M. Tech. / My research, in support of my cultural practice approaches the notion of masquerade from the position of battered women who employ it socially as a vehicle that allows them to perform the traditionalist ‘happily-ever-after’ fantasy of marriage. I propose that their ‘masquerade’ functions as a performance of what they perceive they should be in the public domain, and as a defence against punishment in the private domain. Central to my research are interviews with battered women who masquerade socially, from a select group who have been battered for most of their married lives. In a response to these interviews, I refer to the prevalence of battery in South Africa and propose a psychological rationale for social masquerade in these particular battered women. As the masquerade of these women informs my art production I have included a discussion of alternative expressions of masquerade in the work of two artists, Tracey Rose and Cindy Sherman. This forms a counterpoint to the use of masquerade as explained in my own cultural practice, which highlights the importance of dress as an adjunct to communication and disguise.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:uj/uj:8280 |
| Date | 31 March 2009 |
| Creators | Magowan, Robyn |
| Source Sets | South African National ETD Portal |
| Detected Language | English |
| Type | Thesis |
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