Isihlonipho among amaXhosa is a study based on the indigenous culture of amaXhosa, a vibrant nation forming a black section of the South African population. In order to capture those interesting aspects embraced within the theme of this study, the researcher has deemed it proper and appropriate to focus his attention largely on the cultural practices of these people citing various stages of their cultural development. Although some of the most important cultural activities such as religion, ancestor worship, totems and others have been highlighted together with the statuses of certain personalities, places and family units, nevertheless, the emphasis is on hlonipha language associated with cultural practices such as, inter alia, ulwaiuko (circumcision) and traditional marriage. It is also placed on the language of respect associated with the veneration of aspects such as the weather, animals, rivers, graves, inkundla and many others. Of grave concern to the researcher is the fact that arrival of western civilisation, the spread of Christianity and the miscegenation of Black and White races have been instrumental in eroding hlonipha practices and hlonipha language which has remained the pillar of the amaXhosa culture for centuries. In view of the historical and political changes which have significantly affected the validity of these cultural practices, this thesis is inclined to support the spirit of renaissance which seeks to recoup those aspects ofthe past which our posterity needs for its cultural existence / African Languages / D. Litt. et Phil. (African Languages)

Isihlonipho among amaXhosa is a study based on the indigenous culture of amaXhosa, a vibrant nation forming a black section of the South African population. In order to capture those interesting aspects embraced within the theme of this study, the researcher has deemed it proper and appropriate to focus his attention largely on the cultural practices of these people citing various stages of their cultural development. Although some of the most important cultural activities such as religion, ancestor worship, totems and others have been highlighted together with the statuses of certain personalities, places and family units, nevertheless, the emphasis is on hlonipha language associated with cultural practices such as, inter alia, ulwaiuko (circumcision) and traditional marriage. It is also placed on the language of respect associated with the veneration of aspects such as the weather, animals, rivers, graves, inkundla and many others. Of grave concern to the researcher is the fact that arrival of western civilisation, the spread of Christianity and the miscegenation of Black and White races have been instrumental in eroding hlonipha practices and hlonipha language which has remained the pillar of the amaXhosa culture for centuries. In view of the historical and political changes which have significantly affected the validity of these cultural practices, this thesis is inclined to support the spirit of renaissance which seeks to recoup those aspects ofthe past which our posterity needs for its cultural existence / African Languages / D. Litt. et Phil. (African Languages)

Text in English / This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment. The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission. Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Text in English / This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment. The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission. Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Text in English / Most Xhosa people experience the condition of feeling dislocated and confused when choosing a spiritual belief between Christianity and Xhosa ancestral traditions. This study uses the concept of diaspora to describe the mental dislocation that people whose culture has changed experience. This study is based on the phenomenon of diaspora as a state of identity in the contemporary cultural identity of amaXhosa, the people of the Eastern Cape Province, by exploring the interrelationship between the key concepts, namely, identity, culture, land, and home as they relate to ancestral worship and Christian practice. Two installation artworks by Bill Viola and Nicholas Hlobo were selected for a comparative analysis under the spectacle of Xhosa ancestral tradition. In this study, I seek to understand how identity is constructed within a particular geographical and ideological culture and how self-identity can be constituted through the construction, deconstruction, and reconstruction of cultural histories. Touching on notions of mediation, altar, and dislocation, this study uses Martin Buber’s concept of I AND THOU to weave the key concepts together. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

Text in English / Most Xhosa people experience the condition of feeling dislocated and confused when choosing a spiritual belief between Christianity and Xhosa ancestral traditions. This study uses the concept of diaspora to describe the mental dislocation that people whose culture has changed experience. This study is based on the phenomenon of diaspora as a state of identity in the contemporary cultural identity of amaXhosa, the people of the Eastern Cape Province, by exploring the interrelationship between the key concepts, namely, identity, culture, land, and home as they relate to ancestral worship and Christian practice. Two installation artworks by Bill Viola and Nicholas Hlobo were selected for a comparative analysis under the spectacle of Xhosa ancestral tradition. In this study, I seek to understand how identity is constructed within a particular geographical and ideological culture and how self-identity can be constituted through the construction, deconstruction, and reconstruction of cultural histories. Touching on notions of mediation, altar, and dislocation, this study uses Martin Buber’s concept of I AND THOU to weave the key concepts together. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)