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Theatre production Sullied wants to hold you accountable for GBV

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With the focus on the concept of cleansing, Sullied confronts the idea of washing away the dirt trapped in our subconscious. Photo: Rosetta Msimango/City Press
With the focus on the concept of cleansing, Sullied confronts the idea of washing away the dirt trapped in our subconscious. Photo: Rosetta Msimango/City Press

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Now in its ninth production run, Sullied, the seminal work of director Matjamela Motloung and choreographer Kristi-Leigh Gresse, examines the psychological effects of patriarchal ideologies and misogyny within our society and how that feeds into our daily experiences. 

The multi-award-winning production is showcased at the Market Theatre in Newstown, Johannesburg, during the 16 days of activism against gender-based violence.

Motloung says the production looks at the psyche of violence from the perspective of the perpetrators, as this is often been overlooked: 

A lot of work looks at how women are victims and not at how men are perpetrators of violence, and get rewarded for that by either society, politics or the church.

Motloung adds that the trigger point is that in South Africa, there is "number 1 who went from rape to president".

Gresse explains that the production looks at accountability - who is accountable and why are they not held accountable - and questions those societal norms within the themes of politics, spirituality and religion. 

Gresse says: 

It has to be a dialogue between not just about men and women, but anyone and how they identify. We need to sit down and find a resolution or solution to fix the problems [we experience].
With the focus on the concept of cleansing, the production confronts the idea of washing away the dirt trapped in our subconscious because of fear, emotional trauma and ingrained social norms around women's identity.
The choreographer says that people should walk awa
The choreographer says that people should walk away from the production questioning their participation or lack thereof. Photo: Rosetta Msimango/City Press
 

Motloung says that the 16 days of activism from a government perspective seems like a waste of money because they turn it into an event, but adds from an activism point: 

Maybe this period becomes a spotlight that questions our responsibility over our activism as theatre activists so that we don't do Sullied only in November/December but the whole year round. Our activism has to be something that we live and not what we do.
Motloung does not feel like there is enough active action being taken to address the scourge of gender-based violence and hopes that the production begins an uncomfortable conversation that we have that allows men to understand that they need to be feminists. 
While I applaud it for the spotlight it shines, I'm sceptical to reserve it for the end of the year. It says that as we come to the end of the year, "let us remember to beat our women up responsibly'. Because it doesn't stop but gets worse.

Gresse agrees with the sentiment that this period shines a spotlight on gender-based violence, but that "as a woman, it is quite difficult as I experience this situation 24/7".

Gresse adds: 

Why is it only men and women? When are we going to speak about the queer community and the violence meted upon them? Can we stop having these stories [of violence] to tell every year and just try to resolve it?

The choreographer says that people should walk away from the production questioning their participation or lack thereof because it is important, and how they take these conversations home and put in place actions that change the behaviours that perpetuate violence: 

My biggest hope is that people walk away holding themselves accountable.

Sullied also brings, for the first time, a sign language component to the production. 

Andiswa Gebashe lends her sign-language performance skill to Sullied, as no production before this has had a sign-language performer - not interpreting but being part of the cast - making this production accessible to a variety of patrons. 



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