D. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / Studies on art made by women have been deprived of their place in the history of art, globally, however, within the South African context, white women were placed firmly within the arts while black women were marginalised. This study makes two assertions, that culture was used as a weapon during apartheid in the 1980s, and that black women, as artists, contributed to South African art history through conferences and exhibitions. The process adopted in securing these two stated positions was to use the frameworks of Critical Race Theory (CRT) and grounded theory as methods to elicit personal experiences through interviews with six women involved in the arts and who contributed to the apartheid struggle during the 1980s. The process used to structure the research and collect data, was an argumentative review of selective literature. Exhibition reviews, conference presentations and proceedings, as well as journal publications between 1982 and 1990. The review concentrated on ‘what’ and ‘how’ statements made on black artists, specifically black women, to understand the reasons for the neglecting of black women artists in the construction of South African art history in the 1980s. Culture as a weapon of the struggle constructed a substantial part of this research as the study considered aspects that constituted struggle culture during the 1980s and the role of black women within this culture. Important to the role of black women as cultural activists was the inclusion of the oppressive nature of class, gender and race as experienced by black women during apartheid to expose the complexities that impacted black women’s roles as activists. A discussion of conferences, and festivals (with accompanying exhibitions), and the cultural boycott against South Africa, the official adoption of culture as a weapon of the struggle, and the resolutions taken at these conferences is investigated. Also of importance was the inclusion of women as a point of discussion at these conferences: their poor position in society, and support for the inclusion of more women into the visual arts. In support of black women’s contribution to South African art history, a discussion on black women as cultural activists is included. This includes interviews with six activists who were part of the liberation struggle during the 1980s who shared their experiences. The study asserts that black artists, specifically black women artists, were prejudiced during the 1980s. This did not however serve as a deterrent to their contribution to a South African art history. Anti-apartheid movements such as the African National Congress (ANC) and the anti-apartheid movement (AABN), Amsterdam, played an integral role in creating alternative cultural platforms that supported a ‘people’s culture’, that enabled the use of culture as a ‘weapon of the struggle’ against apartheid.

This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them with irony and humour. My research reflects the diverse nature of Grobler‟s oeuvre as it investigates works from various artistic genres such as painting, sculpture, illustration, performance art, avant-garde theatre and animation. It also examines a blend of different artistic media such as ceramics, oil paint, gouache, pastels, scraperboard, earthenware, 2D computer animation, puppetry, and stop-motion animation. / Art History, Visual Arts & Musicology / M.A. (Art History)

This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them with irony and humour. My research reflects the diverse nature of Grobler‟s oeuvre as it investigates works from various artistic genres such as painting, sculpture, illustration, performance art, avant-garde theatre and animation. It also examines a blend of different artistic media such as ceramics, oil paint, gouache, pastels, scraperboard, earthenware, 2D computer animation, puppetry, and stop-motion animation. / Art History, Visual Arts and Musicology / M.A. (Art History)

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