Zundiqondisise!: investigating voice, visibility and agency in the work of Xhosa women crafters who work in community art centres in the Eastern Cape
- Authors: Tutani, Zodwa
- Date: 2020
- Subjects: Art centers -- Eastern Cape , Community arts projects -- Eastern Cape , Women artists, Black -- Eastern Cape , Ethnic art -- Eastern Cape , Agent (Philosophy) , Art and society -- Eastern Cape , Voice (Philosophy) , Critical discourse analysis , Postcolonialism and the arts , Feminism and art , Curatorship -- Eastern Cape , Art, Xhosa -- Conservation and restoration , Gompo Community Art Centre , Nomzamo Old Age Centre
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/146546 , vital:38535
- Description: A curatorial practice, Zundiqondisise! Reclaiming Our Voice is a twofold study comprised of curatorial practice and a written thesis, both of which are interdependent, examining the significance of space, agency, voice, and visibility in the works of Xhosa women crafters from the Eastern Cape. The study explores ways of reading and displaying indigenous art, as well as the archiving and inserting of these essential but neglected creative works of black women into the discourse of South African contemporary visual arts. This scholarship takes into account the social, cultural, and labour conditions that give rise to the perceived voicelessness in the ‘craft’ work of Xhosa women who work from community art centres. Through collaborating with two groups of women from two Eastern Cape art centres, namely Gompo Community Art Centre in East London and Nomzamo Old Age Centre in Ilitha Township, the study undertakes to locate, highlight and authorise these women’s voices and agency. This undertaking is carried out through a textual inquiry and curated exhibition, two interdependent components of this study, working with black feminist and postcolonial theories that enable me to formulate a critical discourse and practice towards a reflective scholarship on black women’s ‘craft’ work. It is a scholarship whose various chapters and curatorial interventions are tailored to excavate ancient Xhosa wisdom found in folklore and cultural practices of the everyday. This scholarship also provides new understandings that demonstrate and appreciate the fertile and significant though marginalised indigenous ways of creative expressions and knowledge production.
- Full Text:
- Date Issued: 2020
- Authors: Tutani, Zodwa
- Date: 2020
- Subjects: Art centers -- Eastern Cape , Community arts projects -- Eastern Cape , Women artists, Black -- Eastern Cape , Ethnic art -- Eastern Cape , Agent (Philosophy) , Art and society -- Eastern Cape , Voice (Philosophy) , Critical discourse analysis , Postcolonialism and the arts , Feminism and art , Curatorship -- Eastern Cape , Art, Xhosa -- Conservation and restoration , Gompo Community Art Centre , Nomzamo Old Age Centre
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/146546 , vital:38535
- Description: A curatorial practice, Zundiqondisise! Reclaiming Our Voice is a twofold study comprised of curatorial practice and a written thesis, both of which are interdependent, examining the significance of space, agency, voice, and visibility in the works of Xhosa women crafters from the Eastern Cape. The study explores ways of reading and displaying indigenous art, as well as the archiving and inserting of these essential but neglected creative works of black women into the discourse of South African contemporary visual arts. This scholarship takes into account the social, cultural, and labour conditions that give rise to the perceived voicelessness in the ‘craft’ work of Xhosa women who work from community art centres. Through collaborating with two groups of women from two Eastern Cape art centres, namely Gompo Community Art Centre in East London and Nomzamo Old Age Centre in Ilitha Township, the study undertakes to locate, highlight and authorise these women’s voices and agency. This undertaking is carried out through a textual inquiry and curated exhibition, two interdependent components of this study, working with black feminist and postcolonial theories that enable me to formulate a critical discourse and practice towards a reflective scholarship on black women’s ‘craft’ work. It is a scholarship whose various chapters and curatorial interventions are tailored to excavate ancient Xhosa wisdom found in folklore and cultural practices of the everyday. This scholarship also provides new understandings that demonstrate and appreciate the fertile and significant though marginalised indigenous ways of creative expressions and knowledge production.
- Full Text:
- Date Issued: 2020
Closed doors: gendered power relations and the use of mature themes in Eurocentric fairytales
- Authors: Sawyer, Kathleen Patricia
- Date: 2017
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5971 , vital:21003
- Description: Established critics, such as Jack Zipes, assert that the subject matter of fairytales shows evidence that the Westernised 'classics' (by authors such as Charles Perrault or the Grimm brothers) were influenced by the cultural norms of their contemporary society and served as a pedagogical tool for mass socialisation. Often authors writing for younger audiences deliberately inserted a moralising function into these tales, in order to normalise and further disseminate certain gender ideals. Their presentation of adult or mature themes (such as sexuality) is often problematic, with some references presented quite naturally and others excluded entirely. This paper investigates modern retellings of Eurocentric fairytales, and speculates on the significance of the perpetuation or complete elision of such themes, and what their selective invocation might intimate about the culture in which the story is produced. It argues that the way in which the fairytale narrative engages with mature themes is demonstrative of its contemporary ethos and its associated cultural bias, which is conveyed unconsciously through the vehicle of the text. Through a critical analysis of relevant literature, the paper explores the maintenance of socio-cultural norms in fairytales as being emblematic in their establishment as cultural relics.
- Full Text:
- Date Issued: 2017
- Authors: Sawyer, Kathleen Patricia
- Date: 2017
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/5971 , vital:21003
- Description: Established critics, such as Jack Zipes, assert that the subject matter of fairytales shows evidence that the Westernised 'classics' (by authors such as Charles Perrault or the Grimm brothers) were influenced by the cultural norms of their contemporary society and served as a pedagogical tool for mass socialisation. Often authors writing for younger audiences deliberately inserted a moralising function into these tales, in order to normalise and further disseminate certain gender ideals. Their presentation of adult or mature themes (such as sexuality) is often problematic, with some references presented quite naturally and others excluded entirely. This paper investigates modern retellings of Eurocentric fairytales, and speculates on the significance of the perpetuation or complete elision of such themes, and what their selective invocation might intimate about the culture in which the story is produced. It argues that the way in which the fairytale narrative engages with mature themes is demonstrative of its contemporary ethos and its associated cultural bias, which is conveyed unconsciously through the vehicle of the text. Through a critical analysis of relevant literature, the paper explores the maintenance of socio-cultural norms in fairytales as being emblematic in their establishment as cultural relics.
- Full Text:
- Date Issued: 2017
Habitual transience : orientation and disorientation within non-places
- Authors: Heymans, Simone
- Date: 2014
- Subjects: Beeck, Hans Op de, 1969- , Space perception , Place (Philosophy) , Liminality , Art and society , Art, Modern -- 21st century , Art, Abstract -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2493 , http://hdl.handle.net/10962/d1013141
- Description: This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
- Full Text:
- Date Issued: 2014
- Authors: Heymans, Simone
- Date: 2014
- Subjects: Beeck, Hans Op de, 1969- , Space perception , Place (Philosophy) , Liminality , Art and society , Art, Modern -- 21st century , Art, Abstract -- 21st century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2493 , http://hdl.handle.net/10962/d1013141
- Description: This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
- Full Text:
- Date Issued: 2014
Political grey : areas of ambiguity and contradiction
- Authors: Koekemoer, Carmen
- Date: 2014
- Subjects: Politics in art , Art -- Political aspects -- South Africa , Leadership in art , Portraits, African , Portraits, European , Art and revolutions -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2492 , http://hdl.handle.net/10962/d1013136
- Description: This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
- Full Text:
- Date Issued: 2014
- Authors: Koekemoer, Carmen
- Date: 2014
- Subjects: Politics in art , Art -- Political aspects -- South Africa , Leadership in art , Portraits, African , Portraits, European , Art and revolutions -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2492 , http://hdl.handle.net/10962/d1013136
- Description: This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
- Full Text:
- Date Issued: 2014
After Baines
- Walters, John Attwood Vereker
- Authors: Walters, John Attwood Vereker
- Date: 2011
- Subjects: Baines, Thomas, 1820-1875 Baines, Thomas, 1820-1875 -- Biography Painting, South African -- Exhibitions Painters -- South Africa -- Biography
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2432 , http://hdl.handle.net/10962/d1004368
- Description: By researching the life and work of Thomas Baines (1820 - 1875) in relation to a broader discourse of painting and the lived experience of being a 'white' male in a post-apartheid South Africa, I explore the ways in which this figure from the past has provoked the three series of artworks I have produced for my Master of Fine Art exhibition. This study has been divided into two parts, represented by the two chapters contained herein. Chapter One includes a critical retelling of Baines' biography and a discussion of the primary ways in which I have engaged with both the life and the working practice of this artist. I also address my own personal complicity in the constructions of 'the figure of Baines' as I have framed him both visually and textually during my work for this degree. Chapter Two describes some of the practicalities of my working process as a visual artist, including how I understand the theoretical and conceptual concerns which I raise in Chapter One to be visually manifest in my work. In this chapter, I also discuss my work in relation to the work of the contemporary South African artists William Kentridge and Johannes Phokela. The artistic practice of one artist imitating another artist's work is also explored as a central conceptual thread which could be seen to weave my verbal and visual production together.
- Full Text:
- Date Issued: 2011
- Authors: Walters, John Attwood Vereker
- Date: 2011
- Subjects: Baines, Thomas, 1820-1875 Baines, Thomas, 1820-1875 -- Biography Painting, South African -- Exhibitions Painters -- South Africa -- Biography
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2432 , http://hdl.handle.net/10962/d1004368
- Description: By researching the life and work of Thomas Baines (1820 - 1875) in relation to a broader discourse of painting and the lived experience of being a 'white' male in a post-apartheid South Africa, I explore the ways in which this figure from the past has provoked the three series of artworks I have produced for my Master of Fine Art exhibition. This study has been divided into two parts, represented by the two chapters contained herein. Chapter One includes a critical retelling of Baines' biography and a discussion of the primary ways in which I have engaged with both the life and the working practice of this artist. I also address my own personal complicity in the constructions of 'the figure of Baines' as I have framed him both visually and textually during my work for this degree. Chapter Two describes some of the practicalities of my working process as a visual artist, including how I understand the theoretical and conceptual concerns which I raise in Chapter One to be visually manifest in my work. In this chapter, I also discuss my work in relation to the work of the contemporary South African artists William Kentridge and Johannes Phokela. The artistic practice of one artist imitating another artist's work is also explored as a central conceptual thread which could be seen to weave my verbal and visual production together.
- Full Text:
- Date Issued: 2011
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