Boetie is verlore: the reproduction of militarized white masculinities through the lens of Boetie gaan border toe! (1984)
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
- Authors: Coetzee, Joseph
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4245 , vital:20638
- Description: My father fought for the South African Defence Force (SADF) from 1983 to 1985. At that time the apartheid regime was involved in extensive military operations in what is now Namibia and Angola. This conflict was aimed at quelling the liberation movements in those countries and, as Gary Baines has noted, supported the United States of America’s Cold War interests (Baines 2007:1). When I was fourteen I found a piece written by my father in which he remembers the first person that he had killed in the aforementioned conflict. This was a child soldier who he compared to me as I was a similar age at the time of his writing. The idea of my father as a killer haunted me. He has carried the trauma of his experiences on the border with him; he has told me how the dead visit him in dreams. On the one hand, these memories, not my own, have been constructed through my interpretation of the events in my father’s stories. On the other hand, homologies may be drawn between his actual experiences and a fantasy representation of the conflict I have encountered, the film Boetie gaan border toe! or Brother goes to the border! (1984). This apartheid propaganda film presents an idealised representation of the conflict from the point of view of the apartheid state. The protagonist of the film, Boetie, is an example of the aspirational and dominant image of militarised masculinity the apartheid state wished young white men to emulate. The racist sexist, patriarchal and materialistic reality created within the film is one I am familiar with. The toys I grew up playing with, television shows, films, advertising and popular culture I consumed, alongside the boys’ school I attended and the University I currently attend are all rooted in and continue to reproduce this reality. I have encountered many similar archetypes to the Boetie character. With this in mind I wish through my art practice to create a work which draws upon my father’s writing and imagery from Boetie gaan border toe! (1984). I have placed these alongside windows into my contemporary context in order to emphasise the continual reproduction of these ideas. In reference to the Boetie film I have decided to create my own film entitled Boetie is verlore or Brother is lost. This is a magic realist documentary film that I have constructed through various interviews and fantasy dream sequences in order to paint a picture of the continual incubation and reproduction of realities similar to that of Boetie. Boetie is a rich white man who is characterised through his material possessions and his compulsive heterosexuality. White women are interchangeable to him whilst blackness in the film is made completely invisible. In South Africa such representations are strongly linked to the question of land and naturalising the white male coloniser’s dominance and privilege.
- Full Text:
- Date Issued: 2016
Dominion: architecture as a symbol of authority in the Eastern Cape Colonial Frontier
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
- Authors: Mnyila, Desmond
- Date: 2016
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/4256 , vital:20639
- Description: My mini thesis is an exploration of architecture as part of the landscape of Grahamstown and how ideas of dominion and subordination of the non- white citizens of this town were asserted or communicated through space. I concur with theories about architectural buildings as objects that express power and reinforce power relations in any given society. Markus (1993) goes into great lengths to explain how buildings are primarily about power and town planning is a means of control. The area under consideration is very rich in history especially during the period that interested me which is the nineteenth century as this was a period of the establishment of Grahamstown, firstly, as a military establishment and then as a small town serving as a residential area for the British Settlers who arrived in 1820. Throughout the mini thesis I have unpacked the nature of power itself by referring to Njoh (2009) who refers to different categories of the use and especially the abuse or demonstration of power. It wouldn’t do justice to an area as rich in history as the area which is now referred to as the Albany to not dwell into some of the events that were played out here, some of which had consequences and implications for the rest of South Africa. After 1820, the town developed as more buildings of domestic houses, churches, houses of officials, prisons and schools were built. In the thesis I unpack the different architectural styles like the Georgian, Victorian and Cape Dutch styles that formed a significant part of this small town. I draw attention to the ideas of dominion that Njoh elucidates, which were played out in the building of the town architectural structures. Architecture demonstrated British might and power through the imposition of British and European architectural styles on an African landscape. The sheer magnitude of the buildings, I argue, was carefully planned and the use of durable materials, often stones that were imported from abroad, was a carefully orchestrated move to demonstrate British wealth and power through intimidation and seduction. Thomas Baines was one of the artists who spent some time in Grahamstown and made a series of the landscape of this town. My interest in Baines for purposes of this thesis is the manner in which he represented Grahamstown and how he was propagator of British imperialism under the guise of ‘spreading civilisation’ among the ‘back ward’ inhabitants of this continent. My painting practice is influenced by and responds to the vacant land theory especially Baines’ works which were executed to present a Grahamstown as a purely British town ‘emptying’ it of all traces of non- British non- European dwellings or citizens. My practice brings back the layers of history that I have witnessed and the painting surface is slowly built up with water metaphorically destroying the solid structures that were built in the nineteenth century in Grahamstown. As a person who has lived through apartheid and a new dispensation in South Africa, this is reflected in my paintings with a tension between aesthetically pleasing painting styles and disturbing rough surface textures. Anselm Kiefer is the artist who has influenced my work in the manner of working he prefers and also in his tendency to look back at past periods in history.
- Full Text:
- Date Issued: 2016
Through the Camera Obscura : exploring the voyeuristic gaze through Grahamstown's architecture
- Authors: King, Taryn
- Date: 2015
- Subjects: Architecture -- South Africa -- Grahamstown , Camera obscuras -- South Africa -- Grahamstown , Voyeurism in art , Gaze in art , Architecture and society -- South Africa -- Grahamstown , Human figure in art , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2511 , http://hdl.handle.net/10962/d1018937
- Description: My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
- Full Text:
- Date Issued: 2015
- Authors: King, Taryn
- Date: 2015
- Subjects: Architecture -- South Africa -- Grahamstown , Camera obscuras -- South Africa -- Grahamstown , Voyeurism in art , Gaze in art , Architecture and society -- South Africa -- Grahamstown , Human figure in art , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2511 , http://hdl.handle.net/10962/d1018937
- Description: My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
- Full Text:
- Date Issued: 2015
- «
- ‹
- 1
- ›
- »