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
What are the pertinent intersections in the lives of black women at Rhodes University?
- Authors: Gushman, Lutho Phinda
- Date: 2021-10-29
- Subjects: Women, Black South Africa Makhanda , Student movements South Africa Makhanda , Intersectionality (Sociology) , Pluralism , Matrix organization South Africa Makhanda , Women, Black Education (Higher) South Africa Makhanda , Social action South Africa Makhanda , Rhodes University
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190990 , vital:45047
- Description: After the 2016 #FeesMustFall protest(s), higher education institutions were dramatically altered with respect to their institutional cultures; the narratives of those who were historically side-lined and marginalised took centre stage. At Rhodes University social activism was constitutive of three components; a ‘revolt’ against the fee increment; a contestation of the rape culture; and a rejection of the colonial curriculum. These concerns, in their varied articulations, made up different social and academic realities that define(d) Rhodes University and affected how individuals experienced institutional culture. According to Ndlovu (2017) while these expressed acts (in the form of protests and institutional shutdowns) of resistance against the system of higher education subsided after the fees must fall campaign, these served to centre the narratives of the marginalised. Keeping with this thinking, the argument presented in this thesis explores the experiences of black women in higher education after the call towards coordinated resistance. Using qualitative data in the form of narrative interviews, the thesis documents how the participants continued their academic and social life post-resistance. This rupture of resistance created a complex matrix of individual subjectivity where participants engaged with traditional social academic norms in new spaces of resistance; a phenomenon that enlivened the intersectionality that came to define the higher education landscape of the country. This thesis explores the stories of the participant’s as they engage(d) with what is becoming a new institution—that is the University in South Africa, with a case-in-point being Rhodes University—and to understand the power relations and intersections that define their lived experiences. This study found that the reality of existing within the confines of power—with its fluidity—meant that black women operate both within spaces of privilege and oppression simultaneously. As such, and following Vivian May’s (2015) argument, this study concludes that black women are situated and simultaneously constrained by power. Thus spaces of resistance are constantly in flux and determined by their relations within power. , Thesis (MA) -- Faculty of Humanities, Politics and International Studies, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Gushman, Lutho Phinda
- Date: 2021-10-29
- Subjects: Women, Black South Africa Makhanda , Student movements South Africa Makhanda , Intersectionality (Sociology) , Pluralism , Matrix organization South Africa Makhanda , Women, Black Education (Higher) South Africa Makhanda , Social action South Africa Makhanda , Rhodes University
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190990 , vital:45047
- Description: After the 2016 #FeesMustFall protest(s), higher education institutions were dramatically altered with respect to their institutional cultures; the narratives of those who were historically side-lined and marginalised took centre stage. At Rhodes University social activism was constitutive of three components; a ‘revolt’ against the fee increment; a contestation of the rape culture; and a rejection of the colonial curriculum. These concerns, in their varied articulations, made up different social and academic realities that define(d) Rhodes University and affected how individuals experienced institutional culture. According to Ndlovu (2017) while these expressed acts (in the form of protests and institutional shutdowns) of resistance against the system of higher education subsided after the fees must fall campaign, these served to centre the narratives of the marginalised. Keeping with this thinking, the argument presented in this thesis explores the experiences of black women in higher education after the call towards coordinated resistance. Using qualitative data in the form of narrative interviews, the thesis documents how the participants continued their academic and social life post-resistance. This rupture of resistance created a complex matrix of individual subjectivity where participants engaged with traditional social academic norms in new spaces of resistance; a phenomenon that enlivened the intersectionality that came to define the higher education landscape of the country. This thesis explores the stories of the participant’s as they engage(d) with what is becoming a new institution—that is the University in South Africa, with a case-in-point being Rhodes University—and to understand the power relations and intersections that define their lived experiences. This study found that the reality of existing within the confines of power—with its fluidity—meant that black women operate both within spaces of privilege and oppression simultaneously. As such, and following Vivian May’s (2015) argument, this study concludes that black women are situated and simultaneously constrained by power. Thus spaces of resistance are constantly in flux and determined by their relations within power. , Thesis (MA) -- Faculty of Humanities, Politics and International Studies, 2021
- Full Text:
- Date Issued: 2021-10-29
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