Denna uppsats undersöker diskursen kring Linnémonumentet i Humlegården, Stockholm och Louis De Geer-statyn på Gamla Torget, Norrköping, samt diskuterar vilken betydelse skulpturerna fick under Black Lives Matter-demonstrationerna år 2020 i relation till antirasism och historiska företeelser av 'damnatio memoriae'. Med ett postkolonialt och kritiskt rasteoretiskt perspektiv syftar denna uppsats till att framhäva och analysera de resonemang som tog mest plats under debatten, centrerat kring antirasistiska och icke-vitas röster. Genomgående används därav den kritiska diskursanalysen och semiotiken som metoder för att skapa en förståelse kring auktoritet, samt att belysa det svenska samhällets syn på sin koloniala historia och lyfta diskussionen kring bland annat ras, klass, kön och makt i förhållande till den offentliga konsten. Uppsatsen resonerar sålunda hur offentliga och publika platser i samhället kan avkolonialiseras med avsikt att skapa ett hem för oss alla. / This thesis examines the discourse regarding the Linnaeus Monument in Humlegården, Stockholm, and the Louis De Geer statue at The Old Square, Norrköping. It further analyzes the significance that sculptures gained during the Black Lives Matter demonstrations in 2020, in relation to anti-racism and historical phenomena of 'damnatio memoriae'. With a theoretical framework of postcolonialism and critical race theory, this thesis aims to highlight and analyze the reasonings that were central during the debate, focusing on anti-racist and people of color's voices. Thus, critical discourse analysis and semiotics are used as methods to create an understanding of authority and to shed light on Sweden's own view of its colonial history and elevate the discussion concerning race, class, gender, and power, etcetera, in relation to public art. The thesis, hence, argues how public places in society can be decolonized with the intention of creating a home for all of us.

The beauty industry has been booming in the last few years, generating immense profits as it now translates into an Internet global beauty culture in its own right that finally made room for women of color. As research barely mentions African women and their diasporas, this study aims to critically analyze the dynamic of this North American-dominated Internet beauty culture celebrating non-white women, looking at how it impacts African women and their diasporas and participates in affirming a global woman of color through commodity capitalism.  Based on discourse analysis of multiple actors in the industry using popular culture sources, I then conducted a critical feminist autoethnography of my beauty journey, put in perspective with the results of decolonial interviews with African and African diaspora women recruited online. I asked about their relationship with the beauty industry and their opinions on some arguments I made. Self and collective analysis demonstrated the emergence of an African diasporic hybrid beauty culture, empowering women to feel like actors of change.

The following thesis examines the process of identity making in the novels Stolen (2021) by Ann-Helén Laestadius and Polar Fire (2021) by Moa Backe Åstot. By a comparative thematic analysis of the texts, and through concepts from postcolonial and decolonial theory, the thesis investigates the challenges for two Sámi youths in a contemporary Sápmi setting as they try to renew the image of Saminess. The analysis explores how aspects such as indigeneity, strategic essentialism, gender and sexuality influence the young characters Elsa and Ánte in their attempts to become independent reindeer herders. Elsa and Ánte are constantly reminded of the history and traditions of the Sámi people, which is filled with both pride and shame. Indeed, the thesis also takes into account the history of the Swedish church and the Swedish government's involvement in Sámi societies, such as the Sámi boarding schools that resulted in family separations and loss of language, and reindeer herding regulations that still affect the Sámi community today. The analysis concludes that history, government policies and strict interpretations of Sámi traditions are interwoven with contemporary Sámi culture, and thus affects the young protagonists as they try to navigate between the inherited collective struggle of their ancestors and their individual needs when it comes to shaping their own Sámi identity.

This thesis addresses the pervasive influence of coloniality in the lived experiences of asylum seekers in the Netherlands. Based in intersectional and decolonial feminist theories and methodology, my aim was to centre the silenced narratives of this marginalised group. By highlighting the conditional nature of hospitality, which perpetuates the asymmetrical power imbalance between the superior ‘host’ and inferior ‘guest’, the aim was to show how coloniality impacts the social and ethical dimension of the lives of asylum seekers in the Netherlands. Simultaneously, I tried, together with the research participants, to find decolonial options to resist this coloniality, while proposing alternatives for a more humane and equitable decolonial otherwise. After conducting conversations with six asylum seeker men, I found that they face multiple colonial encounters on a daily basis, presenting in exclusionary patterns of racialization and victimisation, systems of control that erode their agency, while leaving them in a liminal state of uncertainty. With the use of thematic analysis, I concluded that decolonial resistance against this means the right to speak out, the right to refuse assimilation and the establishment of community that is grounded in relationality and pluriversality, rejecting the conditional nature of the existing colonial system, while welcoming everybody not as just guests, but as full members who are capable of co-creating a better, hospitable society and decolonial future.

This study concerns itself with how Afrikan masculinities were (perspective on the past), what they are now (perspectives on the present) and what they can, ideally, become (perspectives on the future). By employing a decolonial and Afrocentric approach of deconstructive and critical theory, transdisciplinarity and Afrikological perspectives, the study’s objective is to understand the impact of coloniality on Afrikan masculinities. Coloniality, in this context, refers to the impact of historical colonization, enslavement, Apartheid on (South) Afrikan societies, including how the after-effects and their multiple consequences for changes in (South) Afrikan culture, economy, politics, communities, families and individuals have impacted on the notions about, and roles of, Afrikan men. Further to this, the study seeks to understand the role of Afrikan culture in shaping solutions to problems identified, in the form of an innovative philosophy of education towards relevant Afrikan masculinities. Applying Participatory Action Research (PAR) as research methodology, the study examines how Afrikan masculinities are seen, understood and envisioned by Afrikan men and women. Empirical research was conducted with a co-research team in Mangaya village, Thulamela Municipality in Limpopo Province, South Afrika. Findings from the study were coded, cross-analysed, triangulated with literature and a number of discussions and dialogues, and eventually developed into concepts for emerging theory and practical interventions. The study found that many Afrikan men are caught between expectations to what they should become and systemic obstacles to fulfil these expectations. As a result of colonial injustices – and their many after-effects, many Afrikan men have become confused about their identity, irresponsible in their behavior, “broken” in their self-perception (and in the eyes of the world) and in deficit of Afrikan values as guidelines for meaningful, Afrikan manhood. Essential solution-concepts found were for Afrikan men to deepen their self-knowledge, seek healing, empowerment and engage in re-learning of indigenous guidelines. These concepts have been expressed through nine lessons, serving as an innovative, educational philosophy for Afrikan manhood. A mixtape featuring brief, motivational messages for young Afrikan men against a musical soundtrack was produced as a direct outcome of the study. / Educational Studies / D. Ed. (Philosophy of Education)

Text in English with abstracts in English, Sesotho, isiZulu and Afrikaans. Translated titles in Sesotho, isiZulu and Afrikaans / In the thesis, I critically examine the art acquisition policy of the Unisa Art Gallery (UAG) during and after apartheid in South Africa. The Unisa Art Gallery acquisition policy (UAGAP) is investigated against the transformation imperatives as informed by national policies on arts and culture. I take the view that the process of art acquisition does not exist outside of the sociopolitical discourse. Although the thesis is registered in the subject of Art History, the research adopts a multidisciplinary approach as it straddles the domains of visual art and cultural policy. Therefore, its focus on acquisition policy requires a combination of methodologies that can accommodate the intended research objectives. The study is based on the hypothesis that the collecting of art and acquisition policies are still untransformed from the Eurocentric paradigm of thought. I adopt Afrocentricity and decoloniality as theoretical frames of analysis. University museums are public cultural institutions, and the South African Constitution guarantees the right to culture. Therefore, the reluctance of public institutions to uphold the imperatives demonstrates a level of resistance to transformation. In the study, I investigate circumstances that influence the positive or negative way the UAGAP seemingly responds to the socio-economic and political imperatives of national policies in post-apartheid South Africa. Data analysis shows that there is no explicit relation between the White Paper on Arts, Culture and Heritage (WPACH) (DAC 1996) and the UAGAP. Another finding is that artworks collected in the past were mainly informed by epistemologies which were predominantly Eurocentric, whereby especially the black society has little or no say in the development of university museum policies. Lastly, the perception of arts practitioners is that the pace of transformation of university art collection policies is slow. The findings give rise to a recommendation that government should go beyond “the arms-length approach” (Deacon 2010) in the transformation of arts institutions, and intervene. Another recommendation is that unless the government White Papers are translated into law, they will continue to be ignored by public institutions. / Kule thesisi, ngiphenya ngendlela egxekayo ukutholakala komsebenzi wobuciko. Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Africa (Unisa Art Gallery) ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo eNingizimu Africa. Umgomo omayelana nokutholakala kwemisebenzi yobuciko yesikhungo Sombukiso Wobuciko eNyuvesi yaseNingizimu Africa uphenywa kubhekwe kwezinto ezinhle ezilethwa yizinguquko njengoba lokhu kugunyazwa yimigomo yezwe kwezobuciko kanye namasiko. Ngithatha umbono othi uhlelo lwezokutholakala kobuciko alwenzeki ngaphandle kwemithelela yezenhlalakahle yabantu kwezepolitiki. Yize ithesisi ibhaliswe kwisifundo soMlando weZobuciko, ucwaningo lwamukela indlela equkethe izifundo eziningi njengoba le thesisi ifinyelela emikhakheni yomsebenzi wobuciko obukwayo kanye nakumgomo wosiko. Ngakho-ke, impokophelo yale thesisi kumgomo wokutholakala komsebenzi wobuciko ifuna inhlanganyela yezindlela zokuhlaziya ezingaxuba phakathi izinhloso zocwaningo eziqondiwe. Ucwaningo lususelwa kwihayiphothesisi/isihlambiselelo esithi imigomo emayelana nokuqoqwa kwemisebenzi yobuciko kanye nokutholakala kwemisebenzi yobuciko ayikaguquki kwizimpande zemibono yaseNtshonalanga/yaseYurophu. Ngamukela imibono egxile kubu-Afrika nemibono eqeda ubukoloni njengezinhlaka zemibono yokuhlaziya. Izikhungo zokugcina amagugu asenyuvesi zingamaziko wamasiko omphakathi, kanti uMthethosisekelo waseNingizimu Afrika unikeza ilungelo lokwenza usiko. Ngakho-ke, ukuba manqikanqika kwamaziko ombuso ukuphakamisa ubuhle bamasiko ngokuhlukahlukana kwawo njengokomgomo kukhombisa izinga lokunqaba ushintsho. Kulolu cwaningo, ngiphenya izimo ezinomthelela phezu kwendlela enhle noma embi uhlelo lwe-UAGAP elibonakala libheka ngayo nezindaba ezimayelana nenhlalakahle yabantu kwezomnotho nakwezepolitiki, ezindabeni zemigomo yezwe esikhathi sangemuva kombuso wengcindezelo eNingizimu Africa. Ukuhlaziywa kwedatha kukhombisa ukuthi abukho ubudlelwane obubonakalayo phakathi kwe-White Paper kwezoBuciko, ezamaSiko kanye nama-Gugu (WPACH) (DAC 1996) kanye nohlelo lwe-UAGAP. Okunye okutholakele ukuthi imisebenzi yobuciko eqoqwe esikhathini esedlule beyincike kakhulu kuma-ephistemoloji ebegxile kwingqubo yase-Yurophu/yaseNtshonalanga, kanti-ke, umphakathi ompisholo ikakhulu akukho nokuncane noma akukho ongakukhuluma mayelana nemigomo yokuthuthukiswa kwezikhungo zokugcina ubuciko bamagugu. Okokugcina, umqondo wabasebenzi kwezobuciko uthi izinhlelo zezinguquko zemigomo yokuqoqwa kwemisebenzi yobuciko emanyuvesi zihamba ngonyawo lonwabu. Ulwazi olutholakele kucwaningo luphakamisa isinqumo sokuthi uhulumeni kufanele asebenze ngomgomo owodwa “the arms-length approach” (Deacon 2010) kuhlelo lwezinguquko kumaziko obuciko, bese angenelele. Esinye isinqumo ukuthi ngaphandle kokuthi ama-White Paper kahulumeni ashicilelwe abe wumthetho, amaziko ombuso azoqhubeka nokuwashaya indiva. / Mo polelotheong eno, ke tlhatlhobile pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Unisa (UAG) ka tsela ya tshekatsheko ka nako ya, le morago ga tlhaolele mo Aforikaborwa. Pholisi ya phitlhelelo ya Lefelo la Botsweretshi ya Unisa (UAGAP) e batlisisiwa e bapisitswe le ditlhokego tsa phetogo jaaka di kaelwa ke dipholisi tsa bosetšhaba tsa botsweretshi le setso. Ke akanya gore tirego ya phitlhelelo ya botsweretshi ga e diragale kwa ntle ga puisano ya politiki ya loago. Le fa e le gore polelotheo e kwadisitswe mo setlhogong sa Hisetori ya Botsweretshi, patlisiso e tsaya boitlhagiso jwa melebomentsi jaaka fa e paraletse mo mefameng ya botsweretshi jwa pono le pholisi ya setso. Ka jalo, go tota ga yona pholisi ya phitlhelelo go tlhoka motswako wa mekgwa e e ka amogelang maikemisetso a patlisiso a a lebeletsweng. Thutopatlisiso e ikaegile ka tshitshinyo ya gore dipholisi tsa kokoanyo le phitlhelelo ya botsweretshi di sa ntse di sa fetoga go tswa mo mogopolong wa setso sa Yuropa. Ke tsaya boikaego jwa Aforika le tloso ya bokoloniale jaaka letlhomeso la tiori la tokololo. Dimusiamo tsa diyunibesiti ke ditheo tsa setso tsa setšhaba, mme Molaotheo wa Aforikaborwa o sireletsa tshwanelo ya setso. Ka jalo, go belaela ga ditheo tsa setšhaba go tsweletsa ditlhokego go bontsha go kgaratlha kgatlhanong le diphetogo. Mo thutopatlisisong, ke batlisisa mabaka a a tlhotlheletsang mokgwa o o siameng gongwe o o sa siamang o go lebegang e kete UAGAP e tsibogela ka ona ditlhokego tsa ikonomiloago le sepolitiki tsa dipholisi tsa bosetšhaba tsa Aforikaborwa ya morago ga tlhaolele. Tokololo ya data e bontsha gore ga go na kgolagano e e tlhamaletseng magareng ga Pampiritshweu ya Botsweretshi, Setso le Ngwaoboswa (WPACH) (DAC 1996) le UAGAP. Phitlhelelo e nngwe ke ya gore ditiro tsa botsweretshi tse di kokoantsweng mo nakong e e fetileng di ne di ikaegile bogolosegolo ka diepisetemoloji tse di neng di na le phekeetso e kgolo ya setso sa Yuropa, moo tota setšhaba sa bantsho se nang le tshwaelo e e seng kalo gongwe se se na tshwaelo epe mo go tlhamiweng ga dipholisi tsa dimusiamo tsa diyunibesiti. Kwa bokhutlong, kakanyo ya badiragatsi ba botsweretshi ke gore kgato ya diphetogo ya dipholisi tsa kokoanyo ya botsweretshi jwa diyunibesiti e bonya. Diphitlhelelo di baka katlenegiso ya gore puso e tshwanetse go dira go feta “molebo o o sa gateleleng taolo gongwe tekanyetso” (Deacon 2010) mo diphetogong tsa ditheo tsa botsweretshi, mme e tsereganye. Katlenegiso e nngwe ke ya gore kwa ntle ga gore Dipampiritshweu tsa puso di fetolelwe go nna molao, ditheo tsa setšhaba di tlaa tswelela go di ikgatholosa. / In hierdie tesis ondersoek ek die kunsaankoopbeleid van die Unisa Kunsgalery (UKG) tydens en ná apartheid. Die kunsaankoopbeleid van die Unisa Kunsgalery (KABUKG) word volgens die nasionale transformasiebeleid oor kuns en kultuur beoordeel. Kunsaankope staan na my mening nie los van die sosiopolitieke diskoers nie. Ofskoon hierdie tesis onder die vak Kunsgeskiedenis ingeskryf is, word ʼn multidissiplinêre benadering gevolg aangesien die navorsing die terrein van die visuele kunste en dié van kultuurbeleid bestryk. Om die navorsingsdoelwitte te behaal, is ʼn kombinasie van metodologieë dus nodig. Die studie berus op die hipotese dat die versameling van kunswerke en die aankoopbeleid steeds Eurosentries gerig is en nie getransformeer het nie. Ek neem Afrosentrisiteit en dekolonialiteit as teoretiese ontledingsraamwerke. Universiteitsmuseums is openbare kultuurinstellings en die Suid-Afrikaanse Grondwet waarborg burgers die reg op kultuur. Openbare instellings se onwilligheid om die opdragte uit te voer, dui op ʼn weerstand teen transformasie. Ek verken die omstandighede wat bepaal hoe die KABUKG ná apartheid op die sosioëkonomiese en politieke opdragte reageer. Die dataontleding toon dat daar tussen die Witskrif oor Kuns, Kultuur en Erfenis (WKKE) (DAC 1996) en die KABUKG geen verband bestaan nie. Voorts is bevind dat kunswerke wat in die verlede aangekoop is, oorwegend Eurosentries was. Buitendien het swart mense tans weinig of geen seggenskap in universiteite se museumbeleide. Ten slotte is die tempo waarteen universiteite se aankoopbeleide transformeer volgens kunspraktisyns uiters traag. Daarom word op grond van die bevindings aanbeveel dat die regering sy armlengtebenadering (Deacon 2019) tot die transformasie van kunsinstellings laat vaar, en ingryp. As witskrifte nie wet gemaak word nie, sal openbare instellings aanhou om hulle te ignoreer. / Arts and Music / D. Phil. (Art)