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Arts and censorship in South Africa 1948-2000Allard, Raymond H. January 2000 (has links)
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art(Printmaking), Technikon Natal, 2000. / This dissertation is concerned with the effects of censorship on the arts community during the apartheid era in South Africa, and in the post apartheid era that followed. Through interviews and various sources, a picture will be presented that examines the contrasts and similarities of the two eras. Chapter One will present an overview of South African history, from its beginnings in 1653 to the first popular election in 1994. It will show how the religious beliefs and accompanying attitudes of the in-coming colonialists created a social atmosphere in which the system of apartheid was able to flourish and grow. It will also show how apartheid ultimately crumbled under pressure from growing resistance and violence among the people it sought to control. Chapter Two is comprised primarily of the results of several interviews with selected artists, showing how the various individuals thought about censorship, how they dealt with all the restrictive laws, and how they were able to pursue their art making under these conditions. Personal experiences illuminate the effects of such censorship, and opinions about the value and necessity of censorship are summarized. Various of the interviewees talk specifically about what actions they took under the apartheid regime, and how they viewed, and continue to view, the role of the artist in society. Chapter Three uses several case studies to illustrate what is currently happening concerning censorship and art in the post-apartheid era. Opinions and reactions to current conditions will be presented, and specific instances of censorship or attempted censorship will offer a comparison with the previous era. This will illustrate how much liberty artists today enjoy in South Africa. Several significant issues are raised by such examples; Issues of potency and importance to any culture. Finally, the artists themselves look ahead, and provide a picture of the future for arts in this society . / M
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The democratisation of art CAP as an alternative art space in South AfricaLochner, Eben January 2011 (has links)
While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.
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Political grey : areas of ambiguity and contradiction / PositionsKoekemoer, Carmen January 2014 (has links)
This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.
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Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kunsDe Kock-Wiesener, Cornelia 12 1900 (has links)
Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study
specifically focuses on drawings of the South African landscape and how it led to
knowledge of our country. The Western perception of the concept of nature in relation to
culture or civilisation is investigated by brief reference to a few periods in Western
history. It is argued that man and nature was separated in Western thought by the
establishment of rational thinking. This concept led to man's exploitation of nature to his
own advantage. The division between man and nature was broadened in the quest for
technological advancement. The first European travellers came to South Africa with a
Western mind set, hoping for better economical conditions. The illustrated traveller's
report reflects the verbal and visual capturing and exploitation of the South African
landscape. It is further argued that European travellers tried to structure the landscape
according to Western aesthetical traditions. Drawings appear to be picturesque but have
radical political, economical and social implications. Colonial depictions created
knowledge, but in fact symbolically legitimise the expansion of power. Until the middle
of the twentieth century Western aesthetic traditions were applied to visual depictions of
the South African landscape. During this period, artists were uncritical of the oppressive
political system and in doing so gave their tacit consent. Ever since the middle of the
twentieth century, several artists voiced their opinions against the unfair policy of the
ruling political party. Visual images asked subtle questions and gave radical judgements;
thus knowledge was created and a contribution made to the freedom of all South
Africans. My drawings of South African landscapes are to be understood against this
theoretical background. I use drawings to ask questions about the relationship between
the visual image and the establishment of knowledge. I also refer to the relationship
between the original and the copy, reality, the photo and the drawing. I conclude the
following: drawings lead to the creation of knowledge and landscape depictions have
implications of power. The solution to this problem lies, in the end, once more III
drawings.My depictions of South African landscapes are given as an answer. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees.
Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot
die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in
verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar
periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die
mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het
daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die
natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper
geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n
Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese
vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die
Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers
die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies,
probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese,
ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid
magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die
twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap.
Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in
werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die
twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid
van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale
uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid-
Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese
agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele
beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen
oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge
kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe
magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge.
My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
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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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Decolonising the figure of Sophie : a Fanonian analysis of Mary Sibande’s contemporary visual artworksNkosinkulu, Zingisa 12 1900 (has links)
My study is a theoretical intervention of the South African contemporary visual art of Mary Sibande. It focuses on the figure of Sophie representing the maid in three series; namely, Sophie-Elsie, Sophie-Merica, and Sophie-Velucia. The study applies Frantz Fanon’s thought to the understanding of the figure of Sophie while emphasising the themes of naming, the human subject, and presence-absence. The theoretical framework of this thesis is a decolonial epistemic theory, which is used as a lens to understand Fanon’s political
thoughts. I argue that the themes of naming, human subject, and presenceabsence are inherent in Fanon’s thought. These thematic areas give a better understanding of the existential questions of the figure of Sophie in the antiblack Manichean world. It is important to unpack the figure of Sophie as a Manichean figure who represents the crossing of two different worlds – the white world and the black world, Africa and Europe. The study highlights the importance and relevance of reviving Fanon’s thought concerning decolonial contemporary African art and establishing other tools of interpretation necessary to understand decolonial aestheSis. The thrust of this thesis is to
deploy decolonial epistemic theory as a theoretical framework to the Fanonian understanding of the figure of the three Sophies that embody the modern/colonial predicament of the figure of the maid and blackness. / Art History, Visual Arts and Musicology / Ph. D (Art)
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