Border crossing, collecting, gravitating: small narratives of three ordinary collectors in the Chinese diaspora in South Africa since the late 1980s
- Authors: Grobbelaar, Binjun
- Date: 2024-10-11
- Subjects: Chinese diaspora , Art Collectors and collecting South Africa , Autobiography in art , Art History , Knowledge, Sociology of , Proximity
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467039 , vital:76809 , DOI https://doi.org/10.21504/10962/467039
- Description: Shifting away from the conventional viewpoint that confines art collecting predominantly to established structures like art institutions, markets, and exclusive collector networks, a trajectory historically influenced by Western collecting traditions and museology, this thesis takes a radical turn by delving into the small narratives of three ordinary Chinese collectors, namely Shengkai Wu, Yiyuan Yang and Shudi Li, who immigrated to South Africa since the late 1980s. The focus on Chinese collectors and migration resonates with my positionality as a recent Chinese immigrant in South Africa and aligns with Boaventura de Sousa Santos’s approach to proximity in knowledge-making, which emphasises ‘knowing with’ and ‘walking alongside’ the subjects of study. The selected immigrant collectors were chosen based on their current low-to-middle economic status in South Africa. These three individuals have decades of living and artcollecting experience in the country, having held professional backgrounds in China prior to their immigration. The number of collectors was determined through an in-depth qualitative biographical research method, taking into account the niche field of art collecting and the relatively small Chinese population within the broader South African demographic. It approaches collecting as a method of pursuing clues and explores it as a socio-cultural practice by collaging the biographies of three ordinary collectors as micro-histories. Details of these ordinary lives are entangled with the lives of objects that traverse China and South Africa. The use of non-official data, at times fragmented and partially obscured, is employed to craft a narrative that weaves together diverse and complex perspectives. The aim of this thesis is to attempt to shift from elite collecting narratives to a more diverse understanding of the global circulation and appropriation of art and cultural objects in relation to grassroots migration. This shift is explored through the unique insights derived from recovering the personal narratives of ordinary immigrant collectors and their associated objects in overlooked geographical locations and states of transformation within the context of China– Africa relations. I engage China–Africa relations within the framework Global South, seeks to address the limitations of describing the multi-dimensional interweaving of low-profile individual and objecthood, unofficial and official, historical and ephemeral relationships in the burgeoning field of China-Africa relations. The investigation unfolds through two interconnected aspects embedded in the development of each collector’s biography. Firstly, it delves into how the collecting practices of these three Chinese collectors are interwoven with their experiences in both China and South Africa. Secondly, it examines the agencies of the collectors and the relationships they establish with the objects they collect. I approach these collectors as curators of their autobiographical exhibitions in the process of preliminary data collection and subsequent thematic and object-oriented interviews. Through the analysis of collectors’ oral, visual and written narratives, as well as the biographies of objects, this PhD thesis in Art History uncovers a multilayered influx of crossways of knowledge-making by the collectors on the ground. Inspired by practical material re-ordering and personal interests, these collectors engage in configuring the border-crossing process within the Chinese diaspora in South Africa. Recurring narratives of critical socialist experiences in Maoist China are linked to their suppressed agency and subsequent recovery through emigration to South Africa. They negotiate a complex diasporic terrain marked by engaging with socialist philately materials, persistently gravitating towards China. Concurrently, they transcend conventional nation-state framework, accentuating the convergent aesthetic qualities inherent in transnational artefacts and community-based art practices. The collectors’ engagement with exported Chinese “specialised arts and crafts”, and unconventional artefacts, such as philately materials, creates a bottom-up fresh interpretation of what constitutes collecting Chinese art in the context of South Africa. Fragments of British colonial history on the Rand, Chinese semi-colonial history, and contemporary printmaking in both China and South Africa, embedded in tangible material artefacts and in intangible visual connection, become visible through their logics of collecting and affective approach from the bottom up. Highlighting the often-overlooked Chinese agency in the creation of these objects, this research illustrates how individual mobility between China and Africa can contribute to the nuanced role of aesthetics through collecting, redefining what is visible and meaningful in the context of the Chinese diaspora and art collecting in South Africa. Specifically, discourses on the border poetics of Zheng He, colonial postcards and notices on the Rand, visual connection in printmaking, and Chinese semi-colonial artefacts of a converged “Chinese–British” aesthetic and a controversial Tang blue-and-white dish are instances where ordinary Chinese collectors in the Global South strategically mobilise collecting as a means to migrate towards an alternative politics of hope, as conceptualised by Chiara Brambilla. This hope presents a “strategic Southerness,” cultivates an “alter-geopolitics of knowledge” (Simbao 2017) that, pushing against the often-dominant representation of spectacle within the structured frameworks of art institutions, markets and networks of elite collectors. I argue that these emerging themes and objects in the collectors’ narratives represent a grounded, localised knowledge-making from below, unfolding practices underpinned by the material conditions of ordinary collectors of art and material culture in the Global South, aspects that have not been given adequate attention in history. In the process of encountering, reassembling, and appropriating these material objects and associating people in South Africa, I argue that collecting becomes not only an act of diasporic agency in constructing memories of the past, but also offers insight into the complex Chinese diaspora within the dynamics of a rising Chinese presence in Africa. On the one hand, these ordinary collectors employ collecting as an act of resistance against the aftermath of political turmoil and the epistemological inequality imposed on grassroots communities. Their emergence has contributed to transforming the residual colonial culture of the “othering” in the landscape of art collecting in South Africa. On the other hand, their agency intersects with Chinese diasporic nationalism, which lingers in the tension between internalised Eurocentric exploitation and romanticised appreciation and cultural preservation, a question that awaits for further investigation. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Grobbelaar, Binjun
- Date: 2024-10-11
- Subjects: Chinese diaspora , Art Collectors and collecting South Africa , Autobiography in art , Art History , Knowledge, Sociology of , Proximity
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467039 , vital:76809 , DOI https://doi.org/10.21504/10962/467039
- Description: Shifting away from the conventional viewpoint that confines art collecting predominantly to established structures like art institutions, markets, and exclusive collector networks, a trajectory historically influenced by Western collecting traditions and museology, this thesis takes a radical turn by delving into the small narratives of three ordinary Chinese collectors, namely Shengkai Wu, Yiyuan Yang and Shudi Li, who immigrated to South Africa since the late 1980s. The focus on Chinese collectors and migration resonates with my positionality as a recent Chinese immigrant in South Africa and aligns with Boaventura de Sousa Santos’s approach to proximity in knowledge-making, which emphasises ‘knowing with’ and ‘walking alongside’ the subjects of study. The selected immigrant collectors were chosen based on their current low-to-middle economic status in South Africa. These three individuals have decades of living and artcollecting experience in the country, having held professional backgrounds in China prior to their immigration. The number of collectors was determined through an in-depth qualitative biographical research method, taking into account the niche field of art collecting and the relatively small Chinese population within the broader South African demographic. It approaches collecting as a method of pursuing clues and explores it as a socio-cultural practice by collaging the biographies of three ordinary collectors as micro-histories. Details of these ordinary lives are entangled with the lives of objects that traverse China and South Africa. The use of non-official data, at times fragmented and partially obscured, is employed to craft a narrative that weaves together diverse and complex perspectives. The aim of this thesis is to attempt to shift from elite collecting narratives to a more diverse understanding of the global circulation and appropriation of art and cultural objects in relation to grassroots migration. This shift is explored through the unique insights derived from recovering the personal narratives of ordinary immigrant collectors and their associated objects in overlooked geographical locations and states of transformation within the context of China– Africa relations. I engage China–Africa relations within the framework Global South, seeks to address the limitations of describing the multi-dimensional interweaving of low-profile individual and objecthood, unofficial and official, historical and ephemeral relationships in the burgeoning field of China-Africa relations. The investigation unfolds through two interconnected aspects embedded in the development of each collector’s biography. Firstly, it delves into how the collecting practices of these three Chinese collectors are interwoven with their experiences in both China and South Africa. Secondly, it examines the agencies of the collectors and the relationships they establish with the objects they collect. I approach these collectors as curators of their autobiographical exhibitions in the process of preliminary data collection and subsequent thematic and object-oriented interviews. Through the analysis of collectors’ oral, visual and written narratives, as well as the biographies of objects, this PhD thesis in Art History uncovers a multilayered influx of crossways of knowledge-making by the collectors on the ground. Inspired by practical material re-ordering and personal interests, these collectors engage in configuring the border-crossing process within the Chinese diaspora in South Africa. Recurring narratives of critical socialist experiences in Maoist China are linked to their suppressed agency and subsequent recovery through emigration to South Africa. They negotiate a complex diasporic terrain marked by engaging with socialist philately materials, persistently gravitating towards China. Concurrently, they transcend conventional nation-state framework, accentuating the convergent aesthetic qualities inherent in transnational artefacts and community-based art practices. The collectors’ engagement with exported Chinese “specialised arts and crafts”, and unconventional artefacts, such as philately materials, creates a bottom-up fresh interpretation of what constitutes collecting Chinese art in the context of South Africa. Fragments of British colonial history on the Rand, Chinese semi-colonial history, and contemporary printmaking in both China and South Africa, embedded in tangible material artefacts and in intangible visual connection, become visible through their logics of collecting and affective approach from the bottom up. Highlighting the often-overlooked Chinese agency in the creation of these objects, this research illustrates how individual mobility between China and Africa can contribute to the nuanced role of aesthetics through collecting, redefining what is visible and meaningful in the context of the Chinese diaspora and art collecting in South Africa. Specifically, discourses on the border poetics of Zheng He, colonial postcards and notices on the Rand, visual connection in printmaking, and Chinese semi-colonial artefacts of a converged “Chinese–British” aesthetic and a controversial Tang blue-and-white dish are instances where ordinary Chinese collectors in the Global South strategically mobilise collecting as a means to migrate towards an alternative politics of hope, as conceptualised by Chiara Brambilla. This hope presents a “strategic Southerness,” cultivates an “alter-geopolitics of knowledge” (Simbao 2017) that, pushing against the often-dominant representation of spectacle within the structured frameworks of art institutions, markets and networks of elite collectors. I argue that these emerging themes and objects in the collectors’ narratives represent a grounded, localised knowledge-making from below, unfolding practices underpinned by the material conditions of ordinary collectors of art and material culture in the Global South, aspects that have not been given adequate attention in history. In the process of encountering, reassembling, and appropriating these material objects and associating people in South Africa, I argue that collecting becomes not only an act of diasporic agency in constructing memories of the past, but also offers insight into the complex Chinese diaspora within the dynamics of a rising Chinese presence in Africa. On the one hand, these ordinary collectors employ collecting as an act of resistance against the aftermath of political turmoil and the epistemological inequality imposed on grassroots communities. Their emergence has contributed to transforming the residual colonial culture of the “othering” in the landscape of art collecting in South Africa. On the other hand, their agency intersects with Chinese diasporic nationalism, which lingers in the tension between internalised Eurocentric exploitation and romanticised appreciation and cultural preservation, a question that awaits for further investigation. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
Care as dissent in the art of Georgina Maxim, Gladys Kalichini, Kresiah Mukwazhi, Masimba Hwati and Léonard Pongo
- Authors: Muchemwa, Fadzai Veronica
- Date: 2024-10-11
- Subjects: Dissenting opinions , Ethics of care , Disruption , Art Political aspects Africa , Recognition , Art and society
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466049 , vital:76680
- Description: The concept of care is proposed as an ethical and practical framework for the reading of the artistic and writing practices of Georgina Maxim, Kresiah Mukwazhi, Gladys Kalichini, Léonard Pongo and Masimba Hwati. In their practices, dissent is both an existential crisis and a constitutive practice. Through small actions, they offer up new narratives. The notion of seeing care as a form of dissent is to simply reflect on the artistic practices that are integrated with or responsive to forms of political protest and dissent based on ethical care practices and what it means to align with those things that matter to us and distancing ourselves from those things that do not. The thesis explores the ethic of care, its possibilities as a dissenting approach, and provides a narrative description of five case studies that exhibit different expressions of care in contemporary art. By prioritising care, there is an educational interest in creating resources and themes for a politically engaged approach to artistic practice and the creation of art. This study also aims to shed light on the power of art as a tool for social and political commentary, and the role of artists as agents of change in society. The study focuses on how these artists use their art to challenge societal norms and political structures, embodying the concept of care as a form of resistance. It underscores the importance of understanding the context in which art is created and the messages it conveys, particularly in societies where freedom of expression may be constrained. The study further investigates how these elements are presented in different ways to show the different manifestations of care and dissent. Through semi-structured interviews, analysis of relevant texts, and a detailed visual analysis of selected works from the five artists, the situational approach was used to explore how meanings are negotiated. The outcome is an expanded proposal for care as dissent and a listening guide as a tool or approach in helping us to listen to marginalised voices, validate experiences, identify barriers and building empathy. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Muchemwa, Fadzai Veronica
- Date: 2024-10-11
- Subjects: Dissenting opinions , Ethics of care , Disruption , Art Political aspects Africa , Recognition , Art and society
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466049 , vital:76680
- Description: The concept of care is proposed as an ethical and practical framework for the reading of the artistic and writing practices of Georgina Maxim, Kresiah Mukwazhi, Gladys Kalichini, Léonard Pongo and Masimba Hwati. In their practices, dissent is both an existential crisis and a constitutive practice. Through small actions, they offer up new narratives. The notion of seeing care as a form of dissent is to simply reflect on the artistic practices that are integrated with or responsive to forms of political protest and dissent based on ethical care practices and what it means to align with those things that matter to us and distancing ourselves from those things that do not. The thesis explores the ethic of care, its possibilities as a dissenting approach, and provides a narrative description of five case studies that exhibit different expressions of care in contemporary art. By prioritising care, there is an educational interest in creating resources and themes for a politically engaged approach to artistic practice and the creation of art. This study also aims to shed light on the power of art as a tool for social and political commentary, and the role of artists as agents of change in society. The study focuses on how these artists use their art to challenge societal norms and political structures, embodying the concept of care as a form of resistance. It underscores the importance of understanding the context in which art is created and the messages it conveys, particularly in societies where freedom of expression may be constrained. The study further investigates how these elements are presented in different ways to show the different manifestations of care and dissent. Through semi-structured interviews, analysis of relevant texts, and a detailed visual analysis of selected works from the five artists, the situational approach was used to explore how meanings are negotiated. The outcome is an expanded proposal for care as dissent and a listening guide as a tool or approach in helping us to listen to marginalised voices, validate experiences, identify barriers and building empathy. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
Restless imagination: material, urban space and contemporary art practices in postcolonial Harare
- Authors: Zhang, Lifang
- Date: 2024-10-11
- Subjects: African art , Art, Modern 21st century , Materiality , Zimbabwean art , Public spaces in art Zimbabwe Harare , Found objects (Art)
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467061 , vital:76811 , DOI htps://doi.org/10.21504/10962/467061
- Description: The use of everyday objects as art materials has evolved into a contemporary phenomenon in Africa, deeply rooted in specific contexts and possessing global relevance. Despite limited scholarly attention, existing discussions tend to revolve around individual artists or particular mediums. Many discourses are associated with either the prevailing universalist perspective that views the trend as Western avant-garde derivation or the reductionist narrative that attributes it merely to local material scarcity. There exists a critical need to investigate historical genealogies and explore the theoretical frameworks essential for comprehending this phenomenon. Through a combination of visual analysis, fieldwork and interviews, this thesis conducts an in-depth examination of the use of found materials in Zimbabwe, exploring its historiography, mechanism, impact, and visual achievements. This thesis situates the investigation in postcolonial Harare, the city that profoundly shaped the evolution of the phenomenon of using found materials. Regarding timeframe, this thesis examines contemporary Zimbabwean artists’ practices, with a special emphasis on the period following the Redefinitions movement in the early 2000s. However, it also explores the pioneering material innovations of Tapfuma Gutsa and Keston Beaton, as well as analyses the importance of the Pachipamwe workshop between the 1980s and 1990s. Among the artists, it highlights those who consistently engage with found materials and delve into their interactions with urban spaces in their practices. With the city as the analytical framework, this thesis draws on debates centring on contemporary African art and theories about materiality and urban studies. Approaching found materials as the materiality of both art and the city, it reveals a convergence of various interrelated artistic practices in Harare. The multidimensional relationships are manifested in the artistic processes, where the collection of materials, the creation of artworks, and collaboration with diverse urban groups, are intricately linked to urban spaces in Harare. By unfolding this process and emphasising the labour of artists, this thesis transcends conventional perceptions of artworks as mere visual objects, revealing the societal and spatial interactions inherent in artistic practices involving found materials. This thesis also explores the visual and semantical interactions between art and the city, centring on a curated array of artworks which is not merely a visual representation or reflection of the city but also provides critical thoughts on and dialogues with the city, as well as (re)imaginations and aspirations of the urban landscape. The relationship between art and the city is further deepened through iii artistic practices, extending beyond the creation of artworks and involving art infrastructure building in Harare. This thesis conceptualises artists’ practices of working with found material as restless imagination, a term drawn from the name of the city, which refers to “no one sleeps” in the Shona language. The restlessness embedded in its naming has characterised the city in various dimensions and across time, with the haunting colonial legacy, ongoing urban crises, ubiquitous movements and the ordinary people’s unwavering efforts for liberation and survival. Artists residing in postcolonial Harare also adopt and cultivate restlessness as a working strategy not only to cope with but also to transgress such conditions. The evolution of found materials has been unfolded through a continuous process of restless imagination and innovative manoeuvres, which are embodied in the continual re-imagination of the convention of art materials, the expressive capacities of specific materials, and a commitment to labour throughout the transformative process. This open-ended though productive process of exploration perpetuates and extends to the re-imagination and reclaiming of urban spaces, transforming them into artistic spaces that foster artistic creation and the reproduction of artists and imaginations. This thesis argues the potential framing and comprehension of Harare city as the site of restless imagination pursued, embodied and materialised by artists through their artwork and engagement with urban spaces. Contemporary Zimbabwean artists have redefined their artistic practices, interacting with the materiality of everyday urban life, urban matters, urban spaces, and urban communities, and, concurrently, the relationship between art and city, art and society. By doing so, they open up space for possibilities to refashion the restless city, negotiate urban citizenship, and recreate themselves as agentive subjects in postcolonial Harare. It could be argued that artists, as urban citizens, akin to other residents grappling with everyday life in the city, also exercise their arts of citizenship through their creative innovations in artistic expression and practices. Therefore, this thesis not only delves into the contextualisation of artistic practices in Harare but also contributes to broader discussions on everyday practices in African cities through the lens of art. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Zhang, Lifang
- Date: 2024-10-11
- Subjects: African art , Art, Modern 21st century , Materiality , Zimbabwean art , Public spaces in art Zimbabwe Harare , Found objects (Art)
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467061 , vital:76811 , DOI htps://doi.org/10.21504/10962/467061
- Description: The use of everyday objects as art materials has evolved into a contemporary phenomenon in Africa, deeply rooted in specific contexts and possessing global relevance. Despite limited scholarly attention, existing discussions tend to revolve around individual artists or particular mediums. Many discourses are associated with either the prevailing universalist perspective that views the trend as Western avant-garde derivation or the reductionist narrative that attributes it merely to local material scarcity. There exists a critical need to investigate historical genealogies and explore the theoretical frameworks essential for comprehending this phenomenon. Through a combination of visual analysis, fieldwork and interviews, this thesis conducts an in-depth examination of the use of found materials in Zimbabwe, exploring its historiography, mechanism, impact, and visual achievements. This thesis situates the investigation in postcolonial Harare, the city that profoundly shaped the evolution of the phenomenon of using found materials. Regarding timeframe, this thesis examines contemporary Zimbabwean artists’ practices, with a special emphasis on the period following the Redefinitions movement in the early 2000s. However, it also explores the pioneering material innovations of Tapfuma Gutsa and Keston Beaton, as well as analyses the importance of the Pachipamwe workshop between the 1980s and 1990s. Among the artists, it highlights those who consistently engage with found materials and delve into their interactions with urban spaces in their practices. With the city as the analytical framework, this thesis draws on debates centring on contemporary African art and theories about materiality and urban studies. Approaching found materials as the materiality of both art and the city, it reveals a convergence of various interrelated artistic practices in Harare. The multidimensional relationships are manifested in the artistic processes, where the collection of materials, the creation of artworks, and collaboration with diverse urban groups, are intricately linked to urban spaces in Harare. By unfolding this process and emphasising the labour of artists, this thesis transcends conventional perceptions of artworks as mere visual objects, revealing the societal and spatial interactions inherent in artistic practices involving found materials. This thesis also explores the visual and semantical interactions between art and the city, centring on a curated array of artworks which is not merely a visual representation or reflection of the city but also provides critical thoughts on and dialogues with the city, as well as (re)imaginations and aspirations of the urban landscape. The relationship between art and the city is further deepened through iii artistic practices, extending beyond the creation of artworks and involving art infrastructure building in Harare. This thesis conceptualises artists’ practices of working with found material as restless imagination, a term drawn from the name of the city, which refers to “no one sleeps” in the Shona language. The restlessness embedded in its naming has characterised the city in various dimensions and across time, with the haunting colonial legacy, ongoing urban crises, ubiquitous movements and the ordinary people’s unwavering efforts for liberation and survival. Artists residing in postcolonial Harare also adopt and cultivate restlessness as a working strategy not only to cope with but also to transgress such conditions. The evolution of found materials has been unfolded through a continuous process of restless imagination and innovative manoeuvres, which are embodied in the continual re-imagination of the convention of art materials, the expressive capacities of specific materials, and a commitment to labour throughout the transformative process. This open-ended though productive process of exploration perpetuates and extends to the re-imagination and reclaiming of urban spaces, transforming them into artistic spaces that foster artistic creation and the reproduction of artists and imaginations. This thesis argues the potential framing and comprehension of Harare city as the site of restless imagination pursued, embodied and materialised by artists through their artwork and engagement with urban spaces. Contemporary Zimbabwean artists have redefined their artistic practices, interacting with the materiality of everyday urban life, urban matters, urban spaces, and urban communities, and, concurrently, the relationship between art and city, art and society. By doing so, they open up space for possibilities to refashion the restless city, negotiate urban citizenship, and recreate themselves as agentive subjects in postcolonial Harare. It could be argued that artists, as urban citizens, akin to other residents grappling with everyday life in the city, also exercise their arts of citizenship through their creative innovations in artistic expression and practices. Therefore, this thesis not only delves into the contextualisation of artistic practices in Harare but also contributes to broader discussions on everyday practices in African cities through the lens of art. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
Shaping self through ceramic sculpture: representing anxiety in the rural black queer experience
- Authors: Phaliso, Phila Vuyiseka
- Date: 2024-10-11
- Subjects: Ceramic sculpture 21st century , Ceramic sculpture Social aspects , Sexual minorities, Black Social conditions , Anxiety , Rural conditions
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466082 , vital:76683
- Description: I am a ceramic sculptor. I make use of clay that I have sourced from Joza, the Makhanda location, and Cofimvaba in a rural area called Magwala. I process this clay and then use it to create a visual and tangible representation of the anxiety I experience as a queer black woman living in South Africa. Unongayindoda is a word that has been used by isiXhosa speaking people in my village to call me ever since I was a child. This is a word that I have chosen to own, in much the same way that some people have chosen to own the word “queer.” My experience of being unongayindoda has had an impact on my mental health, and the process of digging clay, processing it for use and then using it to create my work has become very therapeutic for me. My work’s primary aim is to explore the use of clay as a representative embodiment of anxiety in my work as a rural black queer sculptor who identifies as unongayindoda. The thesis component of my work is a qualitative study informed by autoethnography, practice and art-based research. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Phaliso, Phila Vuyiseka
- Date: 2024-10-11
- Subjects: Ceramic sculpture 21st century , Ceramic sculpture Social aspects , Sexual minorities, Black Social conditions , Anxiety , Rural conditions
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466082 , vital:76683
- Description: I am a ceramic sculptor. I make use of clay that I have sourced from Joza, the Makhanda location, and Cofimvaba in a rural area called Magwala. I process this clay and then use it to create a visual and tangible representation of the anxiety I experience as a queer black woman living in South Africa. Unongayindoda is a word that has been used by isiXhosa speaking people in my village to call me ever since I was a child. This is a word that I have chosen to own, in much the same way that some people have chosen to own the word “queer.” My experience of being unongayindoda has had an impact on my mental health, and the process of digging clay, processing it for use and then using it to create my work has become very therapeutic for me. My work’s primary aim is to explore the use of clay as a representative embodiment of anxiety in my work as a rural black queer sculptor who identifies as unongayindoda. The thesis component of my work is a qualitative study informed by autoethnography, practice and art-based research. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
The significance of neglected themes in the visual representation of Ulwaluko
- Authors: Nqweniso, Sinazo
- Date: 2024-10-11
- Subjects: Ulwaluko , Circumcision South Africa , Traditional knowledge , Ethnoscience South Africa , Ceremonial objects , Rites and ceremonies South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466060 , vital:76681
- Description: This study investigates the significance of the neglected themes in visual representations of the Xhosa (also AmaXhosa) ritual of manhood called ulwaluko. The focus is on attire, cosmetics, language, food, games and music. These themes are part of the various components that constitute ulwaluko as a complex and significant practice amongst the Xhosa people, which comprises layered meanings, activities, and procedures involved in the ritual transformation of males from boyhood to manhood. The neglected themes are imperative in the education and socialisation of Xhosa men, and the formation of their identity and pride. Through ulwaluko, Xhosa men gain significant knowledge about maturity, cultured demeanour, marriage, family, human rights, and domestic and substance abuse. These teachings are essential in educating, shaping and moulding Xhosa men. Throughout the three decades from the 1990s to the 2020s, ulwaluko has suffered a crisis evidenced by injuries and deaths of initiates through careless procedures of circumcision, irresponsible nursing of the initiates and unfavourable conditions where the education of initiates takes place. This crisis has been a burning subject not only for journalists and scholars but also artists and filmmakers. The crisis dominates visual representations of ulwaluko in South African contemporary art. This study argues that even amid fatalities such as pain, injuries and the death of initiates, ulwaluko is still an essential institution that contributes to social practices and the moral fibre of society. Using Afrocentrism and the indigenous knowledge system as theoretical lenses, this study appreciates ulwaluko culture by interpreting researched data from an African-centred perspective. This approach produces African knowledge that recognises the African voice and affirms the centrality of cultural experience. The use of indigenous knowledge is to access the neglected themes in popular knowledge and culture by appreciating the Xhosa ways of knowing, being and understanding in contemporary African society. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Nqweniso, Sinazo
- Date: 2024-10-11
- Subjects: Ulwaluko , Circumcision South Africa , Traditional knowledge , Ethnoscience South Africa , Ceremonial objects , Rites and ceremonies South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466060 , vital:76681
- Description: This study investigates the significance of the neglected themes in visual representations of the Xhosa (also AmaXhosa) ritual of manhood called ulwaluko. The focus is on attire, cosmetics, language, food, games and music. These themes are part of the various components that constitute ulwaluko as a complex and significant practice amongst the Xhosa people, which comprises layered meanings, activities, and procedures involved in the ritual transformation of males from boyhood to manhood. The neglected themes are imperative in the education and socialisation of Xhosa men, and the formation of their identity and pride. Through ulwaluko, Xhosa men gain significant knowledge about maturity, cultured demeanour, marriage, family, human rights, and domestic and substance abuse. These teachings are essential in educating, shaping and moulding Xhosa men. Throughout the three decades from the 1990s to the 2020s, ulwaluko has suffered a crisis evidenced by injuries and deaths of initiates through careless procedures of circumcision, irresponsible nursing of the initiates and unfavourable conditions where the education of initiates takes place. This crisis has been a burning subject not only for journalists and scholars but also artists and filmmakers. The crisis dominates visual representations of ulwaluko in South African contemporary art. This study argues that even amid fatalities such as pain, injuries and the death of initiates, ulwaluko is still an essential institution that contributes to social practices and the moral fibre of society. Using Afrocentrism and the indigenous knowledge system as theoretical lenses, this study appreciates ulwaluko culture by interpreting researched data from an African-centred perspective. This approach produces African knowledge that recognises the African voice and affirms the centrality of cultural experience. The use of indigenous knowledge is to access the neglected themes in popular knowledge and culture by appreciating the Xhosa ways of knowing, being and understanding in contemporary African society. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
The spiritual space of Mubende Hill in Uganda: rethinking “awaka w’ensi aw’omweyimirize, Maama Nakayima” as a symbol of ritual and spiritual performance
- Authors: Nalukenge, Claire
- Date: 2024-10-11
- Subjects: Mubende (Uganda) , Rites and ceremonies Uganda Mubende , Spiritual practice , Ritual objects and ceremonial , Ritual in art , Spirituality in art
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467050 , vital:76810 , DOI https://doi.org/10.21504/10962/467050
- Description: This doctoral dissertation in art history investigates the dynamic relationships between ritual objects, rituals, spiritual performances, and their representations in specific cultural contexts. The main research question is: How do the ritual objects at Mubende Hill shape and communicate the meanings of the rituals, considering their performative contexts and embodied interactions? This thesis examines the ritual objects at the spiritual space of Mubende Hill in Uganda, which have various meanings and associations for different groups of people. It critically analyses how related objects are interpreted and represented by select Ugandan contemporary artists, including the 2019 history students of Margaret Trowell of Industrial and Fine Arts and the Uganda Museum. The difference between the above components is that the spiritual space, the artists, and the students represent objects as animate, whereas the Museum represents objects as obsolete. The spiritual space of Mubende Hill is a living space where people engage with ritual objects such as calabashes, clay pots, bowls, milk containers, and coffee beans in performative ways. Some of these objects are placed in various partitions of the sacred Omweyimirize tree at the spiritual space, and the objects become efficacious when engaged with through spiritual and ritual performance. In contrast, the Uganda Museum exhibits objects as inanimate, static, and enclosed in glass compartments. As such, the objects are rendered inactive. I examine the way the museum exhibits, frames, and labels these objects, and how this shifts people’s relationships with ritual objects. In contrast, I also analyze how selected Ugandan contemporary artists and the 2019 history students represent similar objects through their artistic practices, thereby opening up the meaning of these objects. This thesis addresses the critical need for a comprehensive reading and representation of objects within their living social and cultural contexts, a focus often overshadowed by museums. In trying to grapple with questions of representations of objects, I employed qualitative research methodologies, including extensive fieldwork, analysis of primary and secondary sources, participant observation, interviews, and photographic documentation The primary information was gathered from individuals at the spiritual space of Mubende Hill, Uganda, specifically the ritual specialists and the Balyammere, select contemporary Ugandan artists, and final year 2019 art history students from the Makerere Art School and select individuals from the Uganda museum. By comparing objects within their original contexts to decontextualized objects in museums and artistic and scholarly representations of objects, I analyze various art historical approaches to objects that grapple with issues of object representation, functionality, purpose, performance, and the movement of objects. I utilize this analysis of objects to critique colonial and contemporary neo-colonial approaches to ritual objects and develop decolonial understandings of objects that are embedded in personal experiences, stories, and narratives of text accompanied with visuals from the Balyammere’s object-ritual and spiritual performances. The study argues that ritual objects possess active agency, extending beyond mere aesthetic appreciation, and they are intertwined within their performative spiritual and cultural contexts. Analyzing these objects and their roles in rituals and spiritual performances allows us to deeply comprehend their meanings and significances as embedded in cultural, spiritual, and social fabrics. The study emphasizes a need for art histories that prioritize African-based scholars at the forefront of knowledge production and appreciate diverse, non-Eurocentric perspectives, suggesting a multidisciplinary approach to understanding art. A deeper understanding of the relationship between objects, rituals, and spiritual performances cannot only expand the knowledge in art history but also suggest alternatives to conventional object perspectives and practices, arguing for a comprehensive, culturally sensitive, and inclusive approach to understanding objects and art within their performative contexts. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Nalukenge, Claire
- Date: 2024-10-11
- Subjects: Mubende (Uganda) , Rites and ceremonies Uganda Mubende , Spiritual practice , Ritual objects and ceremonial , Ritual in art , Spirituality in art
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467050 , vital:76810 , DOI https://doi.org/10.21504/10962/467050
- Description: This doctoral dissertation in art history investigates the dynamic relationships between ritual objects, rituals, spiritual performances, and their representations in specific cultural contexts. The main research question is: How do the ritual objects at Mubende Hill shape and communicate the meanings of the rituals, considering their performative contexts and embodied interactions? This thesis examines the ritual objects at the spiritual space of Mubende Hill in Uganda, which have various meanings and associations for different groups of people. It critically analyses how related objects are interpreted and represented by select Ugandan contemporary artists, including the 2019 history students of Margaret Trowell of Industrial and Fine Arts and the Uganda Museum. The difference between the above components is that the spiritual space, the artists, and the students represent objects as animate, whereas the Museum represents objects as obsolete. The spiritual space of Mubende Hill is a living space where people engage with ritual objects such as calabashes, clay pots, bowls, milk containers, and coffee beans in performative ways. Some of these objects are placed in various partitions of the sacred Omweyimirize tree at the spiritual space, and the objects become efficacious when engaged with through spiritual and ritual performance. In contrast, the Uganda Museum exhibits objects as inanimate, static, and enclosed in glass compartments. As such, the objects are rendered inactive. I examine the way the museum exhibits, frames, and labels these objects, and how this shifts people’s relationships with ritual objects. In contrast, I also analyze how selected Ugandan contemporary artists and the 2019 history students represent similar objects through their artistic practices, thereby opening up the meaning of these objects. This thesis addresses the critical need for a comprehensive reading and representation of objects within their living social and cultural contexts, a focus often overshadowed by museums. In trying to grapple with questions of representations of objects, I employed qualitative research methodologies, including extensive fieldwork, analysis of primary and secondary sources, participant observation, interviews, and photographic documentation The primary information was gathered from individuals at the spiritual space of Mubende Hill, Uganda, specifically the ritual specialists and the Balyammere, select contemporary Ugandan artists, and final year 2019 art history students from the Makerere Art School and select individuals from the Uganda museum. By comparing objects within their original contexts to decontextualized objects in museums and artistic and scholarly representations of objects, I analyze various art historical approaches to objects that grapple with issues of object representation, functionality, purpose, performance, and the movement of objects. I utilize this analysis of objects to critique colonial and contemporary neo-colonial approaches to ritual objects and develop decolonial understandings of objects that are embedded in personal experiences, stories, and narratives of text accompanied with visuals from the Balyammere’s object-ritual and spiritual performances. The study argues that ritual objects possess active agency, extending beyond mere aesthetic appreciation, and they are intertwined within their performative spiritual and cultural contexts. Analyzing these objects and their roles in rituals and spiritual performances allows us to deeply comprehend their meanings and significances as embedded in cultural, spiritual, and social fabrics. The study emphasizes a need for art histories that prioritize African-based scholars at the forefront of knowledge production and appreciate diverse, non-Eurocentric perspectives, suggesting a multidisciplinary approach to understanding art. A deeper understanding of the relationship between objects, rituals, and spiritual performances cannot only expand the knowledge in art history but also suggest alternatives to conventional object perspectives and practices, arguing for a comprehensive, culturally sensitive, and inclusive approach to understanding objects and art within their performative contexts. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-10-11
The private collection: aura, the cult of celebrity and, the construct of value in saleable works of art
- Authors: Ellis, Yvette Tamsin
- Date: 2024-04-03
- Subjects: Aura , Celebrities , Consumerism , Art and society , Computer art , AI art , Value
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434574 , vital:73086
- Description: A tenet of the twenty-first century is the monetisation of everything due to commercialisation. The effects of this commercialisation have crept into every aspect of our lives, and although in the art world it has mostly been underhanded in its adoption, the traces of commercialisations touch are still evident in its functioning. Due to this underhandedness there hasn't been much thought put into what 'the monetisation of everything' truly implies for the industry, or how the value of the art object devoted to commercialisation may look like. The Private Collection (exhibition title of the practical component for submission in MFA completion) addresses the concept of object value and, more specifically, how that value is created within the art world through mechanisms of commercialisation that include celebrity cult, functioning of possession (through collecting), and taste. Research into Walter Benjamin's theory of the authenticity of the work of art, and in particular his concept of "aura," has helped inform the creation of a marketing strategy propelled by value driven mechanisms found within the Art Market for The Private Collection. Particular emphasis is placed on how brand value drives sales in this thesis. Thus, The Private Collection: Aura, the Cult of Celebrity, and the Construct of Value in Saleable Works of Art, defines The Private Collection as a tailored system built expressly for engagement with economic forces inside the art industry. As a result, the position of this study is based on the marketability of the object through particular driving forces that have seeped into the value system of the saleable work of art. The position of this thesis is that in this commercialist system, driving forces of value can be sustained within instances of the multiple. The project additionally supports this in maintaining that interaction from a fine art perspective would be limited if restricted to orthodox approaches (a gallery showing, and one print works), which is why a more economically interactive approach (e-commerce) was decided on for the exhibition component. The Private Collection offers an observation that the worth of a saleable work of art has become a warped representation of the commercial context we find ourselves in and that value is only awarded through particular kingmakers of the system. The practical component of this submission can be viewed online by clicking the image below. Please note that the website is not optimised for phone or tablet use, please instead view it on a computer (preferably a desktop) in full screen mode. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-04-03
- Authors: Ellis, Yvette Tamsin
- Date: 2024-04-03
- Subjects: Aura , Celebrities , Consumerism , Art and society , Computer art , AI art , Value
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434574 , vital:73086
- Description: A tenet of the twenty-first century is the monetisation of everything due to commercialisation. The effects of this commercialisation have crept into every aspect of our lives, and although in the art world it has mostly been underhanded in its adoption, the traces of commercialisations touch are still evident in its functioning. Due to this underhandedness there hasn't been much thought put into what 'the monetisation of everything' truly implies for the industry, or how the value of the art object devoted to commercialisation may look like. The Private Collection (exhibition title of the practical component for submission in MFA completion) addresses the concept of object value and, more specifically, how that value is created within the art world through mechanisms of commercialisation that include celebrity cult, functioning of possession (through collecting), and taste. Research into Walter Benjamin's theory of the authenticity of the work of art, and in particular his concept of "aura," has helped inform the creation of a marketing strategy propelled by value driven mechanisms found within the Art Market for The Private Collection. Particular emphasis is placed on how brand value drives sales in this thesis. Thus, The Private Collection: Aura, the Cult of Celebrity, and the Construct of Value in Saleable Works of Art, defines The Private Collection as a tailored system built expressly for engagement with economic forces inside the art industry. As a result, the position of this study is based on the marketability of the object through particular driving forces that have seeped into the value system of the saleable work of art. The position of this thesis is that in this commercialist system, driving forces of value can be sustained within instances of the multiple. The project additionally supports this in maintaining that interaction from a fine art perspective would be limited if restricted to orthodox approaches (a gallery showing, and one print works), which is why a more economically interactive approach (e-commerce) was decided on for the exhibition component. The Private Collection offers an observation that the worth of a saleable work of art has become a warped representation of the commercial context we find ourselves in and that value is only awarded through particular kingmakers of the system. The practical component of this submission can be viewed online by clicking the image below. Please note that the website is not optimised for phone or tablet use, please instead view it on a computer (preferably a desktop) in full screen mode. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Date Issued: 2024-04-03
A second skin: investigating the role of dress in identity formation
- Featherstone, Juanito Romario
- Authors: Featherstone, Juanito Romario
- Date: 2023-10-13
- Subjects: Identity (Psychology) in art , Clothing and dress in art , Clothing and dress Social aspects , Clothing and dress Psychological aspects , Self South Africa Makhanda
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425322 , vital:72229
- Description: This thesis is a secondary component to an artistic practice-led process and as such, is guided by my own artistic practice in that way. In this body of work, I use myself as the main character or protagonist for the artworks that I have created. However, both the thesis and the exhibition also respond to social issues of identity beyond the personal and examines the construction of identity in a South African, and more specifically Makhanda context, as that is the larger context in which I am situated. The work itself is inspired by memories and experiences of feeling uncomfortable in my own (first) skin, and how I found that comfort in my second skin (dress). My professional art practice and my thesis are based on the concept of clothes as a second skin for human beings, specifically observing the ways in which we utilise dress to construct and express our identities. As such, this thesis is an attempt at understanding the relationship between clothes and the body through the lens of identity politics. Through the topics and artworks discussed in visual and textual analysis, this thesis intends to unpack the properties of dress as a complex medium individuals can utilise as a tool to construct their identity. This is partially achieved through the exploration of my own personal experiences of dress and of the spaces that shaped and mediated the construction of identity. Lastly, it is an attempt to understand the experiences of dress in parallel to the experience of the body/self, which consists of the world within and the one outside. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Featherstone, Juanito Romario
- Date: 2023-10-13
- Subjects: Identity (Psychology) in art , Clothing and dress in art , Clothing and dress Social aspects , Clothing and dress Psychological aspects , Self South Africa Makhanda
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425322 , vital:72229
- Description: This thesis is a secondary component to an artistic practice-led process and as such, is guided by my own artistic practice in that way. In this body of work, I use myself as the main character or protagonist for the artworks that I have created. However, both the thesis and the exhibition also respond to social issues of identity beyond the personal and examines the construction of identity in a South African, and more specifically Makhanda context, as that is the larger context in which I am situated. The work itself is inspired by memories and experiences of feeling uncomfortable in my own (first) skin, and how I found that comfort in my second skin (dress). My professional art practice and my thesis are based on the concept of clothes as a second skin for human beings, specifically observing the ways in which we utilise dress to construct and express our identities. As such, this thesis is an attempt at understanding the relationship between clothes and the body through the lens of identity politics. Through the topics and artworks discussed in visual and textual analysis, this thesis intends to unpack the properties of dress as a complex medium individuals can utilise as a tool to construct their identity. This is partially achieved through the exploration of my own personal experiences of dress and of the spaces that shaped and mediated the construction of identity. Lastly, it is an attempt to understand the experiences of dress in parallel to the experience of the body/self, which consists of the world within and the one outside. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Devastation and restoration: the use of Namibian dense salt blocks and the Cape Cross Salt Pans as visual metaphors
- Authors: Greyling, Wil-Merie
- Date: 2023-10-13
- Subjects: Sculpture , Destruction , Restoration and conservation , Salt pans in art , Grief in art , Loss (Psychology) in art , Visual metaphor , Salt mines and mining Namibia
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/437203 , vital:73352
- Description: This mini-thesis explores personal experiences during seasons of loss and grief using physical landscapes, specifically Namibian dense salt mining activities at the Cape Cross Salt Pans, as metaphors for devastation and restoration. Furthermore, the thesis investigates the connection between spiritual and physical landscapes through song and dreams to interpret personal experiences of loss and grief. The thesis explores how believers may find physical places of value outside the constraints of formal religious activities and how these experiences could evoke spiritual landscapes. The qualitative auto-ethnographical approach followed in this study proved an appropriate research methodology, explicitly involving observation and documentation of the physical landscape and reflection on personal experiences, such as dreams. In coming to terms with personal experiences of grief and loss, the individual results of the process were generated using methods such as retrospective reflection and observation. In my findings, I unpack how I found personal meaning from my creative and academic explorations. The metaphoric characteristics of dense salt blocks figuratively express ‘metamorphosis’, ‘weeping’, and ‘growth’. My findings include that one can represent healing and restorative elements with artistic value. The Namibian salt mining industry is typically removed from artistic activities and expression, but I succeeded in forging an atypical relationship with the industry players in an area of the salt block mining industry. In my practice, I explored the character of mined resources, in this case, dense salt blocks, by changing their inherent properties from low-value commercial minerals into unique art objects. In the process, I examined the metaphoric associations that organically mined material, in this case, salt blocks, may hold. Therefore, I link personal creative storytelling to a site with spiritual and sacred values and thus become a place to come to terms with loss and grief. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Greyling, Wil-Merie
- Date: 2023-10-13
- Subjects: Sculpture , Destruction , Restoration and conservation , Salt pans in art , Grief in art , Loss (Psychology) in art , Visual metaphor , Salt mines and mining Namibia
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/437203 , vital:73352
- Description: This mini-thesis explores personal experiences during seasons of loss and grief using physical landscapes, specifically Namibian dense salt mining activities at the Cape Cross Salt Pans, as metaphors for devastation and restoration. Furthermore, the thesis investigates the connection between spiritual and physical landscapes through song and dreams to interpret personal experiences of loss and grief. The thesis explores how believers may find physical places of value outside the constraints of formal religious activities and how these experiences could evoke spiritual landscapes. The qualitative auto-ethnographical approach followed in this study proved an appropriate research methodology, explicitly involving observation and documentation of the physical landscape and reflection on personal experiences, such as dreams. In coming to terms with personal experiences of grief and loss, the individual results of the process were generated using methods such as retrospective reflection and observation. In my findings, I unpack how I found personal meaning from my creative and academic explorations. The metaphoric characteristics of dense salt blocks figuratively express ‘metamorphosis’, ‘weeping’, and ‘growth’. My findings include that one can represent healing and restorative elements with artistic value. The Namibian salt mining industry is typically removed from artistic activities and expression, but I succeeded in forging an atypical relationship with the industry players in an area of the salt block mining industry. In my practice, I explored the character of mined resources, in this case, dense salt blocks, by changing their inherent properties from low-value commercial minerals into unique art objects. In the process, I examined the metaphoric associations that organically mined material, in this case, salt blocks, may hold. Therefore, I link personal creative storytelling to a site with spiritual and sacred values and thus become a place to come to terms with loss and grief. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Feminist simulations: deep in the dream of a game
- Authors: Mackintosh, Tayla
- Date: 2023-10-13
- Subjects: Video games in art , Crocheting , Minecraft (Game) , Feminism in art , Simulation games , Handicraft in art , Autoethnography , Intersectionality (Sociology)
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425333 , vital:72230
- Description: This study delves into how the worlds of computer gaming and fine art intersect, employing DIY feminism to reflect on the gendered world of gaming and the links between simulation, reality, and fantasy within the game of Minecraft. I argue for a feminine craft (crochet) to challenge masculine gaming oppressions and the lack of representation, acceptance, and visibility for women in gaming culture. My research question is taken from the End Poem seen when the player has beaten the game's main boss. There is a line within the poem that asks, “But what true structure did this player create, in the reality behind the screen?” (End Poem, 2022). This is the question I have sought to answer within this study, by exploring a methodological approach that combines autoethnography and phenomenology to create a reflexive personal narrative. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Mackintosh, Tayla
- Date: 2023-10-13
- Subjects: Video games in art , Crocheting , Minecraft (Game) , Feminism in art , Simulation games , Handicraft in art , Autoethnography , Intersectionality (Sociology)
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425333 , vital:72230
- Description: This study delves into how the worlds of computer gaming and fine art intersect, employing DIY feminism to reflect on the gendered world of gaming and the links between simulation, reality, and fantasy within the game of Minecraft. I argue for a feminine craft (crochet) to challenge masculine gaming oppressions and the lack of representation, acceptance, and visibility for women in gaming culture. My research question is taken from the End Poem seen when the player has beaten the game's main boss. There is a line within the poem that asks, “But what true structure did this player create, in the reality behind the screen?” (End Poem, 2022). This is the question I have sought to answer within this study, by exploring a methodological approach that combines autoethnography and phenomenology to create a reflexive personal narrative. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
InVisible freedom fighter: a critical analysis of portrayals of women in archival photographs, independence monuments and contemporary art in Zambia (Northern Rhodesia) and Zimbabwe (Southern Rhodesia)
- Authors: Kalichini, Gladys Melina
- Date: 2023-10-13
- Subjects: Women in art , Art History , Art Political aspects Zambia , Art Political aspects Zimbabwe , Revolutionaries in art , Visual culture
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432433 , vital:72870 , DOI 10.21504/10962/432433
- Description: This doctoral dissertation in art history develops a notion of invisibility by critically analysing processes in which narratives about women are either concealed or uncovered in visual portrayals relating to the independence of Zambia (former Northern Rhodesia) and Zimbabwe (previously Southern Rhodesia). This study concentrates on three main visual categories that include archival photographs, national monuments, and visual art. It critically engages with concepts of memory and history through a framework of gender. The concept of invisibility developed in this thesis articulates a dynamic process in which independence narratives evolve over time, sometimes revealing memories associated with women and at other times rendering women invisible. National liberation in many African states is dominantly accredited to the political parties that were in power at the time of independence. In Zambia, the United National Independence Party (UNIP) is acknowledged for spearheading efforts to overthrow the colonial administration, while in Zimbabwe it is the Zimbabwe African National Union – Patriotic Front (ZANU – PF). Both political parties were headed by men, and the majority of their memberships was also comprised of men; as such, the dominant narratives largely illuminate the stories of men associated with these political parties. The overarching argument of this doctoral dissertation is that there is a gender bias inherent in dominant independence struggles narratives that are communicated through cultural heritage sites such as monuments and archives. In this study, art and art making inform theory as the methodological approach takes the direction in which selected artworks and visual materials are employed as a starting point of considering concepts that relate to the visibilities of stories about women. This approach cogitates the function of art, visual culture, and art history in the production of knowledges that foster in-depth understandings of concepts that explain social phenomena such as historical erasure. This doctoral dissertation in art history is divided into two parts, A and B, that conceptually complement each other. In section A which comprises of chapters one and two, the study develops an alternative visual archive that surveys the involvements of six specific women in the attainment of national independence in their respective countries, and critically analyses the Freedom Statue in Zambia and the National Heroes Acre in Zimbabwe as monuments dedicated to commemorating the independence struggle in the two countries. In Chapters three to five which form the second section of this dissertation, the emphasis of the discussion is on how selected visual artworks of three selected artists disrupt, counter or engage with dominant historical accounts that either exclude or marginalise narratives about women. The three artists include myself, Gladys Kalichini, and Zimbabwean born artists Kudzanai Chiurai and Gresham Tapiwa Nyaude. This thesis offers a culturally rich conversation about visual representations of social, political and cultural roles women performed in the colonial times in Northern and Southern Rhodesia and gives insight into the evolution of the luminosity of contemporary performances of women’s social collectives in Zambia and Zimbabwe. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Kalichini, Gladys Melina
- Date: 2023-10-13
- Subjects: Women in art , Art History , Art Political aspects Zambia , Art Political aspects Zimbabwe , Revolutionaries in art , Visual culture
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432433 , vital:72870 , DOI 10.21504/10962/432433
- Description: This doctoral dissertation in art history develops a notion of invisibility by critically analysing processes in which narratives about women are either concealed or uncovered in visual portrayals relating to the independence of Zambia (former Northern Rhodesia) and Zimbabwe (previously Southern Rhodesia). This study concentrates on three main visual categories that include archival photographs, national monuments, and visual art. It critically engages with concepts of memory and history through a framework of gender. The concept of invisibility developed in this thesis articulates a dynamic process in which independence narratives evolve over time, sometimes revealing memories associated with women and at other times rendering women invisible. National liberation in many African states is dominantly accredited to the political parties that were in power at the time of independence. In Zambia, the United National Independence Party (UNIP) is acknowledged for spearheading efforts to overthrow the colonial administration, while in Zimbabwe it is the Zimbabwe African National Union – Patriotic Front (ZANU – PF). Both political parties were headed by men, and the majority of their memberships was also comprised of men; as such, the dominant narratives largely illuminate the stories of men associated with these political parties. The overarching argument of this doctoral dissertation is that there is a gender bias inherent in dominant independence struggles narratives that are communicated through cultural heritage sites such as monuments and archives. In this study, art and art making inform theory as the methodological approach takes the direction in which selected artworks and visual materials are employed as a starting point of considering concepts that relate to the visibilities of stories about women. This approach cogitates the function of art, visual culture, and art history in the production of knowledges that foster in-depth understandings of concepts that explain social phenomena such as historical erasure. This doctoral dissertation in art history is divided into two parts, A and B, that conceptually complement each other. In section A which comprises of chapters one and two, the study develops an alternative visual archive that surveys the involvements of six specific women in the attainment of national independence in their respective countries, and critically analyses the Freedom Statue in Zambia and the National Heroes Acre in Zimbabwe as monuments dedicated to commemorating the independence struggle in the two countries. In Chapters three to five which form the second section of this dissertation, the emphasis of the discussion is on how selected visual artworks of three selected artists disrupt, counter or engage with dominant historical accounts that either exclude or marginalise narratives about women. The three artists include myself, Gladys Kalichini, and Zimbabwean born artists Kudzanai Chiurai and Gresham Tapiwa Nyaude. This thesis offers a culturally rich conversation about visual representations of social, political and cultural roles women performed in the colonial times in Northern and Southern Rhodesia and gives insight into the evolution of the luminosity of contemporary performances of women’s social collectives in Zambia and Zimbabwe. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
It’s an African proverb: conceptualizing narratives through the use of African subject matter
- Authors: Chithambo, N'lamwai Luntha
- Date: 2023-10-13
- Subjects: Proverbs, African , Oral tradition Africa , Biography in art , Myth in art , Storytelling in art , Comic books, strips, etc. Themes, motives , Mental illness in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425311 , vital:72228
- Description: The research by practice is made up of three points of interest that aim to incorporate storytelling into the work with reference to the comic book genre. These points of interest are: experiences of mental health issues from a young man’s perspective, a unique autobiographical experience unpacking the young man’s mental health struggle and African oral traditions. These three points of interest work towards the goal of using African subject matter to uncover and present a meaningful narrative of a young man dealing with mental health problems and his father figure’s ongoing sit-down conversation with him. This mini-thesis breaks down the different components of the research by practice and analyses each component while drawing from various theorists and artists. The mini-thesis also builds up to the idea of using original African subject matter (e.g. African oral traditions, specifically African objects, subjects, and locations) as a means of cultivating a locus of African identity in the comic book industry. The research by practice intersects with this mini-thesis in that it acts as an example of how I visualise African subject matter being used in the theorising and creation of comic books. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Chithambo, N'lamwai Luntha
- Date: 2023-10-13
- Subjects: Proverbs, African , Oral tradition Africa , Biography in art , Myth in art , Storytelling in art , Comic books, strips, etc. Themes, motives , Mental illness in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425311 , vital:72228
- Description: The research by practice is made up of three points of interest that aim to incorporate storytelling into the work with reference to the comic book genre. These points of interest are: experiences of mental health issues from a young man’s perspective, a unique autobiographical experience unpacking the young man’s mental health struggle and African oral traditions. These three points of interest work towards the goal of using African subject matter to uncover and present a meaningful narrative of a young man dealing with mental health problems and his father figure’s ongoing sit-down conversation with him. This mini-thesis breaks down the different components of the research by practice and analyses each component while drawing from various theorists and artists. The mini-thesis also builds up to the idea of using original African subject matter (e.g. African oral traditions, specifically African objects, subjects, and locations) as a means of cultivating a locus of African identity in the comic book industry. The research by practice intersects with this mini-thesis in that it acts as an example of how I visualise African subject matter being used in the theorising and creation of comic books. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Playing it back: audible traces in contemporary African art
- Authors: Panchia, Bhavisha Laximi
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432455 , vital:72872
- Description: Access restricted. Exptected release date 2025. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Panchia, Bhavisha Laximi
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432455 , vital:72872
- Description: Access restricted. Exptected release date 2025. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Revisionist narratives: locating six Black artist-teachers onto the map of twentieth-century modern art in Zimbabwe
- Authors: Muvhuti, Tichapera Barnabas
- Date: 2023-10-13
- Subjects: Modernism (Art) Zimbabwe , Art, Modern , Wood-carving , Stone carving , Art, African , Artists as teachers , Art schools Zimbabwe
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432444 , vital:72871 , DOI 10.21504/10962/432444
- Description: Job Kekana (1916-1995) was a South African sculptor and teacher who moved to Zimbabwe in 1944, where he founded the Kekana School of Art and Craft in the early 1960s. There were also a few Black Zimbabwean artist-teachers, namely, Sam Songo (1929-1977), Cornelius Manguma (b. 1935), Lazarus Khumalo (1930-2015), Joram Mariga (1927-2000) John Hlatywayo (b. 1928), who were either working with missionaries Canon Edward Paterson (1895-1974) and Father John Groeber (1903-1973) at the Cyrene and Serima workshops respectively and later on at the Mzilikazi Arts and Crafts Centre, or with Frank McEwen (1907- 1994) at the National Gallery school. This thesis examines the relative invisibility of Kekana and the selected Black artist-teachers in the dominant discourse of the history and development of modern art in Zimbabwe. Employing the biographical approach as a methodology, and modernism as an analytical tool and foregrounding African thinkers like Chika Okeke-Agulu Elizabeth Georgis, Emma Wolukau- Wanambwa and Salah Hassan, this research exposes the possible reasons for their exclusion from the canon, which are rooted in a gatekeeping culture shown by actors in the local art scene, including art historians and scholars, as well as cultural workers in institutions like the National Gallery of Zimbabwe who have not sufficiently questioned and possibly shaken the enshrined legacies of Paterson, Groeber and McEwen. Canons mostly tend to tell a story that privileges and excludes others from the art narrative of a nation. With the arrival of Frank McEwen on the scene in the late 1950s the stone sculpture tradition rose to prominence in such a way that it overshadowed other forms of art produced in the two mission schools or workshops at Serima and Cyrene. In the process, Kekana and his students at the Kekana School of Art and Craft were relegated to the peripheries of the canon as they carved in wood and tended to work in a more representational style. While there is literature acknowledging the role of the missionaries in laying the foundation of modern art in Zimbabwe, local artists-cum-teachers working with them are only recognised as a footnote on the nation’s map of modern art. Recognising that canons are always evolving and shifting, and without discrediting the work of the three mentioned expatriates – and to an extent that of Tom Blomefield of the Tengenenge Workshop – this thesis attempts to expand the canon by arguing for the inclusion of the critiqued overlooked six. Citing the efforts of researchers, scholars and curators in multicultural South Africa to bring the previously marginalised generation of Black modernists into the mainstream, this thesis demonstrates that it is possible to spotlight the narratives of the Black artists and teachers who continue to occupy peripheral space in the history of Zimbabwe. This comparative analysis is done bearing in mind the temptation of falling into the trap of glorifying ‘South African exceptionalism’. In analysing the Black artist-teachers’ contributions as a counter-narrative, this research proposes a more heterogeneous modernism and revisionist art history. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Muvhuti, Tichapera Barnabas
- Date: 2023-10-13
- Subjects: Modernism (Art) Zimbabwe , Art, Modern , Wood-carving , Stone carving , Art, African , Artists as teachers , Art schools Zimbabwe
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432444 , vital:72871 , DOI 10.21504/10962/432444
- Description: Job Kekana (1916-1995) was a South African sculptor and teacher who moved to Zimbabwe in 1944, where he founded the Kekana School of Art and Craft in the early 1960s. There were also a few Black Zimbabwean artist-teachers, namely, Sam Songo (1929-1977), Cornelius Manguma (b. 1935), Lazarus Khumalo (1930-2015), Joram Mariga (1927-2000) John Hlatywayo (b. 1928), who were either working with missionaries Canon Edward Paterson (1895-1974) and Father John Groeber (1903-1973) at the Cyrene and Serima workshops respectively and later on at the Mzilikazi Arts and Crafts Centre, or with Frank McEwen (1907- 1994) at the National Gallery school. This thesis examines the relative invisibility of Kekana and the selected Black artist-teachers in the dominant discourse of the history and development of modern art in Zimbabwe. Employing the biographical approach as a methodology, and modernism as an analytical tool and foregrounding African thinkers like Chika Okeke-Agulu Elizabeth Georgis, Emma Wolukau- Wanambwa and Salah Hassan, this research exposes the possible reasons for their exclusion from the canon, which are rooted in a gatekeeping culture shown by actors in the local art scene, including art historians and scholars, as well as cultural workers in institutions like the National Gallery of Zimbabwe who have not sufficiently questioned and possibly shaken the enshrined legacies of Paterson, Groeber and McEwen. Canons mostly tend to tell a story that privileges and excludes others from the art narrative of a nation. With the arrival of Frank McEwen on the scene in the late 1950s the stone sculpture tradition rose to prominence in such a way that it overshadowed other forms of art produced in the two mission schools or workshops at Serima and Cyrene. In the process, Kekana and his students at the Kekana School of Art and Craft were relegated to the peripheries of the canon as they carved in wood and tended to work in a more representational style. While there is literature acknowledging the role of the missionaries in laying the foundation of modern art in Zimbabwe, local artists-cum-teachers working with them are only recognised as a footnote on the nation’s map of modern art. Recognising that canons are always evolving and shifting, and without discrediting the work of the three mentioned expatriates – and to an extent that of Tom Blomefield of the Tengenenge Workshop – this thesis attempts to expand the canon by arguing for the inclusion of the critiqued overlooked six. Citing the efforts of researchers, scholars and curators in multicultural South Africa to bring the previously marginalised generation of Black modernists into the mainstream, this thesis demonstrates that it is possible to spotlight the narratives of the Black artists and teachers who continue to occupy peripheral space in the history of Zimbabwe. This comparative analysis is done bearing in mind the temptation of falling into the trap of glorifying ‘South African exceptionalism’. In analysing the Black artist-teachers’ contributions as a counter-narrative, this research proposes a more heterogeneous modernism and revisionist art history. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Storytelling through video game artworks – Twee kante van ’n storie
- Authors: Randall, Tasmin Tania
- Date: 2023-10-13
- Subjects: Colored people (South Africa) Ethnic identity , Colored people (South Africa) in art , Storytelling in art , Digital art , Browser game , Art Video games , Autoethnography , Stereotypes (Social psychology) in art , Discrimination based on hair texture , Swag
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425355 , vital:72232
- Description: This mini-thesis serves as a supporting document for my Master of Fine Art (MFA) exhibition, ‘Twee Kante van ‘n Storie’. The exhibition explores my culture and experiences as a ‘Coloured’ woman in Makhanda through storytelling. I use the term ‘Coloured’ with quotation marks to remain respectful to those who do not wish to reclaim the term. My minithesis analyses how video games as artworks can be a mode of storytelling and can encourage sociocultural awareness. In my research, I use storytelling as a tool and autoethnography as a methodology to both discuss and influence my practice. For my MFA installation, I have created a digital interactive website that uses the same language as a video game. Throughout my process, I have used two video games, That Dragon Cancer and Boet Fighter, as case studies, in order to help the building and creation of my autoethnographic art video game. My art video game explores my experiences of my culture and living in a small town. Through the creation of four fictionalised characters, which are loosely based on true life experiences and first-hand observations, I can reveal and unpack cultural experiences and biases that I have observed over the years. Each character in the game grapples with one of three prominent themes; stereotypes, ‘swagger’ and texturism. Furthermore, through using autoethnography as a methodology and the researcher as the phenomenon (Ellis, 2004: 45). This study contributes to the gap in ‘Coloured’ cultural diversities that exist outside the lens of the Western Cape experience. This is a perspective not commonly found within academia. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Randall, Tasmin Tania
- Date: 2023-10-13
- Subjects: Colored people (South Africa) Ethnic identity , Colored people (South Africa) in art , Storytelling in art , Digital art , Browser game , Art Video games , Autoethnography , Stereotypes (Social psychology) in art , Discrimination based on hair texture , Swag
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425355 , vital:72232
- Description: This mini-thesis serves as a supporting document for my Master of Fine Art (MFA) exhibition, ‘Twee Kante van ‘n Storie’. The exhibition explores my culture and experiences as a ‘Coloured’ woman in Makhanda through storytelling. I use the term ‘Coloured’ with quotation marks to remain respectful to those who do not wish to reclaim the term. My minithesis analyses how video games as artworks can be a mode of storytelling and can encourage sociocultural awareness. In my research, I use storytelling as a tool and autoethnography as a methodology to both discuss and influence my practice. For my MFA installation, I have created a digital interactive website that uses the same language as a video game. Throughout my process, I have used two video games, That Dragon Cancer and Boet Fighter, as case studies, in order to help the building and creation of my autoethnographic art video game. My art video game explores my experiences of my culture and living in a small town. Through the creation of four fictionalised characters, which are loosely based on true life experiences and first-hand observations, I can reveal and unpack cultural experiences and biases that I have observed over the years. Each character in the game grapples with one of three prominent themes; stereotypes, ‘swagger’ and texturism. Furthermore, through using autoethnography as a methodology and the researcher as the phenomenon (Ellis, 2004: 45). This study contributes to the gap in ‘Coloured’ cultural diversities that exist outside the lens of the Western Cape experience. This is a perspective not commonly found within academia. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Towards interrogating the notion of a Black aesthetic in multi-cultural Africa
- Authors: Maina, Muhunyo
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425231 , vital:72221
- Description: Enbargoed. Expected release date 2025. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Maina, Muhunyo
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425231 , vital:72221
- Description: Enbargoed. Expected release date 2025. , Thesis (MA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Uviwe Umthandazo
- Authors: Madinda, Viwe
- Date: 2023-10-13
- Subjects: Ubuntu (Philosophy) , Interpersonal communication , Mindfulness (Psychology) , Identity (Psychology) in art , Self-care , Spirituality in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425344 , vital:72231
- Description: The discourse of identity and community are topics of interest to me. As a citizen living in post-apartheid South Africa, I am captivated by the re-emerging wisdom and knowledge of Nguni cultural philosophies and practices. My practice-based research is interested in a creative interpretation of these ancient philosophies and practices in the context of postcolonial life. The project in many ways re-members through observation of socio-political issues such as inequality, violence, and vandalism as reflections of internal challenges of the individual self in current reality. In essence, my discussion in this paper highlights the need for healing grief and loss for the well-being – physical, emotional, mental, and spiritual – of society. Self-definition is the core of any community and we see this in the philosophy of the African proverb umntu ngumntu ngabantu, ‘I am because you are’. ‘I am’ is a set of beliefs that construct the individual self; our life’s course then becomes a constant molding of the body and the world around us. The wisdom of ubuntu was, and is, a catalyst for many African cultures, as this law recognizes each individual as important and equal in the community. As a descendant of various indigenous clans originating in Africa the well-being and balance of my being is determined by how much I know about who I am. Consequently, being a part of the generation that is experiencing the transitioning phases from apartheid I question the ways we are dealing with the residue of coloniality concerning all aspects of self; the physical, emotional, and mental bodies of self. My creative work is a reflection of the exercises I implemented to cultivate selfhood as a way to participate in and control my reality as a marginalized member of society. The different chapters touch on many intersecting theories about tools for healing/soothing the self. The creative process experimented with the various concepts embedded in the expression ‘I am because you are’. In the process of this research, I learned that knowing yourself is one of the principles of ubuntu, which teaches me that I cannot be or give what I do not have. The themes I explore through the above expression are self-love, self-acceptance, and self-respect using a creative lens. This practice-based research proposes a concept; the act of love as a decolonial gesture. My exhibition Vuleka Mhlaba Ndinegene1 utilizes visual language to convey the need for more conversations on healing using natural elements, as a way to make a connection between self, the natural environment, and community. In the first and second chapters, the paper focuses on practices employed by artists such as Lhola Amira, Guadalupe Maravilla, Buhlebezwe Siwani, Tony Gum, Lina Iris Viktor, and Aida Muleneh, to relate the various approaches to re-member the severed connection between self, nature, and community. This study looks at theories on; holding space, sound healing, earthing, shadow work, astrology, and human consciousness. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Madinda, Viwe
- Date: 2023-10-13
- Subjects: Ubuntu (Philosophy) , Interpersonal communication , Mindfulness (Psychology) , Identity (Psychology) in art , Self-care , Spirituality in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425344 , vital:72231
- Description: The discourse of identity and community are topics of interest to me. As a citizen living in post-apartheid South Africa, I am captivated by the re-emerging wisdom and knowledge of Nguni cultural philosophies and practices. My practice-based research is interested in a creative interpretation of these ancient philosophies and practices in the context of postcolonial life. The project in many ways re-members through observation of socio-political issues such as inequality, violence, and vandalism as reflections of internal challenges of the individual self in current reality. In essence, my discussion in this paper highlights the need for healing grief and loss for the well-being – physical, emotional, mental, and spiritual – of society. Self-definition is the core of any community and we see this in the philosophy of the African proverb umntu ngumntu ngabantu, ‘I am because you are’. ‘I am’ is a set of beliefs that construct the individual self; our life’s course then becomes a constant molding of the body and the world around us. The wisdom of ubuntu was, and is, a catalyst for many African cultures, as this law recognizes each individual as important and equal in the community. As a descendant of various indigenous clans originating in Africa the well-being and balance of my being is determined by how much I know about who I am. Consequently, being a part of the generation that is experiencing the transitioning phases from apartheid I question the ways we are dealing with the residue of coloniality concerning all aspects of self; the physical, emotional, and mental bodies of self. My creative work is a reflection of the exercises I implemented to cultivate selfhood as a way to participate in and control my reality as a marginalized member of society. The different chapters touch on many intersecting theories about tools for healing/soothing the self. The creative process experimented with the various concepts embedded in the expression ‘I am because you are’. In the process of this research, I learned that knowing yourself is one of the principles of ubuntu, which teaches me that I cannot be or give what I do not have. The themes I explore through the above expression are self-love, self-acceptance, and self-respect using a creative lens. This practice-based research proposes a concept; the act of love as a decolonial gesture. My exhibition Vuleka Mhlaba Ndinegene1 utilizes visual language to convey the need for more conversations on healing using natural elements, as a way to make a connection between self, the natural environment, and community. In the first and second chapters, the paper focuses on practices employed by artists such as Lhola Amira, Guadalupe Maravilla, Buhlebezwe Siwani, Tony Gum, Lina Iris Viktor, and Aida Muleneh, to relate the various approaches to re-member the severed connection between self, nature, and community. This study looks at theories on; holding space, sound healing, earthing, shadow work, astrology, and human consciousness. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-10-13
Archontic Aporias: the mediums of memory
- Authors: Arbuckle, Julia Ruth
- Date: 2023-03-30
- Subjects: Practice research , Eastern Cape (South Africa) History , Autoethnography , Information storage and retrieval systems Memory , Archives South Africa Eastern Cape , Aporia , Memory in art , Archives in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408727 , vital:70520
- Description: Contextualising my research within the Eastern Cape as a descendant of 1820 settlers, I question the modalities of historical recollection by introducing memory as a viable mode of archival production alongside that of the archive. Through interrogating Eastern Cape archival institutes and employing an autoethnographic approach to my familial archives, I show that archival curation affects the gaps, schisms, and interpretations of archives as much as the ‘unreliability’ of memory. I rely on definitions from Jacques Derrida and literature from Achille Mbembe and Verne Harris, as well as reflexive methodologies, to engage the ways of remembering the past and methods of storytelling. With this undertaking, I expose the aporias within archival processes. This written component is part of broader research that encompasses theoretical study and a practice-based Fine Arts research project culminating in an exhibition that shares themes of memory, archive, trauma, and curatorial and personal heritage management. This research engages in case studies of artworks by Angela Deane and Maureen de Jager to contextualise and position the creative process. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-03-30
- Authors: Arbuckle, Julia Ruth
- Date: 2023-03-30
- Subjects: Practice research , Eastern Cape (South Africa) History , Autoethnography , Information storage and retrieval systems Memory , Archives South Africa Eastern Cape , Aporia , Memory in art , Archives in art
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408727 , vital:70520
- Description: Contextualising my research within the Eastern Cape as a descendant of 1820 settlers, I question the modalities of historical recollection by introducing memory as a viable mode of archival production alongside that of the archive. Through interrogating Eastern Cape archival institutes and employing an autoethnographic approach to my familial archives, I show that archival curation affects the gaps, schisms, and interpretations of archives as much as the ‘unreliability’ of memory. I rely on definitions from Jacques Derrida and literature from Achille Mbembe and Verne Harris, as well as reflexive methodologies, to engage the ways of remembering the past and methods of storytelling. With this undertaking, I expose the aporias within archival processes. This written component is part of broader research that encompasses theoretical study and a practice-based Fine Arts research project culminating in an exhibition that shares themes of memory, archive, trauma, and curatorial and personal heritage management. This research engages in case studies of artworks by Angela Deane and Maureen de Jager to contextualise and position the creative process. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2023
- Full Text:
- Date Issued: 2023-03-30
I want him to hold me, but I’m afraid to ask: the objective correlative and the souvenir as representational narrative devices of queer male intimacy
- Authors: Ferreira, Evaan Jason
- Date: 2022-04
- Subjects: Sexual minorities in art , Sexual minority culture , Intimacy (Psychology) , Sexual minorities in motion pictures , Intimacy (Psychology) in motion pictures , Homosexuality and motion pictures , Motion pictures Study and teaching , New media art , Nostalgia , Souvenirs (Keepsakes) , Gay men , Queer male intimacy , Objective correlative
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232556 , vital:50002
- Description: This thesis centres itself around an investigation into the representations of the relationship between intimacies and ideas of romance, love, desire, and vulnerability in male relationships. The premise for this body of work was sparked by my own observations on the conflation of sex and intimacy in representations of queer male love—particularly (but not exclusively) in mainstream film and media. Whilst intimacy and sex are not unrelated, the over-emphasis on the physical when trying to represent the connection between two men led me to consider other ways in which a relationship or special connection could be gestured towards — through other kinds of signifiers that last longer than physical contact and point to the importance of a particular connection. In the introduction, I consider my own experiences as a closeted queer teen when contemplating representations of queer relationships in mainstream media. I explore several studies by gender and film theorists who consider reasons and modes in which the representations of queer intimacies on-screen are distorted to favour a presumed heterosexual audience. In the first chapter, I discuss two potential means by which to relay a more complex emotional state via the use of narrative signifiers. I examine T.S. Eliot's (1919) theory on the objective correlative in narratives as a means to explore the emotional state of a character through metaphors which open up the reading rather than illustrating it through dialogue or direct speech. I then explore Susan Stewart's (1992) ideas on souvenirs of personal experience. In Chapter Two, I conduct a close reading of three mainstream films, which employ such signifiers in the attempt to share more complex representations of queer male intimacies through well-developed storylines and characters. The films Brokeback Mountain (2006), Moonlight (2016), and Call Me by Your Name (2017) have been selected based on their use of the objective correlative and souvenirs as plot devices (rather than exclusively physical intimacy) to demonstrate the emotional resonance between characters. The third and final chapter explores my own use of objective correlatives and souvenirs as symbolic, narrative devices in my practical body of work: an online garden of remembrance. My practical work focuses largely on the process of creation of these intimacy objects (the objective correlative or the souvenir) through an investigation into my own poetry, which details my experiences of intimacies with other men, specifically where vulnerability and secrecy played a large role. , Thesis (MFA) -- Faculty of Humanities, Fine Arts, 2022
- Full Text:
- Date Issued: 2022-04
- Authors: Ferreira, Evaan Jason
- Date: 2022-04
- Subjects: Sexual minorities in art , Sexual minority culture , Intimacy (Psychology) , Sexual minorities in motion pictures , Intimacy (Psychology) in motion pictures , Homosexuality and motion pictures , Motion pictures Study and teaching , New media art , Nostalgia , Souvenirs (Keepsakes) , Gay men , Queer male intimacy , Objective correlative
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232556 , vital:50002
- Description: This thesis centres itself around an investigation into the representations of the relationship between intimacies and ideas of romance, love, desire, and vulnerability in male relationships. The premise for this body of work was sparked by my own observations on the conflation of sex and intimacy in representations of queer male love—particularly (but not exclusively) in mainstream film and media. Whilst intimacy and sex are not unrelated, the over-emphasis on the physical when trying to represent the connection between two men led me to consider other ways in which a relationship or special connection could be gestured towards — through other kinds of signifiers that last longer than physical contact and point to the importance of a particular connection. In the introduction, I consider my own experiences as a closeted queer teen when contemplating representations of queer relationships in mainstream media. I explore several studies by gender and film theorists who consider reasons and modes in which the representations of queer intimacies on-screen are distorted to favour a presumed heterosexual audience. In the first chapter, I discuss two potential means by which to relay a more complex emotional state via the use of narrative signifiers. I examine T.S. Eliot's (1919) theory on the objective correlative in narratives as a means to explore the emotional state of a character through metaphors which open up the reading rather than illustrating it through dialogue or direct speech. I then explore Susan Stewart's (1992) ideas on souvenirs of personal experience. In Chapter Two, I conduct a close reading of three mainstream films, which employ such signifiers in the attempt to share more complex representations of queer male intimacies through well-developed storylines and characters. The films Brokeback Mountain (2006), Moonlight (2016), and Call Me by Your Name (2017) have been selected based on their use of the objective correlative and souvenirs as plot devices (rather than exclusively physical intimacy) to demonstrate the emotional resonance between characters. The third and final chapter explores my own use of objective correlatives and souvenirs as symbolic, narrative devices in my practical body of work: an online garden of remembrance. My practical work focuses largely on the process of creation of these intimacy objects (the objective correlative or the souvenir) through an investigation into my own poetry, which details my experiences of intimacies with other men, specifically where vulnerability and secrecy played a large role. , Thesis (MFA) -- Faculty of Humanities, Fine Arts, 2022
- Full Text:
- Date Issued: 2022-04
Tronkvoël: An exploration of the intersection of personal experiences and identities, concerning depression
- Authors: Kramer, Brunn David
- Date: 2021-10-29
- Subjects: Mental illness in art , Art, South African 21st century , Metaphor in art , Depression, Mental , Prisons in art , Identity (Philosophical concept) in art , Gender identity in art , Intersectionality (Sociology)
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/191647 , vital:45129
- Description: My diagnosis of Major Depressive Disorder in 2018 led to my experience of a terrible loneliness and a peculiar isolation that triggered a feeling of imprisonment. The work thus engages with the idea of prison as a metaphor for depression, and is influenced by earlier work that centred around prisons and ex-prisoners. I explore the intersection of gender-based issues, homophobia, racism and religious prejudice that is based on my experiences and identities, in an attempt to understand the depression and communicate the complex prejudices I face in my daily life. The work is based on my lived experience, through which depression can feel like a self-constructed prison. Thus, by visually communicating my lived experiences with depression as a coloured, queer body, I also aim to encourage dialogue and open up conversations around mental illness, as it is all too is often seen as taboo, particularly in communities of colour. I harness old family photographs as a departure point to investigate personal memory, as well as recently captured selfies to explore my narrative of self-imprisonment. I also integrate objects from childhood games such as glass marbles, with prison objects like paper mache dice and shivs all presented in the form of an installation. My invisible prison is visually communicated further through incorporating visual language of the prison – including tattoos, prison slang, and ‘shifts and shanks’ (makeshift weapons). I use a variety of mediums, including charcoal, photographic transfers, paint and linocuts, with a combination of burning and smoking techniques, made by using candle soot, as a primary feature throughout my work. In this mini-thesis I reflect on memories from my childhood and the way they have informed my experience of depression as a self-constructed prison. I position my practice in relation to the work of South African artist Tsoku Maela who navigates similar concerns in his own artworks. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Kramer, Brunn David
- Date: 2021-10-29
- Subjects: Mental illness in art , Art, South African 21st century , Metaphor in art , Depression, Mental , Prisons in art , Identity (Philosophical concept) in art , Gender identity in art , Intersectionality (Sociology)
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/191647 , vital:45129
- Description: My diagnosis of Major Depressive Disorder in 2018 led to my experience of a terrible loneliness and a peculiar isolation that triggered a feeling of imprisonment. The work thus engages with the idea of prison as a metaphor for depression, and is influenced by earlier work that centred around prisons and ex-prisoners. I explore the intersection of gender-based issues, homophobia, racism and religious prejudice that is based on my experiences and identities, in an attempt to understand the depression and communicate the complex prejudices I face in my daily life. The work is based on my lived experience, through which depression can feel like a self-constructed prison. Thus, by visually communicating my lived experiences with depression as a coloured, queer body, I also aim to encourage dialogue and open up conversations around mental illness, as it is all too is often seen as taboo, particularly in communities of colour. I harness old family photographs as a departure point to investigate personal memory, as well as recently captured selfies to explore my narrative of self-imprisonment. I also integrate objects from childhood games such as glass marbles, with prison objects like paper mache dice and shivs all presented in the form of an installation. My invisible prison is visually communicated further through incorporating visual language of the prison – including tattoos, prison slang, and ‘shifts and shanks’ (makeshift weapons). I use a variety of mediums, including charcoal, photographic transfers, paint and linocuts, with a combination of burning and smoking techniques, made by using candle soot, as a primary feature throughout my work. In this mini-thesis I reflect on memories from my childhood and the way they have informed my experience of depression as a self-constructed prison. I position my practice in relation to the work of South African artist Tsoku Maela who navigates similar concerns in his own artworks. , Thesis (MFA) -- Faculty of Humanities, Fine Art, 2021
- Full Text:
- Date Issued: 2021-10-29