This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change. In the same sense the socio-political and cultural advancements of women are indicators of how societies have progressed towards improved living conditions for all. Because the African woman can be viewed as doubly oppressed, firstly by Black patriarchal culture and secondly by Western colonising forces, it is essential that the liberation of African women includes an opportunity for women to verbalise and demonstrate their own vision of women’s roles for the future. The study analyses a large corpus of films through exploring notions of nationalism and post/neo-colonialism in African societies; issues related to the female body such as health, beauty and sexuality; female identity, emancipation and African feminism in the past and present; the significance of traditional cultural practices versus the consequences and effects of modernity; and the interplay between the individual and the community in urban as well as rural African societies. Female filmmakers in Africa are increasingly claiming the right to represent these issues in their own ways and to tell their own stories. The methods they choose to do this and the products of their labours are the focus of this study. Ultimately, the study attempts to formulate more complex models for the analysis of African women’s filmmaking practices, in tracing the plurality of a female aesthetics and the multiplicity of thematic approaches in African women’s filmmaking.

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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)

The aim of this study is to offer a critical analysis of representations of gender violence and resistance to such violence in selected novels by Zimbabwean women writers. A great deal of scholarship on Zimbabwean women writers focuses on well-known authors such as Yvonne Vera and Tsitsi Dangarembga. Even here, the critical emphasis tends to be on the representation of women’s suffering under patriarchy and their status as victims. Although the exposure of gendered suffering is important, these studies often fail to take into consideration the female characters’ agency and survival strategies, including how they go about rebuilding lives and identities in the aftermath of violence. This thesis argues that the fictional texts of other, lesser known Zimbabwean authors are similarly worthy of critical scrutiny, yielding as they can important insights into female characters’ resistance to gender violence. The current study analyses Zimbabwean women writers’ literary contributions to discourses on gender-based violence and explores how female characters have embraced the concept of agency to recreate their identities and to introduce a new gender ethos into the contexts of lives that are often shaped by severe restrictions and oppression. Violence is a phenomenon that is always shaped by specific cultural, ideological and socio-economic forces. As the study shows, characters’ identities are constituted by the complex intersections of a number of markers of difference, including their gender, race and class. This study thus regards identity as intersectional and takes all these factors into consideration in its analysis of the representations of violence and resistance in the selected texts. The study also aims to determine whether these literary representations offer any solutions to the difficulties of characters affected by or living with violence. The works critiqued are Lillian Masitera’s The Trail (2000), Valerie Tagwira’s The Uncertainty of Hope (2006), Virginia Phiri’s Highway Queen (2010) and Violet Masilo’s The African Tea Cosy (2010). / English Studies / D. Litt. et Phil. (English)

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)

This thesis explores the role and positionality of three Black public intellectuals in post-94 South Africa, namely, Simphiwe Dana, Ntsiki Mazwai and Sisonke Msimang. For the purpose of this study, I analysed the twitter postings shared by these intellectuals on various social matters that concern the condition of the Black in post-94 South Africa. Using Fanon’s Native Intellectual Consciousness as a lens, the study seeks to capture and evaluate an emergent form of ‘cyber’ activism in the country. The main argument of this thesis is that, the concept and function of intellectualism must undergo a complete overhaul, beginning with the accommodation of more voices, particularly those of oppressed Black women. For this reason, the study is based on three Black women and seeks to dismantle the colonial lens through which Black women are studied This study not only historicises Black women as producers, users and custodians of knowledge but it also situates their lived experiences as relevant ‘knowledges’ albeit ignored in discourse. Moreover, the study is not only a form of epistemic protest against epistemic racism, but it is also a form of Black positioning in communication studies. I therefore posit that, Black Twitter is the communicative plane on which blackness performs and articulates itself, for itself. For this purpose, I conceptualise Black Solidarity within Communication studies; a field that often pretends to be only marginally affected by issues of race. This study contributes to Communication Studies, a new, raw and altruistic way of studying blackness by allowing it to think, and speak through its pain as opposed to the usual pathologising white gaze. Using the decolonial concept of a traditional Imbadu as the methodological aspect in conducting this study, I observe that even in the face of debilitating colonial hangover, blackness persists through those intellectuals whose intergenerational trauma forces them to think and speak from Blackness. The chosen intellectuals who are feminists by choice, think and speak from Blackness albeit being silenced by oppression. As such, the study itself is a pedagogical contradiction to the orthodox axiology of a detached scholar and hence written in the autobiographical form. / Communication Science / D. Phil. (Communication)

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According to Skolverket, the Swedish school has two missions: conveying knowledge and teaching values. These values are taught through the common principles (värdegrund) and instruct students about democratic values and human rights. However, Skolverket also reports that students lack such knowledge. Therefore, this essay aims to create a module with the main purpose of formulating and teaching the common principles, by using Phaswane Mpe's Welcome to Our Hillbrow, a text with the ability of presenting ethical issues whilst also making the reader respond to them. To achieve this, the values of the common principles will be extracted with the help of virtue ethics, which creates a conjunction with the book, where three topics are selected: sexism, gender identity and societal transformation. Virtue ethics, representing the common principles, together with Adichie’s definition of African feminism inform the analysis of sexism and gender inequality in the book and show how they are prevalent and extensive. Societal transformation is conceptualised and investigated through the use of narratology. Sexism and gender inequality are located in the horizontal plane of an arena, where the vertical expansion of narrative levels creates the urge for societal transformation. Such an expansion is made possible by an implied author, which provides the effect needed for reader inclusion. As such, Welcome to Our Hillbrow is described to entail an ethical challenge, that forces a responsible reader to emerge. Issues of sexism and gender inequality are then used together with the arena of societal transformation to construct a module in English 7, where students may themselves become reasonable readers through a process of critical self-reflection, a vital part of virtue ethics. This is done by employing Socratic and deliberative dialogue and an affective-humanistic approach, which together promote democratic values and human rights.

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Sierra Leone is in transition to peace and development, from a previous decade long civil war. Educated Muslim women appear to have a great deal of expression, interest and passion to offer the process. The study investigates the new emerging social sub group of professional Muslim women in Sierra Leone society and explores their views and experiences of identifying and attempting to overcome the burdens of patriarchy, oppression and exploitation perpetrated by religious, social and cultural beliefs. The research and thesis consider in what ways these women and their views ‘fit’ in or challenge society and their perceptions of the potential they have as models to impact on the lives of Sierra Leonean Muslim women nationwide. Using feminist influenced research practices in order to focus on the stories and voices of these women, the study contributes to the growth of knowledge related to the emergent changing roles and perceptions of Muslim women in present day Sierra Leone. This qualitative and interdisciplinary research develops a critical focus and deliberately combines literary sources in an informative context, with feminist research methods of interviews and focus groups on issues of gender equality and empowerment. Through the interviews and focus group discussions conducted, the research portrays the perceptions of the emerging social sub group of professional Muslim women, a cross section of grass-root Muslim women and a selection of male Muslims regarding empowerment, knowledge, culture, independence and oppression. These are also illustrated as the ways the participants embrace the concept of feminism and adapt it by drawing on their Sierra Leonean, Islamic, cultural and social traditions. The research examines the various ideologies that stifle the growth of Sierra Leonean Muslim women from their perspective and it analyses the strategies used by the professional women to tackle the oppressive and repressive customs and stand up against patriarchy. It was discovered through the findings that the research gives an insight into the determination and the conviction of professional Muslim women in advocating for social change and in making their voices heard. As an outcome, it is evidenced that this emerging social sub group of Muslim women appear to be inspiring self-development moves and changes not only among the uneducated grass-root majority, but in the fold of their Muslim men-folk, resulting in a visible impact of self development and self empowerment among Sierra Leonean Muslim women.