Diaspora in Dialogue: An Ontology of Diasporic Subjectivity in the Work of Three Artists Living In-Between South Africa and Zimbabwe

Nyoni, Vulindlela Philani Elliott

Title: Diaspora in Dialogue: An Ontology of Diasporic Subjectivity in the Work of Three Artists Living In-Between South Africa and Zimbabwe
Creator: Nyoni, Vulindlela Philani Elliott
Subject: Foreign workers -- South Africa
Subject: South Africa -- Social conditions
Subject: South Africa -- Emigration and immigration
Date Issued: 2024-04
Date: 2024-04
Type: Doctorate
Type: text
Identifier: http://hdl.handle.net/10948/62366
Identifier: vital:72615
Description: As a Zimbabwean artist and educator, living and working in South Africa, my daily experience is that of an “in-between” diasporic subjectivity, which is compounded by the discourses around the uneasy reintegration of post-apartheid South Africa into Africa. This context gives rise to the core philosophical aim of this thesis, which is to explore the notion of “diasporic subjectivities” as a philosophical approach to understanding what it means to be in a complex contemporary reality. The notion of diasporic subjectivities works in the same way as that of “queer subjectivities”, which has been used to understand not just gay people but all people. “Diaspora” names people who have moved, migrated, or been scattered away from an established or ancestral homeland, but retain some sense of belonging to this homeland. From an African perspective, I problematise the concept of an established homeland and the settled subjectivities that belong to it, in contrast to which only the diaspora remains in an uncomfortable state of in-betweenness. Instead, I explore a contention among both European and African existentialist philosophers that the condition of not being at home is the fundamental human condition out of which a home must be created. This would mean that the groundlessness, liminality or in-betweenness of being is experienced not just by the diaspora but by all humans. However, importantly, I find that sociocultural differences due to the history of colonialism gives rise to different experiences of homelessness and the groundlessness of being. This makes a distinction necessary, but to avoid the pitfalls of tying this distinction to geographical locations such as Western versus Non-Western or Global North and Global South, I will refer instead to spaces, practices and even individuals, in which there are “mindsets of entitlement” versus “mindsets of disentitlement”. The former refers to the mindset of ownership characteristic of the settled and developed. The latter refers to the mindset of many who feel a sense of unbelonging, due to disenfranchisement and forced disembodiment and dislocation. I have aimed to support the thesis that the groundlessness, liminality or in-betweenness of being is experienced not just by the diaspora but by all humans, in two ways. Firstly, I consider in detail through various means (narratives, personal reflection, investigation of philosophical texts, dialogues), the philosophical concepts of “belonging”, “home” and “nostalgia” as component aspects of an ontology of diasporic subjectivity. In the second part of this study, I engage in an interpretative process, as outlined by Hans-Georg Gadamer, whereby I use this ontology to help me dialogue with artworks produced by three Zimbabwean artists, Ronald Muchatuta, Gerald Machona, and myself (Vulindlela Nyoni), who share the diasporic condition of being Zimbabweans living in-between Zimbabwe and South Africa. The ontology of diasporic subjectivity developed in the first part offers a language with which to dialogue with the artworks or question the way in which the complexities of belonging, home and nostalgia are expressed in the works, while the works in turn help deepen an understanding of diasporic subjectivity. Both philosophies and artworks may function as transformative, practical tools for seeking wisdom, cultivating self-awareness, developing moral character, and living a reflective and examined life. The combination of personal narratives and self-reflexive, philosophical dialogues regarding artworks and art making and its exigencies holds the potential to produce deeper philosophical insights into the fundamentally diasporic human condition. This kind of hybrid research at the interface between philosophy and artistic praxis is accessible to a broad-based audience. It is therefore better able to undo malicious stereotypical associations between émigrés and malignant tropes of societal decay on the African continent and to validate the contributions made by African diaspora to the decolonial project, than neatly distanced academic reflections, which reduce the philosophical impact of transnational migration to measurable motivations and statistics.
Description: Thesis (D.Phil) -- Faculty of Humanities, School of Social Scinces, 2024
Format: computer
Format: online resource
Format: application/pdf
Format: 1 online resource (280 pages)
Format: pdf
Publisher: Nelson Mandela University
Publisher: Faculty of Humanities
Language: English
Rights: Nelson Mandela University
Rights: All Rights Reserved
Rights: Open Access

Hits: 897
Visitors: 860
Downloads: 57

Collections

NMU School of Governmental and Social Sciences

		Thumbnail	File	Description	Size	Format
View Details Download			SOURCE1	Nyoni,VPE April 2024.pdf	14 MB	Adobe Acrobat PDF	View Details Download