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Writing white on black : modernism as discursive paradigm in South African writing on modern Black artVan Robbroeck, Lize 03 1900 (has links)
Thesis (PhD (Visual Arts))--University of Stellenbosch, 2006. / In this thesis I deconstruct key concepts, terminologies, and rhetorical conventions employed in white South
African writing on modern black art. I trace the genealogy of the dominant discursive practices of the
apartheid era to the cultural discourses of the colonial era, which in turn had their origins in the
Enlightenment. This genealogical tracing aims to demonstrate that South African art writing of the 20th
century partook of a tradition of Western writing that was primarily intent upon producing the Western
subject as a rational Enlightenment agent via the debased objectification of the colonial Other. In the
process of the deconstruction, I identify the most significant discursive shifts that occurred from the 1930’s,
when the first publications emerged, to the 1990’s, when South Africa’s new political dispensation opened
up a different cultural landscape.
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Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)Botma, Gabriel Johannes 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger
during a period of radical transformation in South African society. The study is conducted
within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of
cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory
framework. While Bourdieu uses cultural capital in the main to describe the role of education
and culture in the maintenance of elite power hierarchies, this study investigates how the
nature of cultural capital at Die Burger was affected by power shifts when competing elites
jostled for dominance in a post-apartheid dispensation.
By drawing on Michel Foucault’s theory of discourse, the focus of research further
incorporates the discursive positioning of arts journalists in their coverage of arts and cultural
events in the 1990s in relation to shifting configurations of power. The argument is that arts
journalism at Die Burger can be situated within networks of power and thus contributed to the
structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists
became involved in hegemonic and counter-hegemonic struggles.
Flowing from these theoretical departure points, the study identifies critical discourse analysis
(CDA) as an appropriate research method for textual analysis and adapts a five-phase model
suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus
focuses in turn on the context of discourse, discursive struggles between arts journalists and
political journalists, strategies of classification used by arts journalists, emerging themes of
discourse in arts journalism, and how the selection and presentation of arts journalism on
news and arts pages were influenced by various factors, including the personal background
and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect
triangulation and enhance the textual analysis, the study also employs semi-structured indepth
interviews with arts journalists who were prominent at Die Burger in the 1990s.
The study found that arts journalists were at the intersection of different and often diverging
and contradictory power-points in post-apartheid discourses at the newspaper. On the one
hand, some arts journalists embraced a legacy of editorial independence at the arts desk and
sometimes created oppositional discourses to the official political view of the newspaper: for
instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in
supporting the National Party (NP) during apartheid. On the other hand, many arts journalists
shared the editor’s apparent aversion to the international cultural boycott supported by the
ANC and harboured some of the same skepticism about the so-called Africanisation of society
and resultant attacks on Eurocentrism in the arts.
This study -- the first on this level to focus on Afrikaans arts journalism since 1994 --
represents a significant contribution to knowledge in the under-researched field of arts
journalism in South Africa. Its purpose and process has furthermore developed theoretical and
methodological innovations which can enrich the field of journalism studies. / AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering
en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in
die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele
kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie.
Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van
opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie
studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings
waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het.
Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing
dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure
in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne
magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid
samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd
om hegemonie te skep en teen te werk.
Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as
navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering,
aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die
diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie
wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in
kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur
verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding
van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die
teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente
kunsjoernaliste aangelê.
Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself
op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag
bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele
onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde
“kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en-
Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale
Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle
kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot
wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde
Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns.
Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek
sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika.
In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die
veld van joernalistiek-studies kan verryk.
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The iconology of Women's paraphernalia among the Ntwane.Friedman, Hazel Deborah January 1992 (has links)
A dissertation submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the Degree of Master of Arts. / This dissertation is a study of the iconology of paraphernalia
produced by women, among the Ntwane. It represents the
culmination of primary field research into the matelial
culture of this group, as well as supplementary research
conducted at the Africana Museum in Johannesburg, the South
African Museum in Cape Town, the National Museumin B1u~!mfontein
and the Duggan-Cronin Museumin Kimberley.
My investigative methods consisted of unstructured interviews
with both married and unmarried members of the Ntwane
community at :Kwarrielaagte. Although the focus of my
research was primarily on paraphernaIia produced and worn by
women, I also interviewed Ntwane men in order to obtain a
variety of interpretations and opinions as to the 'meanings'
of the objects and traditions under analysis.
In addition to the above mentioned field work and gallery
research, I consulted a wide range of literature on critical
theories, auch as marxism, structuralism end paststructuralism,
141 order to supplement my methodological approach
to the iconology of women's art among the Ntwane. It
also referred to literature on a number of traditional South.
African groups, such as the Pedi and Ndebele. in order to
identify the cross-cultural influ8nces between these groups
and the Ntwane. The literature on these closely related
However, this definition constitutes a gross oversimplification of the
concept, for it doe) not allow for a shift in aesthetic criteria from
culture to culture. It establishes the concept 'aesthetic' as an absolute,
whereas in actuality, it is a value-laden term, whose problems
of definition are exacerbated '.men attempting cross cultural research.
It is therefore necessary at the outset of this dissertation to formulate
a working definition of 'aesthetics' within the context of the
Ntwane. It is suggeuted that the aesthetic componsnts of Ntwane objects
include style. technique and medium, but extend beyond their formal
qualities into activities such as ritual and custom. The socio-cultural
activities performed by the Ntwane may be regarded as intrinsically significant
to the formal characteristics of their paraphernalia. It may
therefore be argued that their objects are the concrete. tangible
manifestations of a set of underlying constructs. expressed in adherence
to particular conventions of representation; furthermore, that the
reduction of the aesthetic component of Ntwane objects to merely an ase
ssment; of their formal criteria, would constitute an impoverishment
of their levels of meaning. A formalist approach to the art of Ntwane
women also fails to consider issues of change in the form and function
of their paraphernalia and the effects of broader social transformations
on the material culture of the Ntwane.
Chapter One of my dissertation will comprise a brief survey of the
literature on the Ntwane. In addition to identifying the existing information,
methodological gaps in the literature will be mentioned. It is
the partial aim of this dissertation to "fill in" some of the gaps by
groups helped to shed light on signitficant aspects of Ntwane
material culture, which in turn, provided me with greater
insight into the iconology of their paraphernalia. / Andrew Chakane 2018
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The contributuion of the community arts centre to capital building for socio-economic development in South AfricaHagg, Gerard 30 November 2003 (has links)
The concepts "capital building" and 'Institutionalisation" are analysed and applied to
community arts centres as instruments for socio-economic development (SED) in South
Africa. Theories of neo-classicism, Marxism, development economics and socio-economic
development show that building physical, financial, human, social and cultural capital in a
complementary configuration is crucial to sustainable socio-economic development. The
concept "capital building for SED" is formulated in this regard. New institutional economics
and critical extensions of this theory show that institutions play a key role in capital building
for SED, as they entail embeddedness, normativity, e-ntreprcneurship, partnership, structure
and complementarity. The arts sector contributes considerably to capital building for SED, in
particular arts centres in marginalized communities in the UK, USA and South Africa.
Community arts centres built political, cultural and human capital in black townships during
the South African democratic struggle (1950-92). In accordance with proposals from the arts
sector, the post-1994 South African government developed 42 arts centres. However, the
contribution of most old and new centres to socio-economic development appears to be
insignificant and few are sustainable. The causes of failure are difficult to explain due to lack
of information and theory. Through the application of a theoretical framework to the South
African arts sector and three case studies the hypothesis is tested that community arts centres
can contribute considerably to capital building for SED if they are appropriately
institutionalised, while an appropriate focus on capital building for SED results in stronger
institutions. An analysis of arts sector shows that strong institutions achieve high returns on
investments in capital building, but that few benefit the poor. The application of an analytical
matrix consisting of indicators of the above-mentioned five types of capital and six
institutional components, shows significant positive correlations between the levels of
inslitutionalisation and capital building for SED in the Community Arts Project, the
Katlehong Art Centre and ArtsforAIl. The findings result in recommendations on policy and
practice of community arts centre development in South Africa. / Development studies / D. Litt. et Phil. (Development Studies)
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Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South AfricaRoss, Wendy 30 November 2005 (has links)
The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people
and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change
is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social
upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical
and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of
life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning
of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces.
The study provides a historical context and development of new trends in public and collaborative community arts, contextualises
the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment
and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of
social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)
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Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South AfricaRoss, Wendy 30 November 2005 (has links)
The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people
and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change
is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social
upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical
and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of
life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning
of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces.
The study provides a historical context and development of new trends in public and collaborative community arts, contextualises
the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment
and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of
social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)
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Repositioning the problematic gender formation of a generation of white South African men through performance artSwanepoel, Andrew Peter 08 1900 (has links)
An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions.
In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military.
I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men. / Art History, Visual Arts and Musicology / M.V.A.
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