Out of place: an analysis of place as a contributor to the complexities of my “coloured” identity in Malabar, Gqeberha
- Authors: Flowers, Victoria
- Date: 2024-04
- Subjects: Colored people (South Africa) -- Race identity , Ethnicity in art -- South Africa -- Port Elizabeth , Modernism (Art)
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/62780 , vital:72954
- Description: Coloured identity has been a historical point of contestation in South Africa because Colouredness is assumed as “an inbred quality that arises automatically from miscegenation while instrumentalists share the essentialist premise that coloured identity is something negative and undesirable but blame it on the racism and the exploitative practices of the ruling white minority” (Adhikari, 2009: 15). This archaic belief attributed to racial mixture has now become redundant, due to the emergence of new hybridised Coloured identities that factor other ethnic and cultural groups as well as internal and external elements into their conception. The role of Place in the formation of Coloured identities is at the core of this fine arts based enquiry. This study is located in Malabar, Gqeberha which was established after the forced removals onset by the Group Areas Act of 1950 and the displacement of residents from South End. Additionally, it considers specific locations significant in their linkages to hybridised peoples, and how the place and individuals have been influenced by historical legacies of colonisation and apartheid. These are examined to consider their function in contextualising contemporary lived experiences of Coloured identity within the community of Malabar and its effect on artistic practice through autoethnographic research. Through this autoethnographic and reflexive study and the accompanying empirical research process, I critically examine and explore my Coloured identity as part of being-in-the-world (Heidegger, 1962). This ‘being’ is multifaceted as a result of the significance of Place in South Africa and how it has shaped my perception of how and where I have a sense of being and belonging. , Thesis (MA) -- Faculty of Humanities, School Visual and Performing Arts, 2023
- Full Text:
- Date Issued: 2024-04
- Authors: Flowers, Victoria
- Date: 2024-04
- Subjects: Colored people (South Africa) -- Race identity , Ethnicity in art -- South Africa -- Port Elizabeth , Modernism (Art)
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/62780 , vital:72954
- Description: Coloured identity has been a historical point of contestation in South Africa because Colouredness is assumed as “an inbred quality that arises automatically from miscegenation while instrumentalists share the essentialist premise that coloured identity is something negative and undesirable but blame it on the racism and the exploitative practices of the ruling white minority” (Adhikari, 2009: 15). This archaic belief attributed to racial mixture has now become redundant, due to the emergence of new hybridised Coloured identities that factor other ethnic and cultural groups as well as internal and external elements into their conception. The role of Place in the formation of Coloured identities is at the core of this fine arts based enquiry. This study is located in Malabar, Gqeberha which was established after the forced removals onset by the Group Areas Act of 1950 and the displacement of residents from South End. Additionally, it considers specific locations significant in their linkages to hybridised peoples, and how the place and individuals have been influenced by historical legacies of colonisation and apartheid. These are examined to consider their function in contextualising contemporary lived experiences of Coloured identity within the community of Malabar and its effect on artistic practice through autoethnographic research. Through this autoethnographic and reflexive study and the accompanying empirical research process, I critically examine and explore my Coloured identity as part of being-in-the-world (Heidegger, 1962). This ‘being’ is multifaceted as a result of the significance of Place in South Africa and how it has shaped my perception of how and where I have a sense of being and belonging. , Thesis (MA) -- Faculty of Humanities, School Visual and Performing Arts, 2023
- Full Text:
- Date Issued: 2024-04
Motopomo: the historical-theoretical background to contemporary graphic design practices
- Authors: Economou, Inge
- Date: 2005
- Subjects: Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:10764 , http://hdl.handle.net/10948/179 , Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Description: This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.
- Full Text:
- Date Issued: 2005
- Authors: Economou, Inge
- Date: 2005
- Subjects: Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:10764 , http://hdl.handle.net/10948/179 , Graphic arts , Graphic arts -- 20th century , Modernism (Art)
- Description: This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.
- Full Text:
- Date Issued: 2005
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