Post-apartheid nostalgia and the future of the black visual archive
- Nsele, Zamansele Nsikakazi Busisiwe
- Authors: Nsele, Zamansele Nsikakazi Busisiwe
- Date: 2020
- Subjects: Nostalgia in art , Memory in art , Africa -- In art , Africans in art , Fanon, Frantz, 1925-1961. Peau noire, masques blancs. English , South Africa -- In art , Black people in art
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167177 , vital:41444
- Description: The implications of nostalgia often strike a discordant note in post-apartheid discourse and this has opened up critical possibilities for research scholarship. For instance, Jacob Dlamini’s memoir Native Nostalgia entered the discursive fray in 2009, and it was subsequently followed by Derek Hook’s psychoanalytical approach in (Post) apartheid Conditions: Psychoanalysis and Social Formation in 2014. Notably, there is not yet a sustained and intensive research focus that has been conducted on post-apartheid forms of nostalgia within the discipline of art history and visual culture. I present this dissertation as a response to this gap. This thesis identifies mainly two competing nostalgias in post-apartheid South Africa. Through the analysis of selected artwork and media imagery, this dissertation critiques the connections of these nostalgias to the representation of the black figure in post-apartheid visual culture and the implications thereof. I argue that nostalgias for an apartheid-colonial-imperialist past operate through erasure and in the sanitisation of memory and as a result they render suffering indiscernible or in a sadomasochistic way consumes suffering as enjoyable. This thesis simultaneously critiques art work and visual representation that responds to South Africa’s nostalgia for the future: a restorative nostalgia that has emerged in the form of “rainbow nationalism”. This is a form of nostalgia that is underpinned by a dogged commitment to triumphalism and as a result erases the ongoing scenes of abjection. I use nostalgia and Afropessimism as analytical frameworks to argue that both real and visual representational forces work in tandem to restrain the future and this, I suggest is fulfilled by the transference of the black body from one state of unfreedom to next, resonating with a cyclical pattern. Frantz Fanon’s (1967) Black Skin White Mask forms the conceptual bedrock of my study, particularly his visual layout of “negrophobogenesis” and colonial temporality, which he describes as a “hellish cycle” or as an “infernal cycle” wherein the past overwhelms the present and ideas of the future.
- Full Text:
- Date Issued: 2020
- Authors: Nsele, Zamansele Nsikakazi Busisiwe
- Date: 2020
- Subjects: Nostalgia in art , Memory in art , Africa -- In art , Africans in art , Fanon, Frantz, 1925-1961. Peau noire, masques blancs. English , South Africa -- In art , Black people in art
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167177 , vital:41444
- Description: The implications of nostalgia often strike a discordant note in post-apartheid discourse and this has opened up critical possibilities for research scholarship. For instance, Jacob Dlamini’s memoir Native Nostalgia entered the discursive fray in 2009, and it was subsequently followed by Derek Hook’s psychoanalytical approach in (Post) apartheid Conditions: Psychoanalysis and Social Formation in 2014. Notably, there is not yet a sustained and intensive research focus that has been conducted on post-apartheid forms of nostalgia within the discipline of art history and visual culture. I present this dissertation as a response to this gap. This thesis identifies mainly two competing nostalgias in post-apartheid South Africa. Through the analysis of selected artwork and media imagery, this dissertation critiques the connections of these nostalgias to the representation of the black figure in post-apartheid visual culture and the implications thereof. I argue that nostalgias for an apartheid-colonial-imperialist past operate through erasure and in the sanitisation of memory and as a result they render suffering indiscernible or in a sadomasochistic way consumes suffering as enjoyable. This thesis simultaneously critiques art work and visual representation that responds to South Africa’s nostalgia for the future: a restorative nostalgia that has emerged in the form of “rainbow nationalism”. This is a form of nostalgia that is underpinned by a dogged commitment to triumphalism and as a result erases the ongoing scenes of abjection. I use nostalgia and Afropessimism as analytical frameworks to argue that both real and visual representational forces work in tandem to restrain the future and this, I suggest is fulfilled by the transference of the black body from one state of unfreedom to next, resonating with a cyclical pattern. Frantz Fanon’s (1967) Black Skin White Mask forms the conceptual bedrock of my study, particularly his visual layout of “negrophobogenesis” and colonial temporality, which he describes as a “hellish cycle” or as an “infernal cycle” wherein the past overwhelms the present and ideas of the future.
- Full Text:
- Date Issued: 2020
Ukwowa mumwela nabangeli: transcendence, flight and inculturation in Zambian devotional artwork
- Authors: Mulenga, Aaron Samuel
- Date: 2020
- Subjects: Idols and images in art -- Zambia , Transcendence (Philosophy) in art , Christianity and culture -- Zambia , Flight in art , Christian art and symbolism -- Zambia , Representation (Philosophy) , Black people in art , Ethnicity in art , Group identity in art , Art and society -- Zambia , Yombwe, Laurence
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/146278 , vital:38511
- Description: With a focus on my artistic practice, this paper seeks to interrogate the tensions and overlaps in various representations of transcendence that have shaped my spirituality by interrogating how these have featured in Eurocentric Christian iconography and Zambian cultural practices, particularly cultural artefacts used for spiritual flight, housed in Zambian museums. Transcendence is understood by some as a change in a person’s physiological or psychological state that allows them to go beyond their experience of time, place or being. I understand transcendence to be the moment that one’s spirit is elevated beyond the limitations of their physical body. The use of Biblical text relating to flight will also be discussed as a comparative study to explore how transcendence through flight operates within Christianity and a Zambian cultural context. Furthermore, I shall interrogate how black artists (particularly Zambian), such as Laurence Yombwe, address the omission of black people from Christian iconography (which is predominantly depicted as white people). I aim to highlight the important role that representation plays in allowing for an individual to experience transcendence. I believe inculturation is a fitting solution to address some of the pitfalls in Christian iconography brought about due to the lack of representation of black people. Inculturation can be understood as an adaptation in the way the gospel of Jesus is preached to non-Christian cultures, and in turn, how these cultures influence the teachings of the gospel. Finally, I will explore how transcendence as a concept applies in my artworks and how the materials I use highlight this concept. Through my art, I grapple to combine what seem like disparate spiritual paradigms, arising from my culture and my faith. My artwork seeks to contribute to the work that particular artists (a majority of them black) are grappling with to correct the lack of representation of black people in Christian iconography. I will use the notion of inculturation as an avenue through which to interrogate the tensions I experience while exploring the concept of transcendence.
- Full Text:
- Date Issued: 2020
- Authors: Mulenga, Aaron Samuel
- Date: 2020
- Subjects: Idols and images in art -- Zambia , Transcendence (Philosophy) in art , Christianity and culture -- Zambia , Flight in art , Christian art and symbolism -- Zambia , Representation (Philosophy) , Black people in art , Ethnicity in art , Group identity in art , Art and society -- Zambia , Yombwe, Laurence
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/146278 , vital:38511
- Description: With a focus on my artistic practice, this paper seeks to interrogate the tensions and overlaps in various representations of transcendence that have shaped my spirituality by interrogating how these have featured in Eurocentric Christian iconography and Zambian cultural practices, particularly cultural artefacts used for spiritual flight, housed in Zambian museums. Transcendence is understood by some as a change in a person’s physiological or psychological state that allows them to go beyond their experience of time, place or being. I understand transcendence to be the moment that one’s spirit is elevated beyond the limitations of their physical body. The use of Biblical text relating to flight will also be discussed as a comparative study to explore how transcendence through flight operates within Christianity and a Zambian cultural context. Furthermore, I shall interrogate how black artists (particularly Zambian), such as Laurence Yombwe, address the omission of black people from Christian iconography (which is predominantly depicted as white people). I aim to highlight the important role that representation plays in allowing for an individual to experience transcendence. I believe inculturation is a fitting solution to address some of the pitfalls in Christian iconography brought about due to the lack of representation of black people. Inculturation can be understood as an adaptation in the way the gospel of Jesus is preached to non-Christian cultures, and in turn, how these cultures influence the teachings of the gospel. Finally, I will explore how transcendence as a concept applies in my artworks and how the materials I use highlight this concept. Through my art, I grapple to combine what seem like disparate spiritual paradigms, arising from my culture and my faith. My artwork seeks to contribute to the work that particular artists (a majority of them black) are grappling with to correct the lack of representation of black people in Christian iconography. I will use the notion of inculturation as an avenue through which to interrogate the tensions I experience while exploring the concept of transcendence.
- Full Text:
- Date Issued: 2020
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