| Summary: | The entertainment education (E-E) strategy has gained currency in development communication scholarship and praxis. However, the theoretical treatment of the strategy has mostly emphasised questions of effectiveness thereby paying minimal attention to substantial resistances encountered at the message reception level. This study investigates the praxis and reception of the E-E television drama Tsha Tsha. It uses the Cultural Studies approach and reception theory to explore the consumption of Tsha Tsha by subaltern black South African youths located within specific socio-historical contexts. Audiences’ negotiated readings were used to critique the assumption that E-E messages are ‘unproblematically’ received by target audiences. Tsha Tsha’s E-E strategy and its theoretical and methodological inputs were also appraised with a view to locating the intervention within the trajectory of E-E and development communication interventions. The emerging insights were critical in understanding whether contemporary E-E interventions have transcended modernisation practice. While the focused synthesis approach, consisting of qualitative content analysis, document analysis and literature review, was used to evaluate Tsha Tsha’s use of the E-E strategy, reception analysis comprising of focus group discussions and follow up in-depth interviews with selected subaltern black South African youths was employed to explore viewers’ social production of meaning from the media text. This process enabled the study to identify the locus of meaning between the two contenting poles: the media text and situated readers. The study’s findings indicate that some contemporary E-E interventions have transended ‘modernisation practice’. Their conceptual and methodological approaches have embraced the central tenets of communication for social change. The results from the reception study also clearly indicated that E-E enterventions face resistances in subaltern discursive spaces. Situated readers’ negotiation of Tsha Tsha showed that viewers are not passive readers of E-E texts. Rather they are engaged in an ongoing process of re-interpreting and resisting the ‘preferred text’. Audiences situated discourses and lived experiences at times provided alternative frameworks through which the ‘dominant meanings’ were re-interpreted and even opposed.
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