Performance is a slippery term. It articulates an artform as well as latent invisible forms of knowledge. This thesis uses performance as a method of research, exploring how the ‘other’ or the invisible black person comes to be seen, but also how they come to see themselves as their own material for knowledge. The study focuses on how performance is a valid mode of knowledge production by building a bridge between performance and theory in relation to domestic workers, black feminist aesthetics, personal narratives and the practice of theatre making.