To see the other types of publications on this topic, follow the link: Artisans - South Africa.
Dissertations / Theses on the topic 'Artisans - South Africa'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Artisans - South Africa.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Anugwo, Iruka Chijindu. "Evaluating the training and supply of artisans in the South African construction industry." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020042.
Full textAbstract:
The study focused on identifying ways in which to improve and increase the quality of training and supply of skilled artisans in the South African construction industry (especially in Gauteng Province) in terms of short and medium term approach. The construction industry is facing a severe skills crisis and this has made it so difficult to recruit competent artisans. This may be as a result of artisans being regarded as the lowest in the hierarchy of construction worker positions. In addition, these artisans warrant less training than those at executive- and managerial levels. This negative attitude towards artisans training has plunged the industry into crisis. Those involved find it difficult to successfully complete projects on time, within budgeted project costs and within the required quality specification due to lack of competent artisans. However, serious attention is required towards enhancing artisan training in the industry. It is imperative and vital to ensure the survival of the industry. The cardinal aim of this research project was to demonstrate a guiding solution towards the skills crisis. Thus, in order to initiate a tremendous change in the skills profile, certain measures are required, e.g. expanding training institutions to local regions; upgrading and aligning facilities in the training institutions to industrial demands and the dissemination of vital information that will ensure the attractiveness of the industry. This will safeguard the construction organisations operating in Gauteng Province. Although the industry is a major player in the economy, there is need for special attention in order to ensure sustainable growth and economic development. The Government, construction industry stakeholders and training institutions personnel should collaborate to salvage the skills crisis by strategically developing programmes (in accordance with industrial requirements) that will benefit prospective learners. The researcher adopted the descriptive- and analytical survey method, which entailed the use of questionnaires and a review of the related literature for gathering relevant data. The methodology used in the research was the quantitative data analysis. The feature findings of the research concluded that the skilled artisans profile is insufficient to meet industry demands. In addition, training institutions and primary- and secondary educational systems are characterized by ninadequacy and incompetency to produce skilled artisans. The situation is exacerbated by the lack of harmonization between the training institutions and the vindustry’s requirements. Furthermore, the majority of the respondents acknowledged that training of their workers is an important aspect to them, but few of these organisations indicated that they make use of formal training institutions such as FET colleges. The recommendation include that all the stakeholders in the construction industry should form collaborations to strategically develop programmes that would upgrade the existing training institutions. This could be done through provision of adequate funds and resources and the dissemination of vital information that is capable to promote the attractiveness of the industry image.
2
Mbeki, Sisa. "Causes, effects and impact of shortages of skilled artisans on contractor productivity." Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1062.
Full textAbstract:
A dissertation submitted to the Department of Construction Management and Quantity Surveying, Faculty of Engineering
at the Cape Peninsula University of Technology
in fulfilment of the requirements for the degree of Master of Technology Construction Management<br>This study investigated the causes and impact of the effects of shortages of skilled artisans on contractor productivity. The objectives of the study were as follows: (i) to identify causes of shortages of skills during the construction production phases; (ii) to define the effects of shortages of skills during the production phase of a project; (iii) to examine how to deal with shortages of skills when they happen; (iv) to determine ways in which the shortage of skills may be reduced; (v) to determine whether shortages of skills cause poor contractor performance.
The study was inspired by many international and local studies demonstrating a lack of concern for the impact of shortages of skilled artisans on project performance, and their effects on project time. The research method adopted for study was a survey of construction sites and staff within the NMC group in the Cape Peninsula metropolitan area of the Western Cape Province. The study collected data from 65 participants from 10 different NMC sites. The participants in the survey included Project managers, site managers, quantity surveyors and artisans on sites. The findings of the study revealed that there is lack of formal training of artisans; performance of artisans is not highly regarded and there is lack of motivation, these factors contribute to the shortages of skilled artisans. It is also evident that shortage of skills causes’ poor contractor performance and leads to poor quality of work. The researchers also found that, setting out errors occur due to lack of coordination between the main contractor and subcontractors and the lack of skills on the part of the artisans. In addition, inexperience on the side of the leading hand and / or supervisor and trades foremen and their inability to interpret the drawings contributed to rework during construction phase. A reason also given for shortage of artisans is that young people are afraid to get their hands dirty. Young people would rather work with computers than for engineering and its associated professions. It is recommended that to increase the supply of artisans some measures will have to be implemented to encourage young people to become artisans.
3
Rampfumedzi, Londolani. "Retention strategy for miners and artisans at Tshikondeni Coal Mine." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/986.
Full textAbstract:
Thesis (MBA (Business Management))--University of Stellenbosch, 2009.<br>ENGLISH ABSTRACT: The retention of the right skills in any organisation or industry is always a challenge. There are many causes of the skills shortage and it is also difficult to retain skilled people once they have been found. The literature suggests that retention of skills should ideally be considered from the design and expectation of the requirements of the job through to the recruitment process; and not only once the employee has started working. The literature also explores the different retention strategies that can be applied, such as succession planning, employee engagement, work – life balance, remuneration structuring and career advancement path.
This research is limited to Tshikondeni coal mine and attempts to establish which of the following are the biggest contributing factors that cause people to leave and resign from the mine: • Known life of the mine left is till 2014; • Remote location away from essential services; • Leadership; and • Remuneration. From the research that was done, it became clear that the limited life of the mine was the biggest contributing factor that would make employees want to leave Tshikondeni coal mine.
Further study is recommended for organisations that operate with finite resources, and mostly in remote areas, to develop further specific retention strategies – over and above those challenges that face all other industries and organisations. This should be done so that the reality of finite resources can be addressed in order to keep employees motivated and energised until the last ton is extracted.<br>AFRIKAANSE OPSOMMING: Dit is altyd ‘n uitdaging in enige organisasie of industrie om die regte vaardighede te behou. Daar is baie redes vir die tekort aan vaardighede en dit is moeilik om bekwame mense te behou wanneer hulle wel gevind word. Die literatuur raai aan dat die retensie van vaardighede reeds in die ontwerp van en vereistes vir ‘n betrekking in ag geneem moet word, sowel as tydens die werwingsproses en nie eers na indiensneming van die werknemer nie. Die literatuur ondersoek ook retensie strategië wat toegepas kan word, soos bv. opvolgbeplanning, werknemerbetrokkenheid, balans tussen werk en vrye tyd, vergoedingstrukture en moontlikhede vir bevordering.
Hierdie navorsing is beperk tot Tshikondeni steenkoolmyn en poog om vas te stel watter van die volgende die grootste bydraende faktore is waarom mense bedank en weggaan by die myn: • Lewensduur van die myn slegs tot 2014; • Afgesonderde ligging weg van essensële dienste; • Leierskap; en • Vergoeding.
Uit die navorsing wat gedoen is, het dit duidelik geword dat die beperkte lewensduur van die myn die grootste bydraende faktor was waarom werknemers wou weggaan van Tshikondeni steenkoolmyn.
Verdere navorsing word aanbeveel vir organisasies wat met beperkte hulpbronne, en hoofsaaklik in afgeleë gebiede, werk om verdere spesifieke retensie strategieë te ontwikkel – bo en behalwe dié wat vir ander industrieë en organisasies geld. Hierdeur kan die realiteit van beperkte hulpbronne aangespreek word om sodoende die motivering en aansporing van werknemers te verseker totdat die laaste ton verwerk is.
4
Barnes, L. Diane. "Hammer and hand in the Old South artisan workers in Petersburg, Virginia, 1820-1860 /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1641.
Full textAbstract:
Thesis (Ph. D.)--West Virginia University, 2000.<br>Title from document title page. Document formatted into pages; contains vii, 267 p. : maps. Vita. Includes abstract. Includes bibliographical references (p. 256-267).
5
Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.
Full textAbstract:
This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
6
Faught, Charl. "Total rewards a study of artisan attraction and retention within a South African context." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/5859.
Full textAbstract:
Includes abstract.<br>Includes bibliographical references.<br>Orientation. The shortage of artisan skills remain a serious challenge in South Africa and is forcing employers to investigate which total reward factors contribute to the attraction and retention of this critical skills segment, as undifferentiated retention strategies are no longer appropriate. Research purpose. The aim of this study was to further develop the understanding of the total reward factors and the ideal combination and relative quantum of total rewards that attract and retain artisans, including artisans from various race groups and age cohorts (cohort 29 and less; cohort 30-39; cohort 40-49; and cohort 50+). Motivation for the study. The shortage of scarce skills, like those experienced in South Africa should not only be seen as comprising occupations from the higher skills bands, but should also include occupations from the intermediate skills bands, that includes artisans. Limited research is available on the total reward factors and the ideal combination and relative quantum of total rewards that attract and retain artisans. Knowing this will allow organisations to develop reward models that better attract and retain artisans. Research Design. The study followed both a quantitative and qualitative research approach while adopting a descriptive research design. Using this mixed method, primary data was collected from individuals by means of two focus groups discussions, i.e (1) a group of HR and Remuneration Managers (n=4) and (2) a group of artisans (n=7). These results were used to develop the two questionnaires that were distributed to artisans (n=143). Data from Questionnaire 1 were analysed using descriptive statistics and factor analyses. Conjoint analysis was employed to identify an ideal total rewards composition based on responses from Questionnaire 2.
7
Siyotula, Yolokazi. "Practising de-assemblage : upcoming black artists on the South African scene 2008-2014." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53464.
Full textAbstract:
Reading Bhantu Steven Biko s I write what I like (1978) for the first time as an undergraduate student was challenging. I write what I like, a selection of Biko s writings published between the years 1969 and 1973, contains, amongst others, the articles Black Souls in White Skins? (1970a), We Blacks (1970b), Fragmentation of the Black Resistance (1971a), The Definition of Black Consciousness (1971b) and Black Consciousness and the Quest for True Humanity (1973). Such articles express the core of Biko s call for black consciousness. Biko wrote on Blackness post-1960, in the period marked by the banning of black political parties and the imprisonment of their leaders on Robben Island. This was a time, according to Biko (1971a:63), when no one could speak for black opinion in South Africa. Biko saw the imprisoned political leaders as having managed to assemble the black population of South Africa as a unit. His call was a call to those discriminated against and oppressed by the apartheid system to maintain this assemblage (Biko 1970a, 1970b, 1971a, 1971b, 1973) and resist all attempts at fragmenting their resistance, namely: fighting separately for certain freedoms and gains (Biko 1971a:42). What was certain to me in my first reading of Biko, as it still is in a re-reading of his work, is that South Africa is a geographical space Biko and I share, but that the dynamics of the times at which we inhabit(ed) it seem different. Biko speaks to a world of unions: African Student Association (ASA); African Students Union of South Africa (ASUSA); African National congress (ANC); Pan African Congress (PAC); University Christian Movement (UCM); National Union of South African Students (NUSAS); University of Natal Black (UNB); South African Student Organisation (SASO) and University Bantu Council (UBO) . The impact of some of these unions have spanned decades; others have disintegrated. as a social phenomenon.
· To determine caregivers views on contributing factors of malnutrition among children who are benefiting from the Child Support Grant.
· To explore the challenges experienced by caregivers who receive the Child Support Grant.
· To make recommendations for combating malnutrition among children under the age of five who are beneficiaries of the Child Support Grant.
Ten caregivers whose children were diagnosed with malnutrition while benefiting from the Child Support Grant and were given treatment at Chris Hani Baragwanath Academic hospital in 2015, were purposively selected to form the sample of the study. Semi-structured interviews were conducted to collect data from the participants.
The main conclusions drawn from the research findings were that caregivers experienced economic challenges mainly due to unemployment and lack of reliable sources of income. These identified challenges were the main contributing factors of malnutrition among children who are under the age of five benefiting from the Child Support Grant.
The study was also concluded with some useful and relevant recommendations from the caregivers responses on how to mitigate malnutrition among children who are under the age of five benefiting from the Child Support Grant. One of the crucial recommendations drawn from the findings of this research study was that more information sessions to caregivers regarding malnutrition should be conducted regularly at the Chris Hani Baragwanath Academic hospital.<br>Mini Dissertation (MA)--University of Pretoria, 2015.<br>Modern European Languages<br>MA<br>Unrestricted
8
Nicol, Tracy-Lee. "Aspects of memory in the sculptural work of Jane Alexander 1982-2009." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002213.
Full textAbstract:
Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.
9
Giloi, Susan Louise. "Effective application of digital printing techniques for fine artists in the South African context." Thesis, Port Elizabeth Technikon, 1999. http://hdl.handle.net/10948/15.
Full text
10
Schoon, Alette Jeanne. "Remixing the tech: the digital media ecologies of the hip-hop artists from Grahamstown, South Africa." Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27024.
Full textAbstract:
This ethnographic study describes the digital media ecologies of hip-hop artists in the marginalised township spaces of a town in South Africa. It shows how technology appropriation here is highly contextual and linked to social context, while simultaneously informed by limited digital infrastructure that characterises marginalised communities in the Global South. In describing their social context, the study situates these young people in a post-apartheid space of entrenched racialised inequality, where unemployed black youth have very few economic prospects. Here hip-hop offers protection against despair as it allows a young person to claim a dignified sense of self, which is partly constituted through digital media competency. Through the Black Consciousness philosophy, hip-hop artists in Grahamstown become highly critical of self-defeating narratives rooted in racism, colonialism and apartheid, which often manifest in violent forms of urban masculinity. Instead they find ways to "remix" their identities by incorporating alternative notions of a successful self. These new identities foreground agency and competency, and are informed both by knowledge of African tradition and language, and newly acquired competency in entrepreneurship, artistic genres and digital skills. The study argues that acquisition of digital skills in this space is best conceptualised through the community of practice approach, where skills development is social and linked to a sense of belonging and progress. Just as the hip-hop artists claim agency in remixing their notion of self, they also claim agency in remixing the limited digital technology available to them into various assemblages, so crafting innovative solutions to the constraints of limited and expensive digital infrastructure. Here, through a hip-hop culture that champions overcoming adversity, dysfunctional digital technology is constantly repaired and remixed. Hitherto, research on digital media use in the Global South has predominantly focused on the mobile phone in isolation. This study instead argues for the merits of a holistic digital ethnography, since observations of how these young people combine technologies such as mobile phones, computers and DVD players in everyday life, illustrate how innovation in marginalised spaces may be focused around the remixing of technology.
11
Osner, Heather. "An investigation of the history and works of the Keiskamma Art Project." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13038.
Full textAbstract:
This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.
12
Van, der Merwe Leana. "Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
Full textAbstract:
This study investigates the multiple occurrence of violent sacrificial imagery
associated with animalistic and hunted bodies in the work of selected South African
female artists as an articulation of the society in which the art was created. The
theoretical framework of corporeal feminism is applied with reference to the
postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and
Guattari (1984,1987), specifically with regard to the notion of becoming animal. This
study shows how such imagery is used to act as a catalyst for social change by
challenging Cartesian dualisms and forefronts certain issues applicable to women in
a society that is patriarchal and violent. A comparison is made with the art of a
selected group of Australian female artists who deal with similar themes and imagery
from more or less the same timeframe.<br>Dissertation (MA)--University of Pretoria, 2014.<br>tm2015<br>Visual Arts<br>MA<br>Unrestricted
13
Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.
Full textAbstract:
The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art.<br>Dissertation (MSocSci)--University of Pretoria, 2020.<br>Historical and Heritage Studies<br>MSocSci<br>Unrestricted
14
Gibson, N. Jade. "Making art to make identity : shifting perceptions of self amongst historically disadvantaged South African artists." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10508.
Full textAbstract:
Bibliography: p. 159-177.<br>This study examines how historically disadvantaged artists shift self-identities through artmaking beyond previously racialised, hierarchised and essentialist constructs in a transforming New South Africa. Fieldwork research involved direct observation, working with artists on art projects, and interviews with visual artists and other arts practitioners in Cape Town, 1998-2001. Artworks are examined as events incorporating social change, and thus as a focal point between unconscious praxis and the cognitive coming-to-awareness of self within-the-world. Using a non-essentialist approach to identity construction, I argue for an understanding of, and approach to, studying individual identity that incorporates complexity, multiplicity, materiality and change as integral to identity formation. The reworking of memory materially within artworks is demonstrated through examining how artists re-presented autobiographical and historical referents of identity to affirm and re-present new narratives of self in South Africa's present. How artists respond to, and negotiate, tensions and contradiction between concepts of 'freedom' and externally-derived categories of value within socio-economic limitations in a transforming South African art world is also explored. I also show how artworks act as sites of transcultural encounter for artists, within their awareness of different gazes and contexts of interpretation, to position identities simultaneously both within the local and beyond the local, through different images, styles, techniques and technologies in their work. Finally, I demonstrate how different collaborative art projects, through artistic praxis, enable mutual processes of social and artistic collective identification between artists of different socio-cultural backgrounds, in relation to processes of nation-building and reconciliation for South Africa in the future. The study not only provides insight into art-making in South Africa and material processes of cognitive identity construction, but also how individuals act as agents in shifting self-identities within processes of collective socio-political transformation.
15
Littleford, Lara. "Queering boundaries: visual Activism and representations of sexuality in the work of contemporary South African artists." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/17816.
Full textAbstract:
Zanele Muholi, a photographer and visual activist, and Sabelo Mlangeni, a photographer, explore the different ways of representing gender, particularly transgenderism, and sexuality, particularly homosexuality, in their photography. Muholi and Mlangeni document the daily lives and lived realities of people who are black and gay, lesbian, bisexual and transgender (LGBT) in South Africa. African sexuality remains a contested subject that is difficult to discuss in light of the controversies it provokes due to colonial attitudes toward African bodies. In this instance, colonial attitudes toward African sexuality have exoticised African bodies. Moreover, hyper-sexuality is ascribed to bodies that are black and male, whilst fetishising and objectifying black female bodies. Furthermore, representations of homoeroticism in Africa transgress and challenge dominant ideologies of sexuality and gender in an African context. In this sense, Muholi and Mlangeni directly address tension and resistance between individual and community. Such tensions are found within and between categories of African-ness, whereby homosexuality and transgenderism are regarded as being ‘un-African’ and an import from the West. For example, Muholi represents the existence of homosexuality and transgenderism in her photography in order to subvert the notion that homosexuality is ‘un-African’, attempting to complicate the conceptions of identity, gender and sexuality in South Africa. Muholi’s photography is used as a vehicle for her ‘visual activism’, which purports to create socio-political awareness surrounding homophobia, transgenderism, and epistemic injustice in South Africa. The visual imagery of these two artists investigates the boundaries that are set by various social, political and cultural constructs. These boundaries inform existing social, political and cultural attitudes toward homosexuality and transgenderism, and these homophobic and transphobic attitudes result in crimes committed against homosexual and transgender individuals, such as hate crimes, which includes ‘curative/corrective’ rape, the prevalence of which is rising at an alarming rate. Muholi’s photography and visual activism seek to create visibility in order to raise public awareness of hate crimes, victimisation, alienation and stigmatisation that homosexual and transgender South Africans, specifically those individuals living in township areas, face on a daily basis. These two artists represent sexuality as a site of contestation and, as such, heteronormative traditions, hegemonic social structures, and cultural conventions are transgressed and contested in their photography.
16
James, Sule. "Tracing the Idea of African Vernacular-Rooted Art: A Critical Analysis of Selected Contemporary South African and Nigerian Artists (2007-2016)." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/72462.
Full textAbstract:
In this study, I seek to explore how contemporary art created by Nigerian and South African artists can be described to be rooted in an African vernacular. To this end, I conducted a comparative analysis of the cultural imageries and symbolisms of four Nigerian and four South African artists. For each of the artists, five of their works produced between 2007 and 2016 were purposively sampled. Thus, the study investigates forty works within the ten year period. The comparative analysis focuses on visual hermeneutics theory and art historical methodologies (formal analysis). Accordingly, the analysis examines the artists’ personal influences, training, frames of reference, knowledge base and philosophy as well as the reception of their works.
Given the fact that most of the selected artists are excluded from mainstream art historical research because their works are said to be outside the normative contemporary art standards, this study establishes that the trend of their art is significant and should be researched. For that reason, the selected artists were included in this study so as to contribute a mainstream art historical discourse on their artworks. In the theoretical underpinning of this study, it is argued that although vernacular arts were produced in a historical African arts context, nevertheless the contemporary modes of cultural appropriations in artworks by the selected academically trained artists are not a continuation of the historical African. Therefore this study establishes that the adoption of the term African vernacular rooted in narrating contemporary African arts produced by Nigerian and South African artists is a rethink in the use of the old term in opening up a new discourse on engagement with cultural imageries and symbolisms. As a result, this research argues that their ideological trends in appropriating cultural imageries in arts are not a different form of contemporary African art. The significance of this research lies in the contribution of knowledge to the existing literature on global contemporary African art, and in initiating the exercise of documenting the visual culture of artists from both countries.
Although the study provides a wider insight into appropriations of cultural symbolism in the works of these artists, it shows that some of the artists focus their visual narratives on specific dominant vernacular tropes or cultural imageries and symbolism in narrating experiences from past and present occurrences in both countries. However, many of the dominant cultural symbolisms are basically depictions of either young black African children or compositions showing African men and women. However, they narrate different experiences and aspects of African socio-cultural life. Significantly, the depictions in the artworks of the contemporary artists demonstrate, in different heterogeneous ways, African identities through cultures, heritage, history, and identity. Furthermore, most of the African vernacular rooted arts discussed in this study reveal influences from environmental factors such as migration, homelessness, African humanism, socio-cultural ceremonies, cultural and racial unity, oppression, ritual murders, and family life.<br>Thesis (PhD)--University of Pretoria, 2019.<br>Visual Arts<br>PhD<br>Unrestricted
17
Wilson, Laura-Anne. "Unshackling South African artisanal miners: Considering Burkina Faso's legislative provisions as a guideline for legalisation and regulation." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29638.
Full textAbstract:
Artisanal mining in South Africa is not recognised as a legal activity in the primary legislation regulating mining, the Mineral and Petroleum Development Act (MPRDA) 24 of 2002. This contrasts with the reality in Burkina Faso, and numerous African jurisdictions, where mining provisions regulate this rudimentary form of small-scale mining. Without formal recognition, the socio-economic potential of artisanal mining to create jobs and sustain livelihoods is not realised. This is a missed opportunity to increase employment opportunities South Africa’s mining industry which, in response to falling commodity prices and rising labour costs, is experiencing significant retrenchments annually. This dissertation argues for an explicit artisanal mining provision in the MPRDA. The existing mining permit, which provides for small-scale mining activities, does not specifically include this basic manual activity. In fact, the mining permit requirements that small-scale miners must satisfy to operate legally are too onerous to comply with. The overarching recommendation is an ‘Artisanal and Small-Scale Mining (ASM) for SA Strategy’, involving the amendment of the existing policy and legal framework regulating both artisanal and small-scale mining, and the improvement of accompanying support initiatives. It is based on the premise that the revision of mining regulations, to recognise the rights of artisanal and small-scale miners, is an essential feature of the formalisation of ASM operations. Drawing on the experience in Burkina Faso specifically, and sub-Saharan Africa generally, this dissertation explores the persistence of ASM and why it often occurs informally. The overlap between informality and illegality is notoriously vague, particularly in South Africa where legislative distinctions are lacking. This research, initiating studies in a field of law that lacks comprehensive examination, attempts to highlight the nuances of ASM activities in South Africa, and how they can be integrated into the formal sector. These range from subsistence artisanal mining that is driven by poverty, to the artisanal mining forming part of international criminal syndicates. Both are illegal, but only one group intends to be. It is proposed that the regulation of artisanal mining in South Africa can harness its potential to create employment opportunities, generate state revenue, mitigate the negative environmental and health and safety consequences of ASM, fulfil the transformative objects of the MPRDA and help address the issue of illegal mining currently threatening the mining industry. To realise this potential, however, ASM operators need to overcome the challenges that prevent them from operating sustainably in the formal sector. Namely, bureaucratic and costly application processes, financial and technical constraints, a lack of business knowledge and access to markets, and a prevailing absence of institutional support. This dissertation explores these challenges and highlights the support initiatives needed for their redress. It further articulates the areas for future research which, along with legislative amendments and accompanying support, will help develop the ASM sector for the benefit of historically disadvantaged South Africans.
18
Greyvenstein, Lisa. "An investigation of excess as symptomatic of Neo-Baroque identified in the work of selected South African artists." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27466.
Full textAbstract:
This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work.<br>Dissertation (MA)--University of Pretoria, 2012.<br>Visual Arts<br>unrestricted
19
van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
Full textAbstract:
Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
20
Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.
Full textAbstract:
I aim to showcase post-African female identity through the exhibition, The princess in
the veld. The exhibition displays selected works produced by South African women
artists, underpinned by the proposed curatorial framework. This curatorial approach
is feminist, and may allow for a liminal reading of local female identity. I premise my
theorised curatorial framework liminally, in-between binary oppositions. This position
allows for a feminist position and/or reading of female identities that simultaneously
allude to, and reject a so-called local (essentialised) women’s art production within
the ambit of global, Western dominated feminism. I argue that, for such a display to
be successful, an alternative curatorial space is needed. For this purpose, I introduce
the notion of heterotopia, a counter-space, to renegotiate binaries and to render
identity formations temporarily in-between prevailing norms. This heterotopic
counter-curatorial space is realised through an exhibition that employs the medium of
video, rather than conventional exhibition media installed in real space.
An exploration of specified key local and international survey exhibitions
foregrounding women’s concerns from the 1980s onwards, serves to inform my
theorised curatorial framework. The research embarks on an investigation of a recent
large-scale exhibition hosted in France, to gain an understanding of the pitfalls
prevalent in curating an exhibition of artwork produced by women. From a feminist
standpoint, I critically analyse this display to suggest more inclusive alternative
curatorial strategies to shift the conventionally Western approach followed by this
curator.
The revisionist, feminist, re-reading of certain South African curated exhibitions from
both the apartheid and post-apartheid periods proposes a feminist trajectory that
follows the shaping of local women’s identities, which remain deeply inscribed in this
country’s politics and histories. This section of the survey underlines local post-
African female identity as liminal and in flux, through the investigation of seminal
exhibitions and artworks produced by South African women. I argue that this liminal
account allows for an inclusive and extended understanding of women, while
explicating the South African multicultural dispensation wherein the post-African
woman operates.<br>Thesis (DPhil)--University of Pretoria, 2017.<br>National Research Foundation<br>University of Pretoria<br>Visual Arts<br>DPhil<br>Unrestricted
21
Ross, Susan Imrie. "The inner image: an examination of the life of Helen Elizabeth Martins leading to her creation The Owl House and A Camel Yard as outsider art." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002227.
Full textAbstract:
The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.
22
Khan, Sharlene. "Postcolonial masquerading : a critical analysis of masquerading strategies in the artworks of contemporary South African visual artists Anton Kannemeyer, Tracey Rose, Mary Sibande, Senzeni Marasela and Nandipha Mntambo." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11510/.
Full textAbstract:
This thesis analyses the masquerading strategies employed in the artworks of contemporary South African visual artists Anton Kannemeyer, Tracey Rose, Senzeni Marasela, Mary Sibande and Nandipha Mntambo. Masquerading, in this context, refers to the donning of costumes, make-up and the use of props, in staging one’s own body before the camera lens. This study examines contemporary debates in South Africa around such visual art masquerading performances which have questioned notions of identity, autobiography and memory. The first chapter plots the reactivation of blackface masquerades in artwork by young White South African artists, and examines the mechanisms of parodic humour and joke-work in accessing inhibited pleasure through racial stereotypes. The second chapter explores psychoanalytic (Western, black and African), feminist and postcolonial theories on masquerading, and looks at the concepts of mimicry, masking, repetition, and violence as markers of this terrain. The works of Frantz Fanon and Homi K. Bhabha are used to explore racial power relations, but also the possibilities of masquerading as subversive of authorised knowledge in postcolonial contexts. Bhabha’s ideas of mimicry-as-mockery, hybridity and ambivalence, as well as black feminist ideas of creative theorisation, are used to frame the masquerading strategies of the four South African women-of-colour artists under discussion in the third chapter, which demonstrates how Rose, Marasela, Sibande and Mntambo engage masquerade as an analytic tool to centralise women-of-colour narratives and personal politicisation as starting points of theorisation. This research attempts to evidence the concept of ‘postcolonial masquerading’ as an important critical aesthetic tool in black feminist and decolonialising discourses in postcolonial societies. My own practical video engagements employ postcolonial masquerading to interrogate my identity as a South African Indian woman visual artist, actively exploring strategies of mimicry, masking, repetition and ambivalence as tools to voice my subjective position and history framed by apartheid, post-apartheid and postcoloniality.
23
Taggart, Emma. "Corporeal identification in selected works by Berni Searle." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004576.
Full textAbstract:
Through a detailed analysis of a selection of works produced between 1999 and 2003 by the South African artist Berni Searle, this thesis explores the need to theorise a corporeal viewer in the process of interpreting art works. Such an approach is particularly necessary when dealing with an artist such as Searle because her work, which deals predominantly with the theme of identity, appeals not only to conceptual but also to experiential and corporeal understandings of identity. Searle incorporates the viewer into an experience of her own identity through a physical identification that the viewer feels in relation to her work. For viewers this means that they are made aware of how their own identity in the moment of interpretation is contingent on visual, mental and physical components. In order to develop this argument the work of psychoanalyst Jacques Lacan and the phenomenologist Maurice Merleau-Ponty is drawn on. These two theorists are very useful for an argument of this nature because both interpret identity as a construction involving an enfolding between the mind and, via the act of vision, the body of the subject. Through an inclusion of the corporeal element in interpretation, this thesis also offers a critique of interpretive theories that would reduce analysis to an interaction between eye and mind by analyzing how the viewer's body participates in the act of looking.
24
Macdonald, James. "Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/23452.
Full textAbstract:
In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations of the Cross - and more broadly, the iconographic tradition of the Passion cycle. In so doing, I demonstrate the strategic application of Christ's episodic sufferings as a means of both analogously chronicling situations of historical trauma, as well as articulating more aspirant narratives of political resistance, selfliberation and reconciliation. Concentrating initially on church-commissioned projects realised in the late 1950s and early 1960s, I trace the reinterpretation (or 'Africanisation') of the Stations of the Cross by artists such as Bernard Gcwensa, Ruben Xulu and Sydney Kumalo. Noting the emergence of a black Christ and a localised Passion, I emphasise the complex cultural and political implications of this iconographic transformation - arguing that its hybrid realisation undermined the cultural bias of a European-styled Christianity, and the racial hierarchies of colonialism and apartheid. Following this, considered in more detail are the secular reimaginings of Sokhaya Charles Nkosi's Crucifixion (1976) and Azaria Mbatha's Stations of the Cross for Africa (1995) - as series wherein the episodes of Christ's Passion are consciously and symbolically redeployed. In the case of Nkosi's Crucifixion, I show as covertly documented in a black Christ's sufferings the incarceration and torture of political activists in apartheid South Africa. On a more ideological level, I demonstrate also, as embodied in the series, the aspirant directives of Black Consciousness and Black Theology. Turning to Mbatha's Stations of the Cross for Africa, I present its visual narrative as analogously envisioning, as well as critically rethinking, the mutually embedded traumas of slavery, colonialism and apartheid. Significant to my analysis is the future vision of reconciliation posited by Mbatha, and the extent to which it both reflects and challenges that maintained within the 'transformative' programme of the South African Truth and Reconciliation Commission. Demonstrated in my evaluation of these appropriative projects is the way in which a traditionally European iconographic tradition is critically redeployed - in chronicling situations of historical trauma, as well as in the envisioning of alternative futures. As such, I hope to afford a more nuanced and challenging appreciation of these reimagined Passion narratives, as significant projects of cultural and postcolonial memory. In keeping with this, I advance in conclusion a 'rethinking of pilgrimage'. Recalling the culture of participative witness associated with devotional programmes like the Stations of the Cross, I propose that in the case of both Nkosi's Crucifixion and Mbatha's Stations of the Cross for Africa, extended to viewers is a certain imperative: to imaginatively revisit, and rethink within the present, traumatic histories of black suffering and resistance.
25
Teti, Thandokazi Ndileka. "Learning experiences of female artisans in the automotive industry." Thesis, 2017. http://hdl.handle.net/10539/23423.
Full textAbstract:
A research report submitted to the School of Governance, University of Witwatersrand, in partial fulfilment (25%) of the requirements for the degree of Master of Management (Public and Development Management)
Johannesburg, 2016<br>Gender inequality persists in artisan employment in South Africa as males continue to outnumber females significantly in artisan employment and the trends point to highly gendered industry participation. Females who manage to enter artisan occupations in the highly gendered workplace are faced with historically ingrained attitudes of males towards females. Discriminatory practices, social norms and persistent stereotypes shape the females’ learning experience.
Therefore, the purpose of this research is to explore the learning experiences of female artisans in the South Africa automotive industry, during the work-based phase of their apprenticeship. A qualitative exploratory research study approach was adopted using semi-structured face–to-face interviews. Fourteen female apprentices, learnership candidates and artisans were interviewed, including two industry training experts. Purposive and snowball sampling techniques were used.
The findings revealed that the general experiences of the female participants were challenging. The quality of learning they received is not equal to that of their male counterparts and the workplace culture consists of prejudice, gender discrimination, racial discrimination, stereotypes and barriers to employment. Interestingly, the participants were uncritical of the experience of gender discrimination, although, they were very critical of racial discrimination. This suggests a need to conduct and create awareness sessions about gender discrimination in the industry for both genders.<br>MT 2017
26
Scott, Lee-Anne. "Incubation Hub: a 'new' school for artisans where architectural innovation meets education in South Africa." Thesis, 2014. http://hdl.handle.net/10539/15623.
Full textAbstract:
This document is submitted in partial fulfilment
for the degree:
Master of Architecture [Professional]
at the University of the Witwatersrand,
Johannesburg, South Africa, in the year 2013.<br>In South Africa there are approximately three million people between the ages of 18 and 24 who are unemployed or not
part of an education or training institute. There are residing issues concerning education in post-apartheid South Africa,
such as poor quality education in areas where the socio-economic climates still prove challenging and an increasing
absence of educational institutions and training facilities. As a result, South Africa is suffering from a lack of skilled labour
across all sectors of trade.
In the Green Paper for Post-School Education and Training, published in 2012, the Department of Higher Education and
Training (DHET) addresses the current issues around education in South Africa and indicates that part of the resolution is
to form a “nexus between the formal education system and the workplace.” Both private and public sectors need to adopt
new infrastructure to ensure a higher success rate for empowering South Africans through the provision of skills-based
education.
This thesis is about creating a ‘new’ school idea - The Incubation Hub - for artisans, where architectural technological
innovation meets education in South Africa, opens up vocational opportunities and subsequently allows for economic
growth. The ‘new’ school will not only create a stronger and a more advanced workforce for South Africa but aims to bridge
the gap between the corporate sector and the education and political sectors.
The Incubation Hub tackles the proposed matter by recognising the opportunity for an architectural intervention, whereby
a literal and physical symbiotic relationship is formed between two buildings – each with a separate function and role in
society and the economy - that unites their individual responsibilities to create a new identity. In doing so, the Incubation Hub aims to improve the social and economic status of South Africa on a local and global level.
27
Versfeld, Bryan. "The effect of economic townturn on voluntary labour turnover amongst artisans in South Africa." Diss., 2010. http://hdl.handle.net/2263/24629.
Full textAbstract:
As with most human responses in life, voluntary turnover is also based on cause and effect. If an event or chains of events happen certain responses are triggered. In the case of voluntary turnover these responses form part of human psychological decision logic that end in a termination of employment. Each person, given their context, will display a different psychological response to similar events. A theoretical model published by Lee and Mitchell (1994) map these psychological responses into specific decision paths. This unfolding model of voluntary turnover proposes that people decide to leave an organisation through one of five distinct psychological decision pathways. An artisan shortage in South Africa is limiting growth and organisational performance within the manufacturing industry. Organisations are willing to pay a premium for skills and this is driving turnover at the artisan level. It is therefore important for managers, in this environment, to understand the drivers of artisan turnover and limit the turnover rate. This research presents results of classifying 64 artisan leavers from the South African manufacturing industry. The classification develops an artisan voluntary turnover profile as described by the unfolding model of voluntary turnover. The data used to develop this classification is extracted using quantitative techniques. The impact of the economic downturn on this voluntary turnover profile is discussed. Further analysis is also made regarding differences in voluntary turnover decisions between artisans that have experienced organizational downsizing and those that have not. Implications regarding these findings are discussed.<br>Dissertation (MBA)--University of Pretoria, 2010.<br>Gordon Institute of Business Science (GIBS)<br>unrestricted
28
Lekarapa, Martin. "Investigating informal social networks in construction artisans in the Western Cape." Thesis, 2014. http://hdl.handle.net/10539/15493.
Full textAbstract:
A dissertation submitted in fulfillment of the requirements for the Masters degree of Master of Science in Building in the School of Construction Economics and Management, Faculty of Engineering and Built Environment, The University of Witwatersrand.<br>Informal social networks among the construction craftworkers from various ethnic
groups create barriers of entry to crafts men entering the Constuction Industry in the
Western Cape, South Africa. This study aimed to investigage how informal social
networks found in three construction sites in an ethnically diverse area, can bring
economic exclusions and promote inequality in terms of accessibility to social
economic resources. Data was collected using Social Network Analysis (SNA)
method, through the egocentric approach. Data analysis was done with the use of the
social network analysis program UCINET. Findings from the three case studies
showed that the accessibility of job information is through the informal social
networks formed among the construction artisans, foremen including construction
managers. Moreover, artisans from these sites were mostly friends and neighbours of
the same race which suggests that their social relations facilitated the transfer of
information concerning job opportunities. These kinds of relations transmit limited
information. As much as the informal social networks can be advantageous, they
create barriers of entry to those who are not part of these networks or barriers to skills
acquisition to those who do not possess craft skills. These exclude those who do not
belong to these advantageous networks. Further findings showed that a particular
trade was dominated by a particular race. Also, minimal interaction was observed
among different races suggesting a hindrance of transfer of information about job
opportunites across ethnic groups. It is recommended that the artisans need to interact
with others from different races as to broaden their networks and also to have
multiplex networks. The government also needs to implement new policies which can
enable people to have equality in the accessbility of social resources and economic
opportunities.
29
Von, Maltitz Darryn Lindsay. "Apprentice to artisan trials and tribulations of apprentices in a dual system apprenticeship programme in South Africa." Thesis, 2018. https://hdl.handle.net/10539/27170.
Full textAbstract:
A research report submitted to the Wits School of Education, Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Education by combination of coursework and research Johannesburg, February 2018.<br>Worldwide, various governments have taken significant measures to promote vocational education in an attempt to position it as an equal alternative to academic education. The problem, however, is that in many countries neither young people nor their parents perceive vocational education as having the same value as academic education (Allais, Marock, & Molebatsi, 2014). This is in contrast to Continental European countries, such as Germany, Austria and Switzerland where approximately two thirds of youth completing general schooling each year select vocational education over university education.
South Africa a country in which vocational education is extremely stigmatized, is reforming its apprenticeship system and has set itself a target of qualifying 24 000 new artisans by 2020 (DHET 2015). Technical Vocational Education and Training (TVET) colleges are viewed as key vehicles through which large numbers of artisans can be trained. However, employers do not have trust in the quality and capacity of public TVET colleges and have taken responsibility for training artisans through their own in-house training facilities and private training providers (National Treasury n.d.). The result is that TVET colleges have been side-lined in the supply chain for artisan development.
It is against this background that the South African government is piloting a dual system apprenticeship project, which aims to: a) improve the quality of artisan training at public TVET colleges; b) build employer trust in the quality of the public artisan training system; and c) position TVET education as an attractive option for young people.
This research is focused on apprentices training to become electricians through a dual apprenticeship model. The dual system integrates classroom theory with on-the-job instruction thus ensuring that learning is integrated and regularly reinforced.
Through semi-structured interviews and a questionnaire, this study brings the voices of 95 electrical apprentices to bear in order to develop a much deeper, richer and nuanced understanding of how apprentices experience the artisan development system. It seeks to understand what motivates young people to enrol at a TVET college, and what apprentices’ experiences, perceptions and expectations are of dual system apprenticeships. The study provides insights into the merits and challenges of dual system apprenticeships within the South African context.<br>XL2019
30
"The validity of the Jung Personality Questionnaire with reference to tradesmen." Thesis, 2014. http://hdl.handle.net/10210/13097.
Full text
31
De, Kok Leendert. "Die inlywing en aanvanklike indiensopleiding van ambagsmanne as tegniese onderwysers." Thesis, 2014. http://hdl.handle.net/10210/11613.
Full textAbstract:
M.Ed. (Educational Management)<br>Since 1973 teaching authorities have been compelled to employ artisans due to the shortage of technically trained teachers. This precaution has not been satisfactory because the artisan who has no formal teachers training has now become part of the educational profession. Methods have to be found to provide in-service training for this category of teacher with the view of preparing him for his task as teacher. The headmaster, as manageri all eader, can in thi s case, make use of a tutor-teacher and subject-head. The tutor-teacher must be an experienced and successful teacher , seeing that he has to convey his knowledge and teaching experience to the artisan-teacher. The subject-head can also play an important and valuable role in the initial in-service training programme by conveying knowledge and expertise concerning teaching practice, to the artisan-teacher. In the designing of an initial in-service training programme, attention should be given to the practical side of the subject, so that the knowledge acquired can be implemented immediately. Later in the training programme more time can be allocated to the theoretical aspect. The aim of this programme should be to encourage the artisan-teacher to acquire formal teaching qualifications. The school's in-service training programme is only an endeavor to provide the artisan-teacher with sufficient knowledge to teach his subject. The school cannot, in the final instance, replace tertiary institutions in the training of teachers.
32
Harmse, Lucia Geraldine. "Exploring the underrepresentation of female students in engineering studies at a TVET college." Diss., 2021. http://hdl.handle.net/10500/27196.
Full textAbstract:
The study explored women’s underrepresentation in engineering at a Technical Vocational and Education and Training (TVET) College in Gauteng, South Africa. Research on the lack of women in engineering exists, however, the underrepresentation of women students in engineering at TVET Colleges is under-researched. Using a theoretical starting point Bandura’s concept of self-efficacy, a qualitative study explored views of selected female students on female underrepresentation in engineering at TVET Colleges, with reference to South West Gauteng College. Interviews with women in Engineering, Business Studies and Hospitality courses were undertaken. Findings indicated: engineering students' desire for equal career opportunities in engineering; recognition of the impact of gender stereotypes and differing ways of developing self-efficacy and capabilities as women to follow an engineering career; the barrier of gender stereotypes on secondary school girls’ choice of and achievement in Mathematics and Science and the information gap concerning career options in engineering; as well as benefits provided by TVET Colleges offering these courses. Some recommendations which are suggested are: TVET Colleges should ensure that more information about the engineering courses offered at these institutions be relayed to the public in a manner that is inclusive to everyone irrespective of gender.<br>Educational Studies<br>M. Ed. (Adult Education)
33
Anderson, Vanessa. "The use of abstraction by Bill Ainslie and David Koloane." Thesis, 1999. http://hdl.handle.net/10321/2721.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Painting), Technikon Natal<br>The financial assistance of the Centre for Science Development (HSRC, South Africa) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the Centre for Science Development.<br>M
34
Rycroft, Vanessa. "South African history painting : reinterpretation by women artists." Thesis, 1996. http://hdl.handle.net/10413/5723.
Full textAbstract:
The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their
paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa
through their visual presentations. The work of Siopis and Skotnes
reflectects an interest in Postcoloniality. Furthernore, their visual
imagery addresses questions of culture and power in South African
visual representation. Works such as those created by Siopis and
Skotnes can be seen as uncovering some of the contradictions within the
process of decolonization. Nederveen, Pieterse and Parekh (1995 )
describe decolonization in the following way:
'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and
state. (Nederveen, Pieterse and Parekh 1995: 11)'
The focus in this dissertation is on the works of Siopis and Skotnes
and their use of specific deconstructive methods to undermine
prejudicial historical imagery and question established perceptions
within South African history. In other words, the visual presentation
of these two artists explores the boundaries or margins of established
history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been
subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective
art works. In the first chapter selected works from Siopis's 'History
Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.
35
Pedro, Manuel Freitas. "The design of an artisan training centre in Mamelodi, Pretoria." 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001237.
Full textAbstract:
M. Tech. Architecture (Professional)<br>Aims to investigate opportunities that could arise out of designing a facility of this nature to take advantage of the scarce skills shortage, and by placing the proposed facility within a township area will necessitate research into the dynamics of designing in such an area. Therefore the issues of concern which will be investigated will be: the shortage of skilled artisans ; community ownership; and the rehabilitation of a degraded site.
36
Zietsman, Derek. "Performing masculinities in the iconographies of selected white South African male artists." Thesis, 2014. http://hdl.handle.net/10210/8888.
Full textAbstract:
M.Tech. (Fine Art)<br>In this research I explore performances of white South African masculinities in select works by the South African artists, Anton Kannemeyer and William Kentridge, as well as in my body of practical work. The primary aim of this study is to investigate the nature of performances of white masculinities depicted in the selected visual texts. The term 'performances', in the context of this study, refers to Judith Butler's (1990, 2004) concept of gender as performed identities, as free-floating, unconnected to an 'essence'. Within the context of gender performativity, I apply constructivist identity formation theory to examine masculine identities depicted in the visual texts. This research shows how the performances of white masculinity represented in the artists' selected works function to comment on how white South African men are reconceptualising their masculine performativities in order to adapt to the ideals of post-apartheid South Africa. The study explores a perceived existential crisis in emergent South African white masculinities, analysing how a changing post-apartheid socio-political environment cause white South African men to create new conceptions of identity which break down previously imposed preconceived identities. In this dissertation I explore Kannemeyer's, Kentridge's and my own visual texts relating them to a discourse of social commentary. A key deduction I make from my research is that the selected visual texts operate through Laurel Richardson's factors of lived reality and reflexivity in that the artists' appropriate elements from within their experiences and observations of South Africa to inform their visual narratives. Another key deduction is that the visual texts analysed are structured through heteroglot voices, voices the artist uses to differentiate between the artist as author (his author-voice); the artist as his recognisable alter-ego (his object-voice); and the voice that provides content, context and meaning, to the text (his subjectvoice). There are a number of white, male artists who grew up in apartheid South Africa and who critique performances of white masculinity. I choose Kannemeyer and Kentridge as, apart from their both growing up in apartheid South Africa and using their lived realities and observations of socio-political change to inform their art making, as do I, they also tend to focus on two-dimensional art.
37
Khanyile, Isaac Nkosinathi. "A critical evaluation of cloth bead sculptures made by rural female artists in Kwazulu Natal (1970 to 1999)." Thesis, 2002. http://hdl.handle.net/10321/2043.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2002.<br>Cloth bead sculptures are art objects made by female artists from cloth, beads, wood, wire and other materials that are stitched by hand. They are freestanding representations of the human figure, animals and inanimate objects and have traditionally been important ritual, as well as aesthetic, objects in Zulu communal life. The research for this dissertation was based on qualitative methods which brought together information from the women discussing their life and work. These discussions with individuals and groups looked at the women's own explanations of their work, including its traditional, ritual and communicative functions in rural Kwa Zulu Natal. They also discussed their experiences in selling their artwork in relation to the past discriminatory practices of apartheid South Africa, which was the context for their lives. From the 1970s some rural women brought some of these figures to Durban for sale in the streets to supplement their meagre resources. Later the African Art Centre became the main retail outlet for selling African Art and Craft and white people associated with it became the 'official' spokespersons and interpreters of such their art work. This had the consequence of depriving the rural women artists of their own voice. They were thus not able to give their own interpretation and explanation of their work. Interpretation of these sculptures in the dissertation has taken into account the traditional communicative role of bead figures and the symbolic function of colours, patterns and textures created by the beads and other materials. Cloth bead figures brought in for sale to local and international buyers always represented more than simple decorated figures to the artists themselves. Indeed these bead figures, like other works of art produced by black South Africans, became a vehicle for the<br>M
38
Kelm, Erwin. "The development of job-related education and training in Soweto, 1940-1990." Diss., 2001. http://hdl.handle.net/10500/17065.
Full textAbstract:
The dissertation analyses job-related education, training
and development in Soweto since 1940. The effect which the
interference of the National Party government had on jobrelated
education for black South Africans in Soweto is
examined, as it is of importance to know that qualifiers
were only permitted to operate as trades people in the
bantustans and not in the "white" cities.
It is discussed that prior to the assassination of prime
minister Dr H F Verwoerd in 1966, the NP government had
little interest in promoting urban black upliftment. Also
mentioned is the economic situation at that time, which
forced the N P government to introduce the Manpower
Training Act, permitting Africans to qualify in trades
which were until 1981 reserved for whites only.
At the eentre of the discussion are the few Sowetan
colleges which deal with job-related education. training
and development in the African township. Despite the
demand for skills training of black South Africans,
training deteriorated and the dissertation investigates
the reasons surrounding the loss of interest in the
communities and why interest groups were no longer
concerned about this type of training.
The dissertation concludes with a possible future
perspective which needs to be implemented to enable
job-related education, training and development in Soweto
to expand. The need to train Sowetans in their own
colleges as opposed to colleges outside Soweto is
examined.<br>History<br>M.A. (History)
39
Coates, Kathleen Una. "A critical analysis of the indigenous woodcarving tradition in the Northern Province : influences and interventions (1985-2000) with specific reference to selected carvers." Thesis, 2003. http://hdl.handle.net/10321/2715.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2003.<br>This dissertation examines the influences and interventions affecting five selected woodcarvers working in the Northern Province over a period of fifteen years. Chapter Orneis divided into three sections. The first section explores the emergence of the woodcarving tradition through the watershed exhibition of Tributaries (1985), which claimed the 'discovery' of the master woodcarvers from the region. Shortly following on from this was the Neglected TradihmD exhibition (1988) whose role defined a turning point in the exhibiting and documentation of black artists within a changing art historical perspective.<br>M
40
Bosland, Joost Ooyke. "A hermeneutics of empathy: the artist interview in South Africa." Thesis, 2018. https://hdl.handle.net/10539/25702.
Full textAbstract:
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2018<br>This project consists of two parts: a selection of newly commissioned interviews with South African artists, titled Intent and Material: South African art in conversation, and a theoretical reflection on the significance of the artist interview in our local context, titled A Hermeneutics of Empathy: The artist interview in South Africa. Intent and Material contains interviews with Nicholas Hlobo, Zander Blom, Jody Maria Brand, Mikhael Subotzky, Bogosi Sekhukhuni and Ernest Cole. The accompanying thesis proposes the notion of a ‘hermeneutics of empathy’ as a way of thinking about artist interviews. This is a theoretical model, a wonderful phrase that draws together the work of N. Chabani Manganyi and Rita Felski, and suggests why the artist interview might be of interest in South Africa in 2018. At its best, an artist interview, through the push and pull between the two participants, reaches a level of thought about artistic practice that is rarely achieved in art criticism with a single author. The final, edited transcript has the potential to become an autonomous text that aides our understanding of an artist and the world they inhabit. Based on my reading of Manganyi and Felski, as well as Ronald Christ, Stacy Hardy and Ernest Mancoba, a new anthology of interviews with South African artists would be a meaningful contribution to local art criticism. It could achieve two separate but equally valuable goals: serve as an introduction to the local scene for curators and art historians from elsewhere, and contribute to a local literature on art that is of interest to non-specialists.<br>XL2018
41
Alkema, Joan. "Craft practised by Afrikaner women during and after the Anglo-Boer War 1899-1902 and the appropriation of similar craft in the work of selected contemporary South African artists." Thesis, 2012. http://hdl.handle.net/10321/762.
Full textAbstract:
Dissertation is presented in partial fulfilment of the requirements for the award of
Masters Degree of Technology: Fine Art, Durban University of Technology, 2009.<br>This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists.
During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed.
The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found.
The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation.
The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works.
As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of
vi
documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa.
My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history.
42
Mgidi, Sinaye. "Institutional arrangements for artisan development in the manufacturing sector." Thesis, 2014. http://hdl.handle.net/10539/15269.
Full text
43
Jordaan, Christiaan Johannes. "A strategy to link the informal and formal motor mechanic artisan training in South Africa." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001141.
Full textAbstract:
D. Tech. People Management and Development.<br>The main aim of this study was to develop a strategy to link the informal and formal motor mechanic artisan communities in terms of qualifications. The current formal sector training initiatives for motor mechanics do not provide for or acknowledge the non-formal learning of the informal sector practising motor mechanic artisan. This research supports three main arguments: firstly, the informal sector serves as a reservoir of individuals who are practising the motor mechanic trade; secondly, the need was identified to integrate these informal practising individuals with the formal sector in terms of qualifications; and thirdly, the large motor industries have the authority to propose processes to assist in the integration of the informal and formal artisan training. The study was conducted among 16 experts representing the motor mechanic training environment. The findings indicate that the two sectors could be linked through dedicated recognition of the prior learning system backed by a process of gap training. The findings also highlighted the importance of having modules of employable skills to enhance informal practising artisans’ employability status. Finally, this study identified specific constraints that contribute to the shortage of skilled motor mechanics in general. This research confirmed that a strategy could be developed to successfully link the informal and formal motor mechanic artisan communities.
44
Shibase, Thembalakhe. "The influence of the fine art market on the work produced by black artists (post 1994)." Thesis, 2009. http://hdl.handle.net/10321/495.
Full textAbstract:
Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009.<br>This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter.
iv
In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art.
45
Garrett, Ian William. "Nesta Nala : ceramics, 1985-1995." Thesis, 1997. http://hdl.handle.net/10413/5979.
Full textAbstract:
This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996. The main text is presented in four chapters. Chapter One outlines the development of Nala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis of Nala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durban Art
Gallery and University of Natal collections. An attempt is made to contextualize genres of Nala's work represented in these collections on the basis of their intended market destinations.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.
46
Oosthuysen, Zandri. "Looking closely by candle light." Thesis, 2016. http://hdl.handle.net/10539/21863.
Full textAbstract:
A Research Report submitted in fulfilment of the requirements for the Degree of Master of Arts in History of Art to the Faculty of Humanities at the University of the Witwatersrand, Johannesburg, 2016<br>In this research, I study the work by contemporary South African artist, Johannes Phokela, in relation to the Western art historical canon. I undertake a close analysis of his painting Candle Bathing (1997) that quotes Samson and Delilah (1609-1610) by the seventeenth century Flemish Baroque painter, Peter Paul Rubens. Through a comparative analysis and close looking I read Candle Bathing’s ‘visual argument’ within a postcolonial context. To argue that Candle Bathing is not a mere ‘quotation’ I look closely from multiple angles. To deal with the complexity of a quotation that crosses socio-political time and space, I interpret the painting from various theoretical frameworks: poststructuralism (semiotics), postmodernism (irony); and postcolonial theory to situate my contextual analysis. I am interested in how we can read beyond the literal and how a close reading of this ironic quotation can surface the complexities of contemporary South African art in relation to the art historical canon and colonialism. Through close looking I read Candle Bathing as addressing the art canon, colonialism, critiquing issues of race, and marginalisation. This research contributes to filling a knowledge based gap by researching a previously marginalised artist and a close engagement with Candle Bathing. In addition, this research offers a way of looking and a method on how to begin looking closely at contemporary African art quoting canonical works. I illustrate the value of close looking to read multifaceted and layered interpretations.<br>MT2017
47
Bingham, Niall B. "The role of artistic collaborations: selected comparisons from South African print studios and 'double act' artist collaborations." Thesis, 2016. http://hdl.handle.net/10539/20779.
Full textAbstract:
A dissertation presented to the Faculty of Humanities of the University of the
Witwatersrand in partial fulfilment of the requirements for the degree of Master of Arts
in Fine Arts.
Johannesburg, 2016<br>Collaboration in South African printmaking studios, both between artists and
printmakers, and between artists working together in print studios are examined in
this study. How South African artists have used the conventions of collaborative
printmaking practices to complement their own practice; and what kind of dynamics
can emerge from such collaborations is the primary concern of this study.
Printmaking is widely viewed as a subsidiary, or supplementary practice to artists’
primary concerns in their particular medium of practice. It is important to examine the
role of collaboration in printmaking studios, and how it may benefit, or hinder artists in
their creative productions. To contextualise my study, I provide a brief historical
overview of collaboration in Western printmaking; and briefly examine printmaking
against South Africa’s political landscape since the 1960s. Recent critical
observations on collaboration in the arts are introduced to foreground various
categorizations and approaches to such practices. My research focus is not on the
intricacies of collectivism in collaboration but rather on how a form of ‘teamwork’
collaboration in print studios can generate agency, within the context of concerns
raised in my own creative practice. As a printmaking teacher, practitioner and
collaborator, I hope these findings could be used to address some of the concerns
experienced in collaborations.
48
Allen, Siemon D. "The FLAT Gallery : a documentation and critical examination of an informal art organisation in Durban." Thesis, 1999. http://hdl.handle.net/10321/2057.
Full textAbstract:
This Dissertation is submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art, Technikon Natal, 1999.<br>In this research paper I will examine the Durban based 'alternative/informal' art space, the FLAT Gallery, which operated from October 1993 to January 1995. I will begin by first defining what is meant by an 'alternative space' and by looking at the historical development of such spaces both in South Africa and the United States of America. This will include an investigation into the ideological motivations and socio-political influences behind such spaces, as well as an exploration of what is meant by 'alternative practice', which I will show as being inseparable from the mission of the 'alternative space.' This will by no means be a comprehensive survey of alternative spaces in South Africa or the United States, but rather a tracing of the phenomenon with relevant examples. Here, I will explore the similarities that existed between the FLAT and other contemporary artist initiatives in South Africa and the United States, drawing comparisons between the FLAT and other similar venues. I will examine the particular circumstances that catalyzed the FLAT Gallery in the specific cultural and historical context of Durban, South Africa in 1993 and 1994. I will then construct a chronological documentation of the FLAT Gallery' s programme including interviews and extensive visual and audio archives. With this archival information and with detailed descriptions of each event, exhibition or performance, I will create a comprehensive record of the FLAT Gallery's activities. This will include an investigation into the historical influences, with specific examples of linkages to other artist-motivated projects in the past. In this way, I will both identify important precedents for many of the FLAT projects. I will conclude with those 'FLAT activities' that continued beyond the operation of the 'alternative/informal' space. It is my intention to create a document that not only offers a comprehensive study of the FLAT Gallery's programme, but also offers students, recent graduates and emerging artists useful practical information. This document is an affirmation of the possibilities for working and exhibiting once one has left the 'comforts' of faculty guidance, peer support, studio facilities and venues for showing work that the institutional environment provides. My claim is that there rests in the artist the responsibility to actively build a place where his/her development as a creative individual can flourish; that one must not wait for 'permission' or for 'someone' to offer validation of one's work. With this document I intend to demonstrate that it is indeed possible here in Durban to do Something!.<br>M
49
Parry, Melissa. "(Re)presenting the female form: shaped by artists Nelson Mukhuba, Noria Mabasa and Johannes Maswanganyi." Thesis, 2016. http://hdl.handle.net/10539/19939.
Full text
50
Fleming, Tyler. ""King Kong, bigger than Cape Town" : a history of a South African musical." 2009. http://hdl.handle.net/2152/21553.
Full textAbstract:
This dissertation analyzes the South African musical, King Kong, and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. This inter-racial collaboration was truly groundbreaking in a nation where apartheid was officially enacted a little over a decade prior to King Kong’s 1959 debut. Relatively apolitical in its message, King Kong proved accessible to South African audiences regardless of race or background, and became overwhelmingly lauded as an endeavor that all of the country could enjoy and cherish. The musical successfully toured South Africa’s major metropolises, often to sold-out crowds. Its domestic success later spurred a tour of Britain in 1961, making it the first major South African theatrical production to be staged abroad. Due to the multi-racial efforts behind King Kong, its success and the high quality of its performers, the musical initiated a new era in South African music and theatre for decades to come.
Despite being based around King Kong, this dissertation contextualizes the production, as it uses King Kong’s creation, development and legacies to further analyze larger themes within South African and global histories. Each chapter, as a result, examines the evolution of the musical from the life story of the boxer from which the play is based, the musical’s making and tour of South Africa, the play’s 1961 tour of the United Kingdom, the experiences of the black casts in exile, and the failure of the play’s 1979 remake. By examining the play, its cast, and their collective legacies both in South Africa and further afield, this project complicates our understanding of the Black Atlantic framework by infusing Africans as active participants in these transnational discussions.<br>text