Chirema Chine Mazano Chinotamba Chakazendama Madziro
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
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- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
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Creative production and existential thought: a feminist existential analysis of South African visual artist Berni Searle’s artwork
- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
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- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
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The use of ritual as physical and spiritual medium and its documentation in Buhlebezwe Siwani’s contemporary visual arts performance
- Authors: Lila, Philiswa
- Date: 2020
- Subjects: Arts and religion , Ritual -- South Africa , Performance art -- Religious aspects -- South Africa , Women performance artists -- South Africa , Siwani, Buhlebezwe, 1987-
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/166160 , vital:41334
- Description: This thesis is motivated by my experience of Inzilo: Ngoba ngihlala kwabafileyo, a live performance by South African visual artist Buhlebezwe Siwani. The performance took place at Michaelis Galleries, University of Cape Town (UCT), as part of a group exhibition Between Subject and Object: human remains at the interface of art and science (2014), which accompanied the Medical Humanities in Africa Conference (from 28 – 29 August 2014). As an entry into my discussion, I describe how Siwani’s performance makes use of death and burial ritual in what seems to be an intention to make art that is (re)presenting an activity of reality to invade and control the sphere of feelings, emotions and a sense of ceremony that is dependent on both ritual and rites of the performance. I grapple with the fact that I experienced a ritual performance in a gallery space. Furthermore, I question how walking out of the performance I thought of the lines between art and/or life. The role of ritual in my thesis explores the symbolic meanings, powers and intentions of ritual rites in Africa. This reflection maps out historical locations that are relevant to the major debates, definitions, themes and the experiences of ritual as part of academic research. From Siwani’s practice as an artist and isangoma to other expressions in the fields of history, sociology, religion, feminism, to mention a few, my thesis is an enquiry that engages ritual and performance art theory and scholarship. Through a qualitative analysis, my methodology rejects a chronological, thematic and discipline centered research. Rather, I use a multidisciplinary approach based on critical visual analysis as knowledge creation in the visual arts, for example archives, documentation, performance, text, video, installation, painting, sculpture, etc. The findings suggests that the role of ritual in performance art is not a singular exploration, nor is it based on separating ritual and performance art. The results further reveal that ritual in performance art is not a reenactment of patterns and human behaviours, nor is the notion of reenactment used to denote the myriad meanings and functions of re-performing historical ritual events into performance art. Throughout, my thesis provides a focus that demonstrates the significance of how ritual in performance art has a profound subjective (personal or individual) and collective holistic way of serving human and spiritual needs, and that of creating an environment that is open to the content and context of art as it relates with traditional African religious practices, beliefs and knowledges. Focus is given to three major themes that make up the three chapters of my research: firstly, I reflect on death as personified by Siwani’s performance Inzilo: Ngoba ii ngihlala kwabafileyo and her role as isangoma. Here death is used to draw specific attention to the body in process of embodied presence and absence of physical and spiritual worlds. Secondly, drawing on Siwani’s concept of secrecy and boundaries of concealing and revealing rituals meanings and powers as isangoma, I question the role of secrets, which highlights the significance of bodies (human and natural sites of ritual) in ritual performance. Finally, the idea of a trace is explored. The intersecting use of a trace as the thinking-making-doing of ritual in performance articulates a connected thread that sets in motion the trace of ritual (installation, image and marked space pf ritual) as an afterlife that offers a continued space of processual ceremony for multiple effective encounters and movements..
- Full Text:
- Authors: Lila, Philiswa
- Date: 2020
- Subjects: Arts and religion , Ritual -- South Africa , Performance art -- Religious aspects -- South Africa , Women performance artists -- South Africa , Siwani, Buhlebezwe, 1987-
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/166160 , vital:41334
- Description: This thesis is motivated by my experience of Inzilo: Ngoba ngihlala kwabafileyo, a live performance by South African visual artist Buhlebezwe Siwani. The performance took place at Michaelis Galleries, University of Cape Town (UCT), as part of a group exhibition Between Subject and Object: human remains at the interface of art and science (2014), which accompanied the Medical Humanities in Africa Conference (from 28 – 29 August 2014). As an entry into my discussion, I describe how Siwani’s performance makes use of death and burial ritual in what seems to be an intention to make art that is (re)presenting an activity of reality to invade and control the sphere of feelings, emotions and a sense of ceremony that is dependent on both ritual and rites of the performance. I grapple with the fact that I experienced a ritual performance in a gallery space. Furthermore, I question how walking out of the performance I thought of the lines between art and/or life. The role of ritual in my thesis explores the symbolic meanings, powers and intentions of ritual rites in Africa. This reflection maps out historical locations that are relevant to the major debates, definitions, themes and the experiences of ritual as part of academic research. From Siwani’s practice as an artist and isangoma to other expressions in the fields of history, sociology, religion, feminism, to mention a few, my thesis is an enquiry that engages ritual and performance art theory and scholarship. Through a qualitative analysis, my methodology rejects a chronological, thematic and discipline centered research. Rather, I use a multidisciplinary approach based on critical visual analysis as knowledge creation in the visual arts, for example archives, documentation, performance, text, video, installation, painting, sculpture, etc. The findings suggests that the role of ritual in performance art is not a singular exploration, nor is it based on separating ritual and performance art. The results further reveal that ritual in performance art is not a reenactment of patterns and human behaviours, nor is the notion of reenactment used to denote the myriad meanings and functions of re-performing historical ritual events into performance art. Throughout, my thesis provides a focus that demonstrates the significance of how ritual in performance art has a profound subjective (personal or individual) and collective holistic way of serving human and spiritual needs, and that of creating an environment that is open to the content and context of art as it relates with traditional African religious practices, beliefs and knowledges. Focus is given to three major themes that make up the three chapters of my research: firstly, I reflect on death as personified by Siwani’s performance Inzilo: Ngoba ii ngihlala kwabafileyo and her role as isangoma. Here death is used to draw specific attention to the body in process of embodied presence and absence of physical and spiritual worlds. Secondly, drawing on Siwani’s concept of secrecy and boundaries of concealing and revealing rituals meanings and powers as isangoma, I question the role of secrets, which highlights the significance of bodies (human and natural sites of ritual) in ritual performance. Finally, the idea of a trace is explored. The intersecting use of a trace as the thinking-making-doing of ritual in performance articulates a connected thread that sets in motion the trace of ritual (installation, image and marked space pf ritual) as an afterlife that offers a continued space of processual ceremony for multiple effective encounters and movements..
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Visualising the Psyche: Perspectives on mental health in the medium of comics
- Authors: Solomon, Tayla Shan
- Date: 2020
- Subjects: Spiegelman, Art -- Maus , Kelly, Joe, 1971- -- I kill giants , Niimura, J M Ken -- I kill giants , Brosh, Allie -- Hyperbole and a half , Comic books, strips, etc. -- Psychological aspects , Comic books, stripa, etc. -- Therapeutic use
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148413 , vital:38737
- Description: The field of Psychology is constantly shifting in its understanding of mental health. Scholars have been critiquing Psychology’s narrow perspective of what constitutes ‘normal’. Many dealing with mental health issues fear that they will be misunderstood and are confronted with systems and institutions that they find unempathetic. This mini-thesis conceptualises creative empathy as a solution to these problems. It is based on the idea that every experience is unique and therefore cannot be wholly understood without engaging in an imaginative process. The appropriateness of the comics medium as a tool for promoting this strategy is explored with a focus on the use of visual imagery to tell stories of distressing experiences. It looks at Tayla Shan Solomon’s The Adventures of Apparently-Anyone-Can-Do-It-If-TheyJust-Try Bug! (2019), Art Spiegelman’s Maus (I & II) (1986), Joe Kelly and JM Ken Niimura’s I Kill Giants (2011), and Allie Brosh’s Hyperbole and a Half: unfortunate situations, flawed coping mechanisms, mayhem, and other things that happened (2013). This mini-thesis analyses various techniques employed by comics artists to create compelling stories of idiosyncratic experiences, including the use of symbolic imagery and framing.
- Full Text:
- Authors: Solomon, Tayla Shan
- Date: 2020
- Subjects: Spiegelman, Art -- Maus , Kelly, Joe, 1971- -- I kill giants , Niimura, J M Ken -- I kill giants , Brosh, Allie -- Hyperbole and a half , Comic books, strips, etc. -- Psychological aspects , Comic books, stripa, etc. -- Therapeutic use
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148413 , vital:38737
- Description: The field of Psychology is constantly shifting in its understanding of mental health. Scholars have been critiquing Psychology’s narrow perspective of what constitutes ‘normal’. Many dealing with mental health issues fear that they will be misunderstood and are confronted with systems and institutions that they find unempathetic. This mini-thesis conceptualises creative empathy as a solution to these problems. It is based on the idea that every experience is unique and therefore cannot be wholly understood without engaging in an imaginative process. The appropriateness of the comics medium as a tool for promoting this strategy is explored with a focus on the use of visual imagery to tell stories of distressing experiences. It looks at Tayla Shan Solomon’s The Adventures of Apparently-Anyone-Can-Do-It-If-TheyJust-Try Bug! (2019), Art Spiegelman’s Maus (I & II) (1986), Joe Kelly and JM Ken Niimura’s I Kill Giants (2011), and Allie Brosh’s Hyperbole and a Half: unfortunate situations, flawed coping mechanisms, mayhem, and other things that happened (2013). This mini-thesis analyses various techniques employed by comics artists to create compelling stories of idiosyncratic experiences, including the use of symbolic imagery and framing.
- Full Text:
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