words seek to control, to territorialise. It is through repetition that the order-words striates space and creates a hierarchy. “The impression of fixed identity is essential for our governability; it fixes us also in our relation to the social and to power. But identity is merely an attenuator, te be escaped” (Carter & Jackson, 2004, p. 115).

Scene 6: An Assemblage

The lecturer is alone in her office, writing to a friend living in Taiwan. She reads the letter aloud as she writes.

Lecturer:

The protests were hardcore, especially because it was/is my students. I don’t hold opinions about right or wrong anymore. Only perspectives a la Nietzsche. At times the campus was really a war zone. White men were targeted by protesters. Black students were targeted by police. The next moment I was hiding protesters/students in my residence who were running from the riot police—you know, the police in David vs Goliath gear. Just a pity that in this case Goliath was a moerse illusion of fear in the heads of mostly, top management, who went from one hotel to the next to “escape” to safety (read: talking shit and maybe drinking champagne) while I, the foot soldier, had to make crucial decisions, affecting the lives of 180 students living in my residence. Making decisions with very little information and no word from our supervisors. I think it destroyed me. To see that the people with power CAN’T make good decisions, because they were not THERE. Also, the realisation of how scarce moments of justice really are. How violence as a reaction to violence is really not the solution. My utopian ideals flew out of the window, one after the other, slap dash into the Nyala’s outside my residence, where students were being arrested.

[The voice of theory echoes back from the audience].

Theory:

Hard core, war, students, protesters, men, fear, police, gear, utopia, nyala. An assemblage can be thought of as the “processes of arranging, organising, and fitting together” (Livesey, 2010, p. 18). They are complex arrangements “of objects, bodies, expressions, qualities, and territories that come together for varying periods of time to ideally create new ways of functioning” (Livesey, 2010, p. 18). Affect “operates as a dynamic of desire within any assemblage to manipulate meaning and relations, inform and fabricate desire, and generate intensity” (Colman, 2010, p. 13). Assemblages emerge when functions emerge. In a productive assemblage one finds new ways of expression, organisation and behaviour, and ultimately, a new reality (Livesey, 2010).

Scene 7: But What Is Affect?

The student, lecturer and theory are standing outside a student residence on the UFS campus. A few minutes earlier the police drove away with students that were arrested and locked-up in the back of two police vans.

Official report:

Students were singing outside the residence when the police and security personnel approached them. He said he told the students to go inside, while he stayed outside to talk to the police. He had gone inside the residence, locked the gates and continued to talk to the police. The police were standing in the foyer and told . . . to unlock the gates. When he responded that he would not do so, they allegedly pepper-sprayed the students through the gate. A group of police officers allegedly also broke through an emergency door and entered the building . . . the police and private security smashed and then sprayed teargas and pepper spray through the glass panels (emergency escapes) at the top of the doors [] said this was a strategy to force people out of the rooms so the police could arrest them and raid or search their rooms. He also received phone calls from residents telling him that the police and private security were moving from room to room and breaking doors. Witnesses said that the police and security personnel had a list of students to arrest. It is alleged that the police were given descriptions of protesters—particularly of black, male students with dreadlocks (UFS, 2016, pp. 59-60).

Student:

Why?

Lecturer:

Police and private security were moving from room to room, breaking doors.

Student:

Why?

Lecturer:

This is now out of control.

Student:

No one cared! Why?

Lecturer:

People are putting barbed wire around campus.

Student:

#FeesMustFall seems like a kiddies party compared to what is happening on campus at the moment.

Lecturer:

I had to hide several students—male and female—from the police. They arrested the students.

Student:

Who were thrown into the Hippo’s. Two Hippo’s filled to the brim.

Lecturer:

Riot police. And private security were making explicit comments to the girls standing at their windows. Macho state apparatus in action.

Student:

The guys were forced out of their rooms with pepper spray like cockroaches.

Lecturer:

I can’t foresee how things will get better soon.

Student:

Better? No.

Theory:

“Affect is the change, or the variation, that occurs when bodies collide, or come into contact” (Colman, 2010, p. 11) and in its largest sense can be understood as how bodies are temporally mediated; how bodies are continuous events. Affect is concerned with power on all levels and is dynamic (Cole, 2009). It can be reactive or active and “can be utilised to enable ability, authority, control and creativity” (Colman, 2010, p. 13).

Scene 8: The Plane of Immanence

The student and the lecturer are back where they started in scene 1. They are walking across the campus in the direction of Shimla Park.

Student:

Ja even with #FeesMustFall, even though it took time for the white people to join us, they did eventually join us because we all wanted the same thing. But now it’s you’re black, you’re black, you’re white, you’re white. You stick with your own people, because of what happened at Shimla Park. At least one corpse. That’s what they were saying, at least one corpse. A white person’s corpse, that will be a warning to them.

Lecturer:

Did you see the people were holding knobkerries and spears and shit?

Student:

For me it’s like, just be normal. Push the normal agenda. Hopefully it works, because when you do something and you are not sincere, somehow people can see it. So I am doing my job, but my heart is just saying something else. So now, I am not going to preach transformation. I am not gonna do it. Honestly at this point I am just, I am gatvol.

Lecturer:

Fuck it! I dont know how much longer I can stay in this space. It is so bloody tense.

[They come to Shimla Park and stop at the closed gate and barbed wire. The audience speaks with the voice of theory from somewhere inside the deserted stadium].

Theory:

“In any case, there is a pure plane of immanence, univocality, composition, upon which everything is given, upon which unformed elements and materials dance that are distinguished from one another only by their speed and that enter into this or that individuated assemblage depending on their connections, their relations of movement. A fixed plane of life upon which everything stirs, slows down or accelerates” (Deleuze & Guattari, 1987, p. 255).

Framing the Performative Text

This performative text was written as part of a collaborative project which we approached as a form of creative academic experiment. In using this form of writing, we purposefully challenge academic conventions of writing to create a textual entanglement of theory and methodology to envision a new kind of academic engagement. The performative turn in qualitative research is what Denzin describes as a moment where, “critical qualitative scholars are able to transcend the limitations and constraints of a lingering, politically and radically conservative positivism” (Finley, 2011, p. 442). The focus is thus on foregrounding expressive elements of culture and focus on embodiment as a crucial component of cultural analysis and a tool for representing scholarly engagement and a critical, interventionalist commitment to theory in/as practice (Hamera, 2011, p. 318). Performance assumes congruence, not division, between theory and method. Methodology is infused with theoretical commitments and theory is incarnated through methodology (Hamera, 2011, p. 318). According to De Oliveira Andreotti (2016, p. 80),

. . . “performative” texts are very different from texts that claim to represent something literally. As an expression of an aesthetic force the text has a life of its own and is out of my control—in the artistic sense, I cannot claim responsibility for what it does or even where it comes from. My experience with this force is that it intends to “touch” each reader differently, in order to bring forward something needing to surface and to become visible.

Thus we use performativity as the writing and rewriting of meanings to create a dynamic and open-ended dialogue that continually disrupts the authority of meta-narratives. In doing this we create, “. . . specialised (open and dialogic) space that is simultaneously asserted for inquiry and expression . . . thereby rendering personal identity, culture, and social order unstable, indeterminate, and amendable to change” (Finley, 2011, p. 224). The aim of this type of research is thus not to provide answers or recommendations, but rather to open up spaces, to create possibilities for engagement, to make visible, and to open up new questions. Furthermore, the use of arts-based inquiry, “. . . is a strategic means for political resistance to neo-cultural politics. It is a form of cultural resistance and a way to create a critical and dialogic space in which to engage in a struggle over the control of knowledge and the domination of discourse (Finley, 2011, p. 437). Our cocreated performance is used as a creative exploration of innovative methodologies in trying to find a way forward into messy and uncertain spaces that characterizes the complexity of the current higher education landscape in South Africa.

The four voices that come to the fore in the text are that of a student, a lecturer, a theorist, and the official report commissioned by the UFS after the Shimla Park incident. The educator’s voice is woven from interviews conducted by Marguerite (Müller, 2016) and Liezl (Dick, 2016) during their PhD studies. Similarly, the voice of theory was strongly influenced by the work of Frans (Kruger & Le Roux, 2017) and Liezl who both use the work of Deleuze and Guattari to explore issues relating to education. Angelo, with his extensive experience in the performing arts, contributed to the script writing and formulation of the performative elements of the text. The voices that constitute the text are not distinct or individual—they are a multiplicity. We work with multiplicity as a means to situate the researcher as part of the research-assemblage. The script should, furthermore, be read as nonlinear. Different student and educator voices are brought together in a dialogue, but more often than not they tend to talk completely past one another. As such the text is intentionally disjointed, almost as if the students and educators are unable to listen to each other. In addition to our academic exploration, we also relied on our personal experiences as all of us live on the campus and witnessed the protests that took place in 2015 to 2016 on the UFS Bloemfontein campus firsthand. The text is thus intended to function affectively and to bring forth the anxiety, confusion, and messiness that we experienced and became part of during this time.

Since 2014, South African higher education institutions have been affected by #MustFall student movements and protest. The unattainable dream of higher education has become the source of much anger and frustration among the South African youth as became evident on Wednesday, October 21, 2015, when hundreds of students marched to the gates of parliament to demand that “fees must fall”. After some of the students forced their way through the gates of parliament they were “driven back by police firing tear gas and stun grenades” (Tshabalala, 2015, par. 2).

The wave of student protests culminated in a march to the seat of the South African government in the Union Buildings in Pretoria on Friday, October 23, 2015. Baloyi and Isaacs (2015, para. 1-2) argue that “not since the Soweto Uprising of 1976 have this many youth arisen to demand the right to quality and accessible education.” The pressure that was put on the South African government bared fruit with the students’ “demand of a 0% increase in tuition fees, with planned fee increases of up to 11.5%, at the heart of the protests” being met. The student protests did, however, not stop with students calling for the “‘decolonization’ and ‘transformation’ of higher education institutions, the insourcing of outsourced workers, and the release of their arrested classmates” (Baloyi & Isaacs, 2015, para.1-2). Some commentators even went so far as to compare these protests to the anti-apartheid uprisings of 1960, 1976, and 1985. Others saw the movement as a continuation and extension of #RhodesMustFall protests, which occurred in 2015. The Rhodes Must Fall movement began with an incident at the University of Cape Town (UCT) when Manxwele Chumani threw feces on the statue of Cecil John Rhodes on the university grounds (Grootes, 2015). The statue was later removed by the university management after a heated debate about symbolism and institutional culture at former White universities, such as UCT, in South Africa.

A few months after the first #Feesmustfall protest and the removal of the Rhodes statue in Cape Town the #ShimlaPark incident took place in early 2016 at the UFS. The incident was preceded by alleged unaddressed incidents of racism at the university, as well as student activist victimization (UFS, 2016, pp. 13, 16-17). After a 0% increase in tuition fees were granted end of 2015, the focus of the protests shifted to outsourced workers and minimum wages. The students supported the workers in their demands for insourcing and better wages (UFS, 2016, p. 24). Months of negotiations regarding insourcing left workers unsatisfied with the state of affairs, and resulted in unprotected peaceful strikes in February 2016. On February 22, workers and students marched to the Shimla Park stadium (UFS, 2016, pp. 40-41), where the Vice-chancellor attended the Shimla’s first rugby game of the season. The protesters moved onto the field to visibly demonstrate their frustrations, after which the rugby spectators run onto the field, where protesters were attacked. The #Shimlapark-incident lead to the shutdown of the UFS campus for a week, during which chaos erupted, protesters were arrested, a statue was removed by protesters, and private security was hired by UFS management in an attempt to return to the status quo. At the end of the week, protesters were released, a private security company was hired for two more weeks and the fence surrounding the campus was draped with several layers of barbed-wire (UFS, 2016).

Footnotes

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

ORCID iD

Frans Kruger

Author Biographies

Liezl Dick is a postdoctoral research fellow at the Institute for Reconciliation and Social Justice, University of the Free State. She obtained a BA Honors in Philosophy and MA in Philosophy (biomedical ethics) from the University of Stellenbosch, and holds a PhD in Higher Education Studies from the University of the Free State. In her research, she is focusing on transformation in higher education, racialization/racialized identities, and the materiality of race.

Frans Kruger is a lecturer in the School of Education Studies, Faculty of Education at the University of the Free State. He holds a PhD in Humanities Education from the University of Pretoria. In his current research, he explores the intersections between social and ecojustice in the field of education through a critical posthumanist lens.

Marguerite Müller is a lecturer in the School of Education Studies, Faculty of Education at the University of the Free State. She holds a BA Fine Arts, PGCE, Masters of Education, and PhD in Higher Education studies. At present, she teaches within the discipline of Curriculum Studies with a specific focus on socially just and antioppressive pedagogies. In addition, she holds a parttime position as on-campus residence head within the Department of Student Affairs at UFS. In her research, she employs arts-based methodologies to explore issues of educator identity in the higher education space.

Angelo Mockie owns his own productions company and has featured in various professional productions as actor, director, musical director, musician, or choreographer. Some highlights include, traveling to Rwanda, Egypt, and the United States. He directed the Broadway musical FAME, Athol Fugard’s My Children My Africa, John Kani and Barney Simon’s Lion and the Lamb, music director for both Sibongile Khumalo and PJ Powers and session drummer for European violinist Daniel Hope. He is also currently studying toward a PhD in the arts and he holds the position, head of student arts and culture at the University of the Free State.

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