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abstract: These five stories present and trouble a question that has been posed in literature from courtly love poetry to Romantic anti-heroes to the writing born of Twentieth Century human and civil rights movements: what if one's individual desires are greater than or different from what she is allowed by her world, or half her conscience? Where should her fidelity lie? Unrepentant transgression and the penance one must endure after such a choice: in one way or another that recognition and impulse, and the aftermath of following it, is the force that moves characters through these stories. The stories are of romantic love, and the love is both literal unto itself and an allegory: the question of fidelity has to do with the self, as the characters' choice to attain the lover, in each case, is also an attainment of the self because it is an assertion of the "rightness" of individual desire against the decrees of a greater system. The "crossing" thus refers to that of boundaries: the characters make choices to push or break through what is sanctioned and what is untried; they transform; they become from one self into another as they resolve to defy, love, and simply be, drawing new lines through and around their worlds. / Dissertation/Thesis / M.F.A. Creative Writing 2012

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The doors of culture shall be opened is an audio-visual exhibition and self-reflexive research project that unpacks transnational identity, historical entanglements, and the living archive, through Medu Art Ensemble as the case in point. The project expands on the relationship ‘between Medu and Me', as a method of engaging fragments of the archive, the construction of history, and identity formation across Botswana and South Africa. As the culmination of research and fieldwork in Gaborone and Cape Town from 2019 to 2021, the title of the exhibition references a Medu poster once housed in the University of Cape Town's Special Collections Library. The project aims to unpack and sound a space that centres dislocation, by providing some analysis of the post-traumas of Botswana in the anti-Apartheid struggle, with an emphasis on lived experiences, as well as oral traditions of storytelling and radio. The exhibition and accompanying research document work together to present creative and scholarly ideation of the relationship between art and history in contemporary Botswana and South Africa. With a look at history as circular and cyclical, the project uses a narrative tone in order to engage in an open dialogue with fragments of the archive. In this way, I map the interconnected timelines of individual and collective memory, using photography, sound, installation and sculpture (namely ceramics and assemblage). With a focus on Medu, I engage an extended conversation of Botswana's national history as entangled with aspects of South Africa's. By tracing a coming-of-age story of identity formation across neighbouring nation-states, I simultaneously unpack transnational identity through an exploration of the living archive. With a look at sound as spatialised and socialised, I reengage the interlocutors of history, as in circular motion with my individual present and collective future.

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