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:
- 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:
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:
- 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:
Representing the unrepresentable: an exploration of gendered experiences of mental disorder
- Authors: Futcher, Charis Catheryn
- Date: 2017
- Subjects: Mental illness in art , Women -- Mental health , Art, South African -- 21st century -- Exhibitions , Sculpture, South African -- 21st century -- Exhibitions , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/42957 , vital:25252
- Description: Inspired by personal lived experiences of mental disorder; this thesis attempts to explore the representation of these complex conditions as they are deeply embedded in trauma, guilt, and stigma. The accompanying exhibition, The Inheritance, figures my own tendencies to contain and conceal my disorder, through the assembling of sculptural containers and their disordered contents. The work, presented as something surreal, comments on the complexities of being a woman with a disorder, as well as on the disease I experience in relation to a history of patriarchal ideologies and psychiatric containment that has informed understandings of ‘female madness’. Grounded in my interests in abjection and containment, the artistic processes of trying to express deeply personal experiences of distress allow for the resurfacing of underlying trauma, in regards to the memory of my mother’s struggle with Bipolar disorder and her subsequent estrangement. Instead of catharsis, the exhibition represents an inevitable failure to represent the unrepresentable, an experience inextricably bound to the history of gendered oppression and the repression of subjectivity by dominant powers of belief and control. Through my practice as research, I have ultimately grappled with my reluctance to represent my experience, precisely because the topic of mental disorder, though pervasive, is lived and felt by varying groups of people in different ways. As such, my intention is to avoid a reductive and narrow framing of what mental disorder entails. Similarly, I aim to avoid restrictive and presumptuous definitions of gender – recognizing that, historically, femininity is a contested category that has silenced many individuals who are not white, heterosexual or gender conforming. My literary research has been limited by these norms and silences, in that most texts detailing the historical visual treatment of disordered subjects fail to recognise the possibility of gender categories that transcend the binary masculinity and femininity. With these limitations in mind, my practice has allowed me to reflect upon the distress of generations of people who have been pathologised based on gender.
- Full Text:
- Authors: Futcher, Charis Catheryn
- Date: 2017
- Subjects: Mental illness in art , Women -- Mental health , Art, South African -- 21st century -- Exhibitions , Sculpture, South African -- 21st century -- Exhibitions , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/42957 , vital:25252
- Description: Inspired by personal lived experiences of mental disorder; this thesis attempts to explore the representation of these complex conditions as they are deeply embedded in trauma, guilt, and stigma. The accompanying exhibition, The Inheritance, figures my own tendencies to contain and conceal my disorder, through the assembling of sculptural containers and their disordered contents. The work, presented as something surreal, comments on the complexities of being a woman with a disorder, as well as on the disease I experience in relation to a history of patriarchal ideologies and psychiatric containment that has informed understandings of ‘female madness’. Grounded in my interests in abjection and containment, the artistic processes of trying to express deeply personal experiences of distress allow for the resurfacing of underlying trauma, in regards to the memory of my mother’s struggle with Bipolar disorder and her subsequent estrangement. Instead of catharsis, the exhibition represents an inevitable failure to represent the unrepresentable, an experience inextricably bound to the history of gendered oppression and the repression of subjectivity by dominant powers of belief and control. Through my practice as research, I have ultimately grappled with my reluctance to represent my experience, precisely because the topic of mental disorder, though pervasive, is lived and felt by varying groups of people in different ways. As such, my intention is to avoid a reductive and narrow framing of what mental disorder entails. Similarly, I aim to avoid restrictive and presumptuous definitions of gender – recognizing that, historically, femininity is a contested category that has silenced many individuals who are not white, heterosexual or gender conforming. My literary research has been limited by these norms and silences, in that most texts detailing the historical visual treatment of disordered subjects fail to recognise the possibility of gender categories that transcend the binary masculinity and femininity. With these limitations in mind, my practice has allowed me to reflect upon the distress of generations of people who have been pathologised based on gender.
- Full Text:
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