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‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.

In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.

These stories are about people’s experiences in relationships and how they overcome and resolve problems with their partners. Some explore myths and unexplained occurrences that raise many questions.

A collection of lyrical, imaginative prose, ranging from prose poems to more formal short stories to flash fiction. I challenge the ordinary or commonplace by exploring the realms between fiction and poetry, realism and fantasy, reality and illusion. I would like reading the collection to be a sensory experience, one that draws the reader deeper into the imaginary. Stylistically, I work elements of poetic language into the narrative in order to express the mystery and remoteness that the stories require.

Scholarship on Post-Apartheid South African literature has engaged in various ways with the politics of identity, but its dominant mode has been to understand the literature through an anxious rupture-continuation paradigm in which the Apartheid past manifests itself in the present. However, in the contemporary moment, there are writers whose texts attempt to forge new paths in their depictions of identities both individual and collective. These texts are useful in contemplating how South Africans experience belonging and dislocation in various contexts. In this thesis, I consider a range of contemporary South African texts via the figure of lifewriting. My analysis demonstrates that, while many texts in the contemporary moment have displayed new and more complex registers of perception concerning the issue of ‘race’, there is a need for more expansive and fluid conceptions of crafting identity, as regards the politics of space and how this intersects with issues of belonging and identity. That is, much South African literature still continues along familiar trajectories of meaning, ones which are not well-equipped to understand issues that bedevil the country at this particular historical moment, which are grounded in the political compromises that came to pass during the ‘time of transition’. These issues include the recent spate of xenophobia attacks, which have yet to be comprehensively and critically analysed in the critical domain, despite the work of theorists such as David Coplan. Such events indicate the need for more layered and intricate understandings of how our national identity is structured: Who may belong? Who is excluded? In what situations? This thesis engages with these questions in order to determine how systems of power are constructed, reified, mediated, reproduced and/or resisted in the country’s literature. To do this, I perform an attentive reading of the mosaic image of South African culture that emerges through a selection of contemporary works of literature. The texts I have selected are notable for the ways in which they engage with the epistemic protocol of coming to know the Other and the self through the lens of the Apartheid past. That engagement may take the form of a reassertion, reclamation, displacement, or complication of selfhood. Given that South African identities are overinscribed in paradigms in which the Apartheid past is primary, what potentials and limits are presently encountered when writing of the self/selves is attempted? My study goes beyond simply asserting that not all groups have equal access to representation. Rather, I demonstrate that the linear shaping of the South African culture of letters imposes certain restrictions on who may work within it. Here, the politics of publishing and the increasing focus on urban spaces, such that other spaces become marginalized in ways that reflect the proclivities of the reading public, are subjected to close scrutiny. Overall, my thesis aims to promote a rethinking of South African culture, and how that culture is represented in, and defined through, our literature.

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

The globally relevant, billion-dollar fashion industry has been regarded as one of the industries responsible for the greatest amount of pollution. The fast fashion industry thrives on production, often overproducing clothing at a rapid pace, according to quick trends that have fleeting lifespans. It can be said that this industry feeds the ‘throw-away culture’ seen at present, whereby consumption has increased tremendously, resulting in large amounts of clothing waste which has fulfilled its superficial purpose. Consumers purchase new trends, use it for a short period of time and thereafter dispose of the clothing items to make room for the next trend. Such a practice has negative implications for the environment, through the irresponsible manner in which waste by-products are disposed of during production of the clothing and through the mass disposal of clothing, which often ends up in landfills. There are also societal implications, whereby the fast fashion industry has been responsible for many unethical business practices that allow for poor working conditions and unfair treatment of the makers of the clothing. As a response to some of these concerns, slow fashion was born. Slow fashion intends to slow down the process of clothing production entirely and revisits the emphasis on quality over quantity, as it encourages the production and conscious consumption of clothing with longevity. As a result of the process of clothing production being slowed down, it has been suggested that the consumer would then be able to appreciate the production process in itself, as well as the clothing produced, resulting in a decreased desire to consume more, but rather to extend the lifespan of the clothing purchased. Slow fashion is synonymous with the slowing down of trends and the mindful consumption of clothing. Similarly, the voluntary simplicity movement (VSM), adopts the constructs of a life simplified, through the freeing of oneself from mental and emotional clutter, as well as material possessions. This lifestyle promotes simplicity of living and the appreciation of lived experiences instead of things, as a means to gain internal and external fulfilment. The VSM has therefore been used as the conceptual framework of this study, as both movements promote reduced consumption practices. This study was qualitative in nature and took the form of an exploratory research design, as it intended to gain information and understanding on a topic within an environment where there is limited information. Millennial slow fashion consumers made up the sampling group because millennial consumers are recognised as the most influential consumer group, with the greatest buying power, and are also most likely to adopt or support environmentally and ethically sound brands and businesses. Interviews were conducted with the participants to gain knowledge on the perceptions, attitudes and awareness of these consumers in relation to slow fashion consumption in the country. Attitude has been recognised as a motivator of behaviour and was investigated to analyse consumption behaviour, in the context of this study. The findings revealed that most participants recognised the fast fashion industry purely as a money-making scheme, which often employed reckless production practices and resulted in the consumption of clothing at a dangerous pace. They were aware of the damaging effects of the by-products of these production processes on the environment, as well as the negative social impacts as a result of unethical practices that have occurred. The participants recognised slow fashion as somewhat of an antithesis to fast fashion, whereby the focus is on quality clothing made to last a lifetime, which encompasses mindful consumption. The participants revealed that they were influenced by the aesthetic appeal of clothing as well as the convenience and ease of access in acquiring the clothing. Price sensitivity was also raised as a motivator for consumption; however, the resounding motivator was that of consumption out of necessity for the item, which is a valuable perspective for both slow fashion consumers and VSM adopters. Price sensitivity is a factor that cannot be ignored, considering South Africa is a country with an unequal dispersion of wealth and a high unemployment rate. As a result, it has been determined that slow fashion is only accessible to a certain niche market, in terms of the affordability of the items. The excessive imports of fast fashion clothing, which are often cheap and easily accessible, are said to be choking the local clothing and slow fashion industries alike. However, the most common response in terms of the hindrance of slow fashion in the country was notably a lack of information, education and awareness about slow fashion, its constructs and its availability in the country. The participants recognised slow fashion as relevant in the country, and that VI | P a g e South African consumers have the influence to make a change to the local clothing industry, if they supported local producers of slow fashion, ethical and sustainable clothing, instead of overconsuming cheap, trend-inspired, imported fast fashion clothing. As a result, the slow fashion designer was revealed as having a significant role to play, in ascertaining that such clothing is locally produced with sustainable, slow trend underpinnings. Further recommendations were expressed in the need for slow fashion designers to market their products and ethos well, and to educate and inform those around them, including their customers, about the philosophies behind and need for slow fashion. The upskilling of individuals from lower or no income households was also seen as a valuable tool to not only allow those individuals to lengthen the lifespan of their clothing by repairing it, but also to equip them with a skill that might lead to some form of employment, with the hope that the end result will be a rejuvenated local clothing and textile industry and a lowered unemployment rate. Conclusively, consumption levels could prospectively see a decrease, should the interest in slow fashion clothing increase among consumers. / Life and Consumer Sciences / M.A. (Consumer Science)

For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement / The word “equestrian” is generally not known to be synonymous with sustainability. Although there is a small progressive movement, sustainable design is currently not common practice in the horse industry and desperately needs promoting. Horsemen and women need to be made aware that these techniques exist as well as more information on how to implement them into the facilities that they own and manage. The Colorado Horse Park (CHP), one of the largest equestrian event venues in the nation, has great potential to become an example of successful sustainable design. As host to dozens of events and hundreds of visitors each year, the CHP presents the perfect opportunity to educate the horse community on sustainable practices. Using the Audubon Lifestyles Program and Sustainable Sites Initiative (SITES) as guides, I will promote the sustainable equestrian movement through the implementation of sustainable elements and an interpretive landscape at the CHP. The goal of this new design will be to educate site users on sustainable practices as well as motivate and inspire them to make changes to their own lifestyles and facilities. Using the theories established through research and precedent studies, a new design for the CHP was developed. There are three principles to this design: using circulation systems to make the facility more functional, implementing sustainable elements into the facility to serve as examples, and providing the visitors with educational opportunities in the form of interpretive exhibits. Function and safety are two major concerns at this type of venue, and are addressed through the re-organization of site elements and the establishment of a circulation system which creates separation between differing traffic types. Sustainable practices are applied in the forms of vegetated drainage ways, protection of riparian areas, xeric plantings, habitat restoration, and a manure composting operation. An interpretive landscape of signage and displays highlights each sustainable element and relates information on how visitors can incorporate sustainable techniques in their own facilities.