2024-03-29T02:36:50Zhttps://uir.unisa.ac.za/oai/requestoai:uir.unisa.ac.za:10500/36802023-05-30T09:57:55Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Musungu, Gabriel Joseph
author
2010-07
Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.
Musungu, Gabriel Joseph (2010) Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite, University of South Africa, Pretoria, <http://hdl.handle.net/10500/3680>
http://hdl.handle.net/10500/3680
Cross-cultural composition
Samia traditional composition
Samia marriage folk songs
Afro-classic composition
Esidialo (marriage) composition
Creative work
Contemporary composition
Merger of Samia and western music elements
Composition
Hybrid composition
Samia marriage composition
Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite
oai:uir.unisa.ac.za:10500/161632018-11-17T13:05:04Zcom_10500_177com_10500_172com_10500_1com_10500_14514com_10500_13602com_10500_506col_10500_178col_10500_14523col_10500_507
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Symonds, Genevieve
author
1995-11
The purpose of this study was to determine why South African
long-distance runners start and continue to run long distances,
what perceived psychological benefits and negative effects they
experience as a result of their involvement in the sport, and
what thoughts and emotions are associated with the runner's high.
Questionnaires were sent to 2 000 1992 Two Oceans Marathon
participants and 777 responded. Results show that South African
long-distance runners start running chiefly for physical fitness
and health reasons, and continue for these reasons as well as
psychological benefit reasons. As a result of their involvement
in the sport, they experience psychological benefits such as a
positive mood, positive self-image and positive mental outlook.
When unable to run, these benefits are reversed. They also
experience negative effects such as relationship problems because
of long-distance running. Many thoughts and emotions are
associated with the runner's high, but most define it as an
euphoric feeling
Symonds, Genevieve (1995) Psychological aspects of long-distance running among South African marathon runners, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16163>
http://hdl.handle.net/10500/16163
Long-distance running
South African long-distance runners
Marathon runners
Ultra-marathons
Psychological aspects of long-distance running
Motivation for initial participation
Motivation for continued participation
Perceived psychological benefits
Perceived negative effects
Runner's high
Psychological aspects of long-distance running among South African marathon runners
oai:uir.unisa.ac.za:10500/307242024-01-10T09:07:48Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Schoeman, Anje
author
2023-01-31
The approach of this research was conducted via an Anthropogenic Anthropological voice focusing on the life, death, life cycles of nature and culture within the Urban Anthropocene and the impact this have on non-human kin. This was done through visual analysis and ethnographic practice-based research methods via engagement with wilderness areas in my immediate environment. I further investigate ecological utopian and dystopian lenses of nature and culture pertaining to life, death and life cycles within Popular Disaster Culture exploring the Urban Anthropocene. Investigating Popular Disaster Culture assisted me to determine a view of the image that the public might conceive in terms of the Urban Anthropocene and how this can hamper a Natureculture approach towards nature as proposed through the practices of various selected artists working with urban areas in an anthropogenic perspective of storytelling. These elements in return led my practice and practical choices within my artwork which was created for non-human kin within a gallery space. My artwork became a representation of ecological storytelling of Natureculture through complex layering of nature and culture depicting life, death and life cycles of selected organic and building materials as well as established ecosystems and life critters. While further providing these non-human kin with entertainment of video projections of themselves in the past, present and possibly a future within the Urban Anthropocene serving as comment to the mechanical approach of displaying natural materials in museums in conjunction to a more accurate depiction of function ecosystems.
https://hdl.handle.net/10500/30724
Urban anthropocene
Popular culture of disaster
Utopian and Dystopian lenses
NatureCulture
Non-human centric views
Anthropogenic anthropological voice
Narrative and storytelling
Life, death life cycles
Visual analysis of popular disaster culture : an insight into the urban Anthropocene
oai:uir.unisa.ac.za:10500/294322022-10-07T07:30:39Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Spies, Werner Hans
author
2022-03
As a professional bass player and teacher I have experienced various instances of musicians interacting with one another in a group setting. These interactions varied from school ensembles,
music students at a tertiary level, to professional musicians. Through my own teaching and playing career, I have noticed that certain groups of musicians are better than others at communicating their ideas and to coordinate as a group during a musical performance.
Meadows(2008, 2) explains that a system is "a set of things – people, cells, molecules, or whatever – interconnected in such a way that they produce their own pattern over time" while Kelso (2009,
1539) states that coordination dynamics aims to identify and describe the nature of coordination within a part of a system. With these statements in mind, Bishop (2018, 4) argues that a musical
ensemble can be regarded as a system in which the individual musicians, their instruments, the audience, and the performance space, are components that are interacting as a system.
There is an apparent gap in the literature as authoritative texts on improvisation and coordination within the jazz rhythm section such as Saying Something by Ingrid Monson (1996) and Thinking in Jazz by Paul Berliner (1994) mainly focus on musicians in the United States.
This study examines the interaction and coordination of a South African jazz trio during a musical performance to address the apparent shortfall in the literature in a South African context. This lack of depth in the literature leads to the research question: What are the main methods of
communication and coordination within the Charl du Plessis Trio during a performance?
A summary of the history and circumstances that led to the formation of the jazz piano trio as a group format is included in this study. It highlights the work of prominent trios and compares them to the work of the trio led by Charl du Plessis, examining the ways that his trio performs traditional jazz works and how their interaction and coordination methods differ from traditional jazz performance conventions.
I undertook to describe the main communication and coordination dynamics to determine whether a jazz group in the South African context functions similarly to their American counterparts. This dissertation aims to contribute to the scholarly literature about the lived experience of musicians in such a trio.
The Charl du Plessis Trio, of which I am a member, was chosen as a sample group, considering its critical acclaim (see Section 2.2.4 Charl du Plessis sample group), its South African context, and its history of actively performing as a jazz trio between 2006 and 2021. This history is in contrast with the ad hoc zero history of groups studied by Bastien and Hostager (1988) in a jazz context.
This study describes the differences and similarities in each musician’s viewpoint or experience in the trio, specifically examining the work of the Charl du Plessis Trio, drawing on the work by Kelso (2003, 45) on how patterns of coordinated behaviour emerge from each member’s musical contributions over time.
Due to the small sample group, the research design of this study consists mainly of structured interviews with the participants using the Interpretive Phenomenological Analysis framework.
The participants’ interviews were transcribed and analysed to identify which of the Wittenbaum et al. (2002, 178–80) coordination methods (pre-plans, tacit pre-coordination, in-process planning, or in-process tacit coordination) were most relevant for describing the coordination between participants during a performance.
This study finds that in-process tacit coordination (members making mutual strategy adjustments tacitly while working to fit the observed behaviour of others) is the most common method of coordination during a performance within the sample group.
Other methods of coordination that were also found to contribute to the group's performance were pre-plans (members making explicit their planned actions), tacit pre-coordination (where members make assumptions about what is expected of them), and in-process planning (where members define their roles explicitly communicating their planned strategy).
https://hdl.handle.net/10500/29432
Ensemble
Coordination dynamics
Emergence
Jazz trio
Improvisation
Flow
Group interaction
Lifting the veil on ‘a good jam’: describing the coordination dynamics of an acoustic jazz trio
oai:uir.unisa.ac.za:10500/262412020-07-06T11:51:13Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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De Jager, Thea Laurette
author
2019
This study focuses on the investigation and deconstruction of the phenomena of the South African dystopian society, as reflected in the novels of Lauren Beukes and films by Neill Blomkamp. The characteristics and signifiers of a uniquely South African dystopian society are established and investigated through a posthuman lens. The theoretical framework of this study is principally concerned with the critical posthuman writings of Rosi Braidotti, Donna Haraway and, to a lesser extent, Cary Wolfe. Feminism and post-colonialism, and their influences on posthuman theory, are applied as the secondary theoretical framework, in this study.
The study is practice led, with the study of the literature serving as mutually informative to the execution of a body of work centred on the dystopian theme. The paintings are intended to be metonyms for the wide range of manifestations of social decline evident in contemporary South African narratives.
http://hdl.handle.net/10500/26241
Avarice
Beukes (Lauren)
Blomkamp (Neill)
Contemporary painting
Decay
Dystopia
Feminism
Identity
Post-colonialism
Posthumanism
South Africa
The poesis of decay : a painter's response to the dystopian aesthetic
oai:uir.unisa.ac.za:10500/221672018-11-17T13:06:57Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Watt, Ronald
author
2016-11
South African studio pottery of the later twentieth century has consistently been described as ‘Anglo-Oriental’, because it was perceived to adhere to the standard forms of utilitarian wares in plain or subdued colours and decorations, as promoted by the Anglo-Oriental tradition of studio pottery. This dissertation investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that the oeuvres which they developed reflect what they borrowed, adapted and re-interpreted from such influences. The studio pottery careers and
influences of the pioneers Esias Bosch, Hyme Rabinowitz and Bryan Haden are discussed, and the oeuvres of the second generation of studio potters are also investigated. Attention is given to both the ethics and aesthetics of their studio pottery practices. The dissertation further explores whether the era’s studio potters contributed towards the creation of a distinctive South African pottery identity.
Watt, Ronald (2016) South African studio pottery of the later Twentieth century and its Anglo-Oriental epithet, University of South Africa, Pretoria, <http://hdl.handle.net/10500/22167>
http://hdl.handle.net/10500/22167
Anglo-Oriental tradition of studio pottery
Bryan Haden
Craft pottery
Esias Bosch
Hyme Rabinowitz
Michael Cardew
Pottery ethics and aesthetics
South African ceramics
South African studio pottery
Utilitarian pottery
South African studio pottery of the later Twentieth century and its Anglo-Oriental epithet
oai:uir.unisa.ac.za:10500/67212021-01-08T06:15:49Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Izu, Benjamin Obeghare
author
2012-06
This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances.
The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up.
This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73.
Izu, Benjamin Obeghare (2012) Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria, University of South Africa, Pretoria, <http://hdl.handle.net/10500/6721>
http://hdl.handle.net/10500/6721
Festival
Music
Ewini music
African music
Traditional festivals
Igue festival
Rituals
Oba of Benin kingdom
Ugie festivals
Chiefs
Benin kingdom
Culture
Costume
Igue Dance
Edo people
Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria
oai:uir.unisa.ac.za:10500/176492018-11-17T13:04:45Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Rutstein, Esther
author
1997-01
The psyche of an entire people underwent a paradigm shift during the Palestinian
Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the
'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest
of these pioneers was to rebuild their ancestral homeland. When the pioneering
Halutzim encountered the ancestral soil of their Motherland, deep impulses were
revealed. Their folksongs - an important component of folklore and mythology -
reflected this inner dimension of their being and of their experiences in Eretz Israel
by means of archetypal transformations. Initially, an idealistic devotion to
reconstruction and intimate reverence for the Land was reflected. However, in the
1930s and 1940s, opposition to Jewish settlement transformed folksongs so they
became increasingly militant, reflecting a movement towards extroversion in the
Jewish psyche which was consolidated in 1948.
Rutstein, Esther (1997) Jewish folksongs in the Palestinian period : building a nation, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17649>
http://hdl.handle.net/10500/17649
Israel
Jews
Diaspora
Palestinian period
Pioneers
Mythology
Archetypes
Folklore
Folksongs
Jewish folksongs in the Palestinian period : building a nation
oai:uir.unisa.ac.za:10500/270522021-01-25T14:19:21Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Adjei, Kwabena Osei Kuffour
author
2020
This study investigated the management of information and communication technologies (ICTs) at academic libraries in selected public universities in Ghana. The purpose for this study was to
investigate the managerial processes and challenges in terms of conceptualization, policies, planning, implementation and strategies involved in ICTs adoption in order to formulate strategies
for their management in Ghanaian academic libraries.
Specifically, the objectives of the study were to review and explore the status and level of ICT diffusion in Ghanaian university; audit the procedures, processes and factors that influence ICT adoption and implementation in Ghanaian university libraries; establish the institutional policies, strategies and human resource that is in place and available for the adoption; determine the factors that hinder the adoption and management of ICTs in Ghanaian university libraries; and design a framework for effective and efficient management of ICTs in Ghanaian public university libraries.
The study adopted mixed-method research design approach combining both quantitative and qualitative approaches through the pragmatic worldview to achieve the main purpose of the study.
Adopting a survey study design, data was collected from five selected Ghanaian public universities by interviewing the five university librarians/directors, using questionnaires on 313 library staff
and making observations within the five libraries.
The findings of the study established that the managerial tools/instruments required for effective ICTs management in Ghanaian university libraries include the availability of library ICT policies,
a library ICT strategic plan, library ICT installation and maintenance manuals, library ICT integration plans, and standard operations manuals. In addition, adequate funds, skilled manpower, adequate and standard ICT infrastructures among others. However, the study also revealed that there are absence of library ICT policies, lack of processes and procedure guidelines, inadequate funds, lack of management support, inadequate ICT skills among libraries and staff ICT training policies in the academic libraries in Ghana.
The study recommends the formulation of ICT policies and strategic plans purposely for the comprehensive management of library ICT systems. Furthermore, the university top management
should support their libraries by providing the required resources and motivation for the library managers including the development of stakeholder partnership and collaboration. To galvanise these recommendations, the study proposes a framework for the ICTs adoption and management in Ghanaian university libraries.
http://hdl.handle.net/10500/27052
Library information technology management
Technologies management in university libraries
Library ICT management
University library ICT policy
Academic libraries
Academic library ICT
Academic library management
System Theory Model
Managing information and communication technologies (ICTs) at academic libraries in selected public universities in Ghana
oai:uir.unisa.ac.za:10500/176522018-11-17T13:04:57Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Sacks, Glenda
author
1992-11
In our Post-Modern milieu there has been a renewed attempt in art to communicate with the viewer. My hypothesis is that particular images provoke empathic responses in the viewer. Iconographical and formal characteristics in images which provoke empathy are discussed and Lipps' ( 1905) and Worringer's (1908) theories of empathy are examined. The psychological profile of a viewer is considered in the light of Freud's familial model of the human psyche with its emphasis on sexual instincts. The theoretical framework within which my hypothesis
operates is based upon Bryson, Holly and Moxey's ( 1991) interventionist response to visual interpretation. They foreground the viewer's historicity in the viewing of an image and their approach is contrasted with that of the perceptualists (Wollheim, Gombrich and others) who maintain that the historicity of the viewer is unimportant. Finally it is argued that art can have a transforming potential if the artist provokes empathy in the viewer.
Sacks, Glenda (1992) Image-making and contemporary social myth, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17652>
http://hdl.handle.net/10500/17652
Image-making and contemporary social myth
oai:uir.unisa.ac.za:10500/175032018-11-17T13:04:48Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Moodie, Noreen Charlotte
author
1996-11
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music.
Moodie, Noreen Charlotte (1996) Liszt's songs : a reflection of the man and a microcosm of his musical style, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17503>
http://hdl.handle.net/10500/17503
Liszt's songs
Chronological classification
Historical perspective
Character of each song
Revisions
Ossia passages
Style development
Tone painting
Harmonic features
Tonal development
Liszt's songs : a reflection of the man and a microcosm of his musical style
oai:uir.unisa.ac.za:10500/269172021-01-11T10:14:19Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Adjepong, Benjamin
author
2020-01
In Ghanaian primary schools, music is a compulsory study area which is taught by
generalist teachers. However, information is deficient on the strategies teachers use to
implement the music curriculum. The aim of this study was to determine how teachers
organise musical learning experiences in terms of developmentally appropriate practice
(DAP) for lower primary school pupils. DAP is an educational concept which refers to
teaching strategies that consider children’s age, abilities, interests and experiences, to
help them achieve challenging and achievable goals. The study was underpinned by the
concept of teaching within the context of constructivist theory. Qualitative Interpretative
Phenomenological Analysis and ethnographic research methods were used to find
answers to the research questions. Data were collected by means of observations,
interviews and document analysis.
Singing, movements and the playing of improvised instruments (although they constitute
only a part of the planned music curriculum in the Creative Arts syllabus) dominate the
music activities provided in the schools. In fact, unplanned music activities dominate
planned music lessons due to teachers’ perceived lack of adequate training to teach
music, the non-application of ICT in teaching, a lack of teaching and learning materials,
unsuitable physical conditions for teaching, lack of motivation and support to teach, and
lack of time to teach music because of the emphasis on meeting the targets of teaching
and assessment in core subjects. Strategies the teachers adopt to overcome the challenges
they encounter in teaching music include collaboration with their colleagues in planning,
teaching and integrating music into most classroom activities and drawing on pupils’
expertise in teaching and learning. It is recommended that teachers be given in-service
training, that specialist teachers be used, and that adequate teaching and learning
materials be provided, as well as support for teachers to integrate ICT in teaching music.
Limitations associated with the study make generalisation of the findings impossible. A
larger sample from various primary schools within the Ashanti region of Ghana should
be considered for further research. Functional integration of music in the other subject
areas within the Ghanaian context should also be explored and further studies should be
conducted about the application of developmentally appropriate practice in teaching
music in the lower-primary classroom.
Ezikoleni zamabanga aphansi zaseGhana, umculo uyindawo eyimpoqo yokufunda
efundiswa ngothisha abajwayelekile. Kodwa-ke, ulwazi alwanele ngamasu othisha
abawasebenzisayo ukwenza izifundo zomculo. Inhloso yalolu cwaningo
kwakuwukuthola ukuthi othisha bahlela kanjani amava okufunda omculo ngokwendlela
efanelekile yokuthuthuka (NET) yabafundi bezikole zamabanga aphansi. NET
ingumqondo wezemfundo obhekisa kumasu okufundisa abheka iminyaka yezingane,
amakhono, izintshisekelo kanye nezipiliyoni ezithile, ukuzisiza ukuthi zifeze izinhloso
eziyinselele futhi ezingafinyeleleka.Ucwaningo lwalusekelwa ngumqondo wokufundisa
ngokwengqikithi yethiyori yokwakha. Ukuhlaziywa Okufanelekile Kokuhunyushelwa
Kokubukeka Kwabantu nezindlela zokucwaninga ngobuzwe zisetshenzisiwe ukuthola
izimpendulo zemibuzo yocwaningo. Kuye kwaqoqwa imininingwane yolwazi
ngokubheka okwenzekayo, izinhlolokhono kanye nokuhlaziywa kwemibhalo.
Ukucula, ukunyakaza nokudlalwa kwezinsimbi ezithuthukisiwe (yize ziyingxenye nje
kuphela zekharikhulamu yomculo ehleliwe kusilabhasi Yezobuciko Bokuzenzela)
kulawula imisebenzi yomculo enikezwe ezikoleni. Empeleni, imisebenzi yomculo
engahlelwanga ilawula izifundo zomculo ezihleliwe ngenxa yokungabi bikho kothisha
abaqeqeshwe ngokwanele ukufundisa umculo, ukungasetshenziswa kwe-
ICT/Ezobuchwepheshe ekufundiseni, ukuntuleka kwezinto zokufundisa nokufunda,
izimo ezzibambekayo ezingafanelekile zokufundisa, ukungabi nogqozi nokusekelwa
ekufundiseni, nokungabi nesikhathi sokufundisa umculo ngenxa yokugcizelelwa
ekuhlangabezaneni nezinhloso zokufundisa nokuhlola ezifundweni ezibalulekile. Amasu
othisha abawasebenzisayo ukunqoba izinselelo abahlangabezana nazo ekufundiseni
umculo kufaka phakathi ukusebenzisana nozakwabo ekuhleleni, ukufundisa
nokuhlanganisa umculo emisebenzini eminingi yasekilasini nokudweba ubuchwepheshe
babafundi ekufundiseni nasekufundeni. Kunconywa ukuthi othisha banikezwe
ukuqeqeshwa emsebenzini, ukuthi kusetshenziswe othisha abangochwepheshe, nokuthi
kuhlinzekwe ngezinto ezanele zokufundisa nokufunda, kanye nokuxhaswa kothisha
ukuze bahlanganise i-ICT/Ezobuchwepheshe ekufundiseni umculo. Ukulinganiselwa
okuhambisana nesifundo kwenza ukuthi okwenziwa jikelele kokutholakale kungenzeki.
Isampula elikhudlwana elivela ezikoleni ezahlukahlukene zamabanga aphansi esifundeni sase-Ashanti eGhana kufanele licatshangwe ukuqhubeka nocwaningo.
Ukuhlanganiswa kokusebenza komculo kwezinye izindawo ezingaphansi komongo
waseGhana nakho kufanele kuhlolwe futhi kufanele kuqhutshekwe nezifundo
ezimayelana nokusetshenziswa kwenqubo efanelekile yentuthuko ekufundiseni umculo
ekilasini lamabanga aphansi.
Kwizikolo zaseGhana zamabanga asezantsi, kusisinyanzelo ukufundisa umculo, kwaye
oku kwenziwa ngabafundisi ntsapho okanye ootitshala abafundisa yonke into. Noxa
kunjalo, akukho lwazi lwaneleyo ngamacebo asetyenziswa ziititshala ekufundiseni
ikharityhulam yomculo. Injongo yesi sifundo kukuqwalasela ukuba iititshala
zikulungiselela njani ukufundisa ngendlela yophuhliso olufanelekileyo (iDAP)
kumabanga asezantsi. Le DAP nesisishunqulelo sesiNgesi sebinza elithi developmentally
appropriate practice, yingcinga yezemfundo emalunga namacebo okufundisa athathela
ingqalelo ubudala bomntwana, izinto akwaziyo ukuzenza, umdla namava akhe, ukuze
ancedwe ekufezekiseni iinjongo ezicela umngeni nezinokufikeleleka. Esi sifundo
sisekelwe yingcinga yokufundisa ephuma kwimeko yengcingane yokuzakhela ulwazi.
Iimpendulo zophando zifunyenwe ngokusebenzisa iindlela zophando ngokuxoxa
nokutolika iimeko ezahlukeneyo (Qualitative Interpretative Phenomenological
Analysis) kunye nokuqwalasela inkcubeko. Iinkcukacha zolwazi okanye idatha,
ziqokelelwe ngokujonga okuqhubekayo, udliwano ndlebe nokuphengulula imibhalo
ekhoyo.
Ukucula, ukushukuma nokudlala izixhobo zomculo ezingoozenzele (nangona
ziyinxalenye yekharityhulam ecetywayo yobuGcisa Bokuzenzela) kudlala indima
eyongameleyo kwimisebenzi yomculo eyenziwa ezikolweni. Xa sithetha inyaniso, into
eyenzekayo ekufundiseni umculo yimisebenzi engacetywanga ezifundweni ngenxa
yokuba ootitshala abaqeqeshekanga kakuhle ekufundiseni umculo, abusetyenziswa
ubuchwepheshe ekufundiseni umculo, azikho izixhobo zokufundisa nokufunda umculo,
iindawo ekufundiselwa kuzo azifanelekanga, inkxaso nenkuthazo yokufundisa umculo
iyasilela kwaye lincinci ixesha lokufundisa umculo ngenxa yokuleqa ukufezekisa imiqathango yokufundisa nokuhlola kwizifundo ezingoondoqo. Ekulweni nemingeni
yokufundisa umculo, ootitshala babhenela ekusebenzisaneni nabanye ekwenzeni
amacebo okufundisa nokubandakanya umculo kwimisebenzi yeklasi nasekusebenziseni
ulwazi lwabafundi. Kucetyiswa ukuba ootitshala bafumane uqeqesho lo gama besebenza,
kusetyenziswe ootitshala abaziingcali zomculo kwaye kufumaneke izixhobo
ezifanelekileyo zokufundisa nokufunda, kuxhaswe ootitshala ekusebenziseni
ubuchwepheshe xa befundisa umculo. Ukunqaba kolwazi okungqonge esi sifundo
kwenza kube nzima ukugqiba jikelele ngokufunyanisiweyo. Mhlawumbi kunokuthathwa
isampulu yophando enkulu kwingingqi yaseAshanti eGhana ukuze kwandiswe olu
phando. Okunye okunokwenziwa kukuhlanganisa umculo nezinye izifundo
ngokwemeko yaseGhana, kwaye kufuneka kuqhutywe izifundo ezithe chatha malunga
nokusebenzisa iindlela zokufundisa ezinophuhliso olufanelekileyo ekufundiseni umculo
kwiklasi yamabanga asezantsi.
http://hdl.handle.net/10500/26917
Strategies of Teaching
Music education
Generalist teachers
Primary school
Lower primary
Developmentally appropriate practice
Constructivist theory
Qualitative research
Participation in music
Ghana
Developmentally appropriate strategies of teaching music in selected primary schools in Ashanti region of Ghana
oai:uir.unisa.ac.za:10500/11812018-11-17T13:05:13Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Morris, Wendy Ann
author
2009-08-25T10:50:24Z
Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA.
Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators.
Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions.
Morris, Wendy Ann (2009) Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa, University of South Africa, Pretoria, <http://hdl.handle.net/10500/1181>
http://hdl.handle.net/10500/1181
Ethnographic museums
Colonizing space and time
Sanctioned eroticism
Voyeuristic gaze
Benevolence
Noble Savages
Absent metaphors of violence
Cannibal consumption
Insurgent aesthetics
Critical potential of visual images
Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa
oai:uir.unisa.ac.za:10500/253472019-04-04T09:28:23Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Swanepoel, Andrew Peter
author
2018-08
An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions.
In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military.
I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men.
Swanepoel, Andrew Peter (2018) Repositioning the problematic gender formation of a generation of white South African men through performance art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/25347>
http://hdl.handle.net/10500/25347
Aesthetics
Apartheid
Auto-ethnography
Baby Boomer generation
Being
Dasein
Deconstruction
Ethnography
Existentialism
Feminism
Generation X
Ideology
Intersubjectivity
Intertextuality
Langue
Lichtung
Masculinities
Militarisation
Parole
Performance ethnography
Performativity
Phallic
Phallogocentrism
Phenomenology
Reflexive
Whiteness
Repositioning the problematic gender formation of a generation of white South African men through performance art
oai:uir.unisa.ac.za:10500/167332018-11-17T13:05:18Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Edelsburg, Zahava
author
2000-01
Collage is presented as an allegoric art-form sui generis, considering allegory
itself as an open-ended form of art.
The research provides a suggestion to a different understanding of collage i.e.:
as a catalyst for a search for structure and semiotic relationships in an attempt to
overcome a constant disordered expansion of an intertextual web and hermeneutic
possibilities; and as an open work, providing multi-layered meanings. As an open
work collage is typified by the prominent role of its "readers", its ambiguity and
the infinite net of references it summons.
Collage may be conceived as a bridge between modernism and postmodernism,
structuralism and post-structuralism; as a model for constant innovation and
suppleness; as a stimulator for meta-artistic questions, acceptance of "soft"
universals and reevaluation of the role of the Other within an artwork.
Works by Jasper Johns, Michal Na'aman, Dina Hoffman and myself exemplify
these ideas.
Edelsburg, Zahava (2000) The new within the given : collage principles and processes in contemporary painting, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16733>
http://hdl.handle.net/10500/16733
Allegory
Ambiguity
Benjamin (Walter)
Collage
Eco (Umberto)
Hoffman (Dina)
Intertextuality
Johns (Jasper)
Na'aman (Michal)
Openwork
Postmodernism
Structuralism
The new within the given : collage principles and processes in contemporary painting
oai:uir.unisa.ac.za:10500/306902023-11-30T09:13:45Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Simpson, Stephanie
author
2023-09-15
This practice-based study sets out to identify creative triggers found in
contemporary children’s picture books that encourage playful approaches in
readers with a view to them applying their imaginations as they navigate their way
through the books’ spreads. Through the lenses of narratology, psychology and
phenomenology, the study unpacks postmodern narrative devices found in
contemporary picture books with reference to the work of Martin Salisbury, Perry
Nodelman and Donald Winnicott. Winnicott’s theories regarding the ‘True Self’, ‘true
play’, the ‘transitional object’ and ‘transitional space’ played a key role in this study.
Eleven creative triggers were identified and used to examine contemporary
children’s picture books. These were then put into practice to create a series of
books for my art practice under the title Cautionary tales for Grown Ups from
Children/Cautionary tales for children from Grown Ups.
https://hdl.handle.net/10500/30690
Donald Winnicott
Imagination
Play
Playfulness
Creativity
Narratology
Picture books
Postmodern narrative devices
Formal elements
Creative triggers
Narratology
True play
Transitional object
Creativity, imagination and play in children’s picture books : the importance of creative problem-solving
oai:uir.unisa.ac.za:10500/43432023-10-27T11:01:00Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Willemse, Emma Wilhelmina
author
2010-11
As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.
Willemse, Emma Wilhelmina (2010) The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/4343>
http://hdl.handle.net/10500/4343
Contemporary art
Cyanotype
Environmental psychology
Haptic visuality
Identity
Photography
Trauma
Development-induced displacement
Art and society
Blue (colour)
Blueprints
Displacement
Eisenberg (Daniel)
Found objects (art)
Home
Home - Psychological aspects
Individuation
Installation art
Loss
Memory
Objects - meaning
Parker (Cornelia)
Phenomenology
Place affiliation
Space and time
Stiegler (Bernard)
Time
Time and art
Trauma
Whiteread (Rachel)
Williamson (Sue)
The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art
oai:uir.unisa.ac.za:10500/270372021-01-20T12:04:21Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Ganyata, Obert
author
2020-12
This study focuses on the teaching of Indigenous African Music (IAM) in Zimbabwean primary schools, and proposes a new Experiential Open Class Pedagogy relevant to its multicultural contexts. A postcolonial theoretical paradigm informs the discussion of secondary literature, and the analysis of empirical data obtained through the following methods: interviews, lesson observations, focus
group discussions, and the analysis of teaching documents. Case studies were conducted at ten schools in the Gweru district of Zimbabwe. These schools were chosen from a mix of urban, peri-urban, and rural communities. The findings show the continued effects of colonialism on IAM teaching practices and pedagogy. The
effects of globalization and the high levels of migrancy in and out of Zimbabwe are discussed as factors shaping the teaching of IAM. Formal models of learning have undermined the status of IAM in favour of Western classical music. Recognizing this bias, but also the fact that culture is dynamic, this study strikes a balance by proposing a new pedagogy that integrates Western and African approaches to music
education. The study findings feed into the development of a new hybridised model called the Experiential Open Class Pedagogy (EOCP), which is suitable for multicultural contexts. This pedagogy encourages learners to use their personal experience of IAM practices in the home, and to draw on expertise from their local communities. The participation of children and their elders in the community
contributes to the openness of the learning process. A combination of learning at home, in communities, and in classrooms is vital in utilising all the critical avenues to acquiring knowledge and experience of IAM. Recommendations on policy and practice in Zimbabwean primary school education offer solutions to the present challenges. It is important for teachers to be active stakeholders in documenting the
very IAM practices they teach by carrying out research, and through continuous improvement initiatives in multicultural contexts.
http://hdl.handle.net/10500/27037
African music
Indigenous
Zimbabwean
Primary schools
Pedagogy
Experiential Open Class
School curriculum
Oral tradition
Teaching model
Multiculturalism
Indigenous African music and multiculturalism in Zimbabwean primary schools : toward an experiential open class pedagogy
oai:uir.unisa.ac.za:10500/162772018-11-17T13:05:06Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Van der Voort, Geoffrey Hermanus
author
1994-02
Binne die bestek van ses jaar, het drie Klasmusieksillabusse
vir die sekondere skool, te wete die van Kaapland
(1986), Transvaal (1991) en Skotland (1992) verskyn.
Elk van hulle toon 'n unieke karakter ten opsigte van
doelstellings, leerinhoud, ensovoorts. Dit het die vraag
laat ontstaan watter van die sillabusse binne die raamwerk
van wetenskaplik geselekteerde kriteria ontwikkel
is en of hulle gevolglik wel didakties-pedagogies verantwoordbaar
is.
Die drie Klasmusieksillabusse is teen 'n agtergrondstudie
van Klasmusiek in didakties-pedagogiese asook leerpsigologiese
verband geanaliseer aan die hand van die
didaktiese vereistes waaraan 'n vakkurrikulum behoort te
voldoen. Die aanbevelings wat gemaak is, wil verseker
dat 'n sillabus tot stand kom wat aan die wetenskaplike
vereistes van kurrikulering voldoen, waarvan die doelstell
ings deur die onderwyser verwerklik kan word en wat
die leerder tot optimale leer kan voer.
In the scope of six years, three Class Music syllabi
appeared, namely that of the Cape Province (1986),
Transvaal (1991) and Scotland (1992). Each of these
syllabi have a unique character with regard to aims,
learning content, etc. This gave rise to the question
whether these syllabi were developed within the framework
of scientific selected criteria and whether they
can be didactic-pedagogically accounted for.
These Class Music syllabi were analysed against a background
study of Class Music in didactic-pedagogical and
learning pshycological perspective as well as the didactical
requirements with which a subject curriculum
should comply. The recommendations were aimed to ensure
a curriculum document which complies with the scientific
requirements of curriculum theory, which is attainable
for the teachers and which takes the expectations of the
learners into account.
Van der Voort, Geoffrey Hermanus (1994) Didakties-pedagogiese analise van enkele klasmusieksillabusse vir die sekondêre skool in Suid-Afrika (1986-1992), University of South Africa, Pretoria, <http://hdl.handle.net/10500/16277>
http://hdl.handle.net/10500/16277
Didakties-pedagogiese analise van enkele klasmusieksillabusse vir die sekondêre skool in Suid-Afrika (1986-1992)
oai:uir.unisa.ac.za:10500/51382022-01-18T10:51:36Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Langerman, Jorike
author
2011-09
This is a monograph on the South African artist Diek Grobler. The aim is to
contextualise the artist‟s oeuvre up to 2009 and to explore the visual
metaphors in his art.
Grobler has a fascination for stories. He blends tales of traditional Western
mythology, African mythology, Christian religion, folklore and magical
realism into narrative artworks. Through visual metaphors the artist
comments on the everyday human dramas that surround him – be they
political, social, psychological or cultural. Furthermore, he adds an element
of surprise to his sketches of human drama, by infusing them with irony
and humour.
My research reflects the diverse nature of Grobler‟s oeuvre as it
investigates works from various artistic genres such as painting, sculpture,
illustration, performance art, avant-garde theatre and animation. It also
examines a blend of different artistic media such as ceramics, oil paint,
gouache, pastels, scraperboard, earthenware, 2D computer animation,
puppetry, and stop-motion animation.
Langerman, Jorike (2011) Diek Grobler : an artists monograph with interactive catalogue, University of South Africa, Pretoria, <http://hdl.handle.net/10500/5138>
http://hdl.handle.net/10500/5138
Apartheid
Folklore
Mythology
Poststructuralism
Magical realism
South African art
Reception aesthetics
Grobler (Diek)
Monograph
Life-and-work model
Stories
Performance art
Stop-motion animation
Metaphor
Identity
Diek Grobler : an artists monograph with interactive catalogue
oai:uir.unisa.ac.za:10500/225992018-11-17T13:07:00Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Brown, Andrew Philip
author
2016-08
This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances.
Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times.
The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education.
Brown, Andrew Philip (2016) The South African Society of Music Teachers : its history, contribution and transformation, University of South Africa, Pretoria, <http://hdl.handle.net/10500/22599>
http://hdl.handle.net/10500/22599
Apartheid
Colonial
ISME
SAMES
SASMT
Multicultural
Music advocacy
Professional association
South African Music Educators' Society
South African Society of Music Teachers
The South African Music Teacher
The South African Society of Music Teachers : its history, contribution and transformation
oai:uir.unisa.ac.za:10500/160232018-11-17T13:05:01Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Sherman, Louisa Elizabeth
author
1998-06
Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying
sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the
early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and
attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass
mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers
of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology,
including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of
contemporary cultural reproduction, particularly the South African mass media and fine arts.
Sherman, Louisa Elizabeth (1998) Unmasking the heroes : sources of power in Afrikaner mythologising, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16023>
http://hdl.handle.net/10500/16023
Afrikaner myths and heroes
Allegory
Collage
Hero
Hero and myth as forms of cultural reproduction in Western myth
Mass media images
Myth
Postmodernist cultural reproduction
Relief cut-outs
Reproduction of Afrikaner mythologising
South African artists
Unmasking the heroes : sources of power in Afrikaner mythologising
oai:uir.unisa.ac.za:10500/160462018-11-17T13:06:27Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Brown, Andrew Philip
author
1999-06
South African primary school children need to be confronted with music in
such a way that they can create, perform, listen and relate to it in a multicultural
setting.
This can be achieved by integrating music into the primary school
curriculum, by means of ideas drawn from Comprehensive Musicianship,
the spiral curriculum and outcomes-based education.
Apart from the educational value of an integrated curriculum, the shortage
of trained music educators makes it a necessity to involve generalist
teachers in this way.
There is thus a need, not being met by SASMT or SAMES, for a
professional organisation to examine the goals and objectives of school
music, and to equip teachers to put them into practice.
In addition, as music is not specifically protected in Curriculum 2005, a
professional organisation dedicated to primary school music is crucial to
the survival of music education in South Africa.
Brown, Andrew Philip (1999) The role of a professional teacher organisation in the integration of music into the primary school curriculum, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16046>
http://hdl.handle.net/10500/16046
The role of a professional teacher organisation in the integration of music into the primary school curriculum
oai:uir.unisa.ac.za:10500/20072018-11-17T13:04:42Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Hesse, Maria Elizabetha
author
2009-08-25T10:58:55Z
The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations
resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance.
Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede
om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing.
Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en
aanwysings vir effektiewe uitvoering daarvan word verskaf.
Hesse, Maria Elizabetha (2009) Assosiasie en koördinasie van notasie met klawers by die ontwikkeling van 'n leesvermoë by die klavierbeginner, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2007>
http://hdl.handle.net/10500/2007
Association
Keyboard
Beginner
Look ahead
Beginners course
Melodic patterns
Directional reading
Piano key
Ensemble playing
Rhythmic patterns
Exercises
Sight-reading
First lesson
Topography
Intervals
Visualisation
Aanvangskursusse
Lees en speel
Akkoordpatrone
Melodiese patrone
Assosiasie
Oefeninge
Beginner
Ritmepatrone
Eerste les
Samespel
Innerlike voorstelling
Speelrigtings
Interval-afstand
Topografie
Klavierklawer
Vooruitlees
Klawerbord
Assosiasie en koördinasie van notasie met klawers by die ontwikkeling van 'n leesvermoë by die klavierbeginner
oai:uir.unisa.ac.za:10500/36962023-07-17T09:07:37Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Jacobs, Gail Suzan
author
2010-02
The study of music has long been seen as élitist in South African education, a ‘talent’ subject rather than an academic one. The country’s political history has played a significant role in this perception. Under the apartheid government, education in the arts was considered appropriate only for gifted, mostly white, students and a grossly inequitable distribution of resources placed the study of music beyond the reach of most students. The ANC government has declared educational reform a priority, but faces enormous challenges in redressing inequities of the past. This study examines the relevance and academic rigour of music curricula past and present, in the light of political influences; and the challenges that face schools and education departments in sustaining growth and development of music as an academic subject, accessible to all at senior secondary school level.
Jacobs, Gail Suzan (2010) The viability of music as a viable subject at secondary school level, University of South Africa, Pretoria, <http://hdl.handle.net/10500/3696>
http://hdl.handle.net/10500/3696
Bantu education
Curriculum statements
Music curriculum
Music education
National Senior Certificate
The viability of music as an academic subject at secondary school level
oai:uir.unisa.ac.za:10500/176512018-11-17T13:04:59Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Saad, Georgia
author
1995-11
This dissertation investigates the question of transcendence and its relevance to my picture-making .
process. The term 'transcendence' refers to any experience which surpasses the finite. In relation to the
art-making process it refers to an opening up of the frame. Transcendence is not regarded as a fixed and
unalterable state but as such that it encompasses paradox. The fragmentary nature of experience and"
knowledge provides the point of departure for this investigation.
The possibility of transcendence is partly explored through the concept of symbolic orders. I am using
the term 'symbolic orders' to refer to any frameworks which shape human experience in general and the
creative process specifically.
Upon exploring the concept of transcendence as concerns the work of a number of artists and insofar as it
has informed my own pictures it appears that there is a creative system pertaining to the artwork which is
transcendent.
Saad, Georgia (1995) Intimations of infinity : exploring transcendence in landscape painting, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17651>
http://hdl.handle.net/10500/17651
Transcendence
Fragmentation
Paradox
Symbolic orders
Nature
Landscape
Picture surface
The grid
Romanticism
Symbol/fragment
Spirituality
The feminine
Intimations of infinity : exploring transcendence in landscape painting
oai:uir.unisa.ac.za:10500/253392019-03-28T08:32:15Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Maguraushe, Wonder
author
2017-06
This thesis explores the current state of marimba music performance practice in Zimbabwe. I begin by presenting a historical perspective of the marimba, and then discuss how the Zimbabwe marimba tradition came into being at Kwanongoma College of African Music in Bulawayo. The study continues to unveil how the relatively new marimba tradition has grown to popularity in its 55-year history in the country, with the phenomenal emergence of professional Zimbabwe marimba musicians. The thesis includes analyses of marimba musicians’ lived experiences, traditional and contemporary marimba music compositions, marimba music education programs and mentors, as well as the Zimbabwe marimba construction industry. Using ethnographic methods, the analysis in this qualitative study draws on an application of Christopher Small, Richard Schechner, and Pierre Bourdieu’s theoretical perspectives, amongst others. Results show that marimba music performance practice in Zimbabwe has been kept alive in various permutations, albeit in a harsh economic environment. Education, passion for marimba music, cultural tourism, and festivities are the main avenues where Zimbabwe marimba music performance practice has survived on the margins of Zimbabwe’s popular musical cultural traditions.
Le thesis ihlola isimo samanje somculo wemarimba kanye nokuqhutshwa kwawo eZimbabwe. Ngiqala ngokwethula imibono yezomlando ngemarimba, ebese ngixoxa ngokuthi ngabe usiko lwenkambiso yemarimba eZimbabwe lwaqhamuka kanjani eKwanongoma College of African Music eBulawayo. Ucwaningo luqhubeka luveze ukuthi umculo wemarimba omusha usheshe kangakanani ukukhula nokuba nedumela kumlando weminyaka engu 55 ezweni, kanti futhi nokwenza ukuthi abaculi bemarimba eZimbambwe basebenze ngesiprofeshini. Le thesis ibandakanya ukuhlaziya izipiliyoni zabaculi bemarimba, usiko kanye nokuqanjwa komculo wemarimba, izinhlelo zemfundo yomculo wemarimba kanye nabaqeqeshi abafundisa abasha emculweni, kanye nokwakhiwa kwemboni yomculo wemarimba eZimbabwe. Ukusebenzisa izindlela zesayense yokuchaza abantu eyaziwa ngokuthi yi-ethnography, uhlaziyo kulolu cwaningo olubheka kanzulu, lufunde nokuchaphuna kwimibono yochwepheshe yethiyori yabantu abafana no-Christopher Small, uRichard Schechner kanye no-Pierre Bourdieu phakathi kwabanye. Imiphumela ikhombisa ukuthi ukwenziwa komculo wemarimba eZimbabwe wenziwe ukuthi uqhubeke ngokusebenzisa inqubo yokuhlela izinto ngokuhambelana noma inqubo ye-permutations, kodwa ngaphansi kwesimo esinzima kwezomnotho. Imfundo, ugqozi lomculo wemarimba, inqubo yezovakasho lokufunda ngamasiko kanye nemicimbi ngenye yezindlela lapho khona umculo wemarimba eZimbabwe oboniswa khona nokwaze ukuqhubeka ngayo, nangendlela esetshenzisiwe ukwenza ukuthi umculo uqhubeke nokuba nedumela ngisho nangaphansi kwesimo esinzima eZimbabwe.
Maguraushe, Wonder (2017) Musicking at home on the wood that sings : contemporary marimba performance practices in Zimbabwe, University of South Africa, Pretoria, <http://hdl.handle.net/10500/25339>
http://hdl.handle.net/10500/25339
Marimba music compositions
Marimba construction
Marimba music education
Musicking
Marimba performance practice
Zimbabwe marimba
Musicking at home on the wood that sings : contemporary marimba performance practices in Zimbabwe
oai:uir.unisa.ac.za:10500/171302018-11-17T13:05:26Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Kriek, Elizabeth Margaretha
author
1995-11
Kriek, Elizabeth Margaretha (1995) Die simfonie in Suid-Afrika, 1970-1990 : 'n styl en struktuurstudie, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17130>
http://hdl.handle.net/10500/17130
Symphony
Structure
Style
Analysis
Theme
Motive
Melody
Harmony
Rhythm
Form
Texture
Orchestration
Evalation
Comparative
South African
Die simfonie in Suid-Afrika, 1970-1990 : 'n styl en struktuurstudie
oai:uir.unisa.ac.za:10500/179302018-11-17T13:05:06Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Cornew, Clive
author
1995-01
Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten,
Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies
using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and
picaresque stance towards his source material and his milieu. Where applicable, other works relating to a
particular argument are also discussed. As a result of this investigation, an original contribution has been
made in the literature on both Bruegel and parody as a form of visual communication.
Cornew, Clive (1995) Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17930>
http://hdl.handle.net/10500/17930
Adynaton
Bruegel, Pieter the Elder
Carnival and Lent
Dulle Griet
Emblematics
Encyclopedism
Folly
Irony
Mannerism
Paradoxia epidemica
Parodia sacra
Parody
Perception
Picaresque tradition
Play
Reformation
Rhetoric
Satire
Saturnalia
Saws
Seven deadly sins
Seven virtues
Sixteenth century
The fall of Icarus
The fool
The world upside-down
Trope structures
Utopia
Wit
Rederijkers
Humanism
Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody
oai:uir.unisa.ac.za:10500/294522022-10-19T09:11:18Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Darries, Mouroodah Sulayman
author
2022-09
The recent trend in removing statues of controversial figures from history prompts a need to consider a revisionist approach to studying publicly sited artworks, particularly when the social dynamic engages public art in a direct way. This dissertation studies public art as contributing to the complex structure of social systems through connections made between the histories of public art and social space. The aim is to understand how meaning is formed through these connections and that the resulting removal of public art is part of the self-organising quality of a complex social system within larger socio-political views. This is achieved by analysing the case study of #rhodesmustfall as it pertains to the social interaction with and eventual removal of the Rhodes statue sited on the University of Cape Town campus.
https://hdl.handle.net/10500/29452
#Rhodesmustfall
#Blacklivesmatter
University of Cape Town
Rhodes statue
Public art
Complexity
Self-organisation
Social systems
Decolonisation
Public art in relation to social systems : a case study of #rhodesmustfall
oai:uir.unisa.ac.za:10500/299342023-04-06T08:52:26Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Luyt, Carmi
author
2022-08
This dissertation sets out to find the ways in which contemporary performance artists problematise and resist the iconoclasms found in modernist landscape paintings.
The landscape paintings of Maggie Laubser, J.H. Pierneef and Hugo Naudé are discussed to show iconoclastic renditions of the South African landscape that aim to fit the ideologies of the Afrikaner people. These absences are shown to be resisted by contemporary artists though their deliberate presence within it. Berni Searle, Sethembile Msezane, Athi-Patra Ruga and Hannelie Coetzee use remembrances, calculated violence, the speaking of silenced voices and a disruption of power dynamics in their dissent. They practice an embodied phenomenological experience in the landscape to provide a counter-archive and resist the iconoclasms.
Inhloso yalolu shicilelo bekuwukuhlola izindlela izingcweti zamanje zibhekana ngayo nenkinga futhi zimelane nokuphikiswa okuqinile kwezinkolelo namasiko amukelwa ngokuvamile atholakala emidwebeni yokwakheka kwezwe yesimanjemanje.
Imidwebo yezwe kaMaggie Laubser, J.H. U-Pierneef kanye no-Hugo Naudé kwaxoxiswana ngayo ukuze kuboniswe ukuphikiswa okuqinile kwezinkolelo namasiko amukelwa ngokuvamile kwezwe laseNingizimu Afrika okwakuhloselwe ukuhambisana nemibono yabantu abangamaBhunu. Ukungabikho kobandlululo phakathi kwalezi zindawo kuboniswe ukuthi izingcweti zesimanje ziyakuphikisa nakuba ukuba khona kwabo ngamabomu kuyo. U-Berni Searle, u-Sethembile Msezane, u-Athi-Patra Ruga no-Hannelie Coetzee basebenzisa izikhumbuzo, udlame olulinganiselwe, ukukhuluma amazwi athule kanye nokuphazamiseka kokuguquguquka kwamandla ekuphikisaneni kwabo. Bazijwayeza isipiliyoni esihlanganisiwe sesifundo semvelo namaqiniso sezinhlaka zokuhlangenwe nakho nokwazi ezweni ukuze banikeze ingobo yomlando ephikisayo futhi bamelane nokuphikiswa okuqinile kwezinkolelo namasiko amukelwa ngokuvamile kwemidwebo yokwakheka kwezwe yesimanjemanje.
Die doel van hierdie skripsie was om die maniere te ondersoek waarop hedendaagse vertoonkunstenaars die ikonoklasme wat in modernistiese landskapskilderkuns voorkom, problematiseer en teenstaan.
Die landskapskilderkuns van Maggie Laubser, J.H. Pierneef en Hugo Naudé word bespreek om ikonoklastiese weergawes van die Suid-Afrikaanse landskap te toon, wat ten doel gehad het om in te pas by die ideologieë van die Afrikanervolk. Die bevooroordeelde ontbrekings in hierdie landskappe is uitgebeeld as teengestaan deur hedendaagse kunstenaars, deur hul doelbewuste teenwoordigheid daarin. Berni Searle, Sethembile Msezane, Athi-Patra Ruga en Hannelie Coetzee gebruik herinneringe, beredeneerde geweld, die praat van stilgemaakte stemme, en ’n verskeuring van magsdinamika in hul meningsverskille. Hulle beoefen ’n beliggaamde fenomenologiese ervaring in die landskap om ’n teenargief te bied en om die ikonoklasme van modernistiese landskapskilderkuns teen te staan.
https://hdl.handle.net/10500/29934
Iconoclasm
Identity
Landscape painting
Modernism
Performance art
Phenomenology
Postcolonialism
South African landscape
Resisting iconoclasm: contemporary responses to landscape in South African art
oai:uir.unisa.ac.za:10500/197932018-11-17T13:04:04Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Ntombela, Bongani
author
2015-02-28
This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment.
The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission.
Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society.
Ntombela, Bongani (2015) Conformity: visual reflection on the social and cultural life of Nguni women, University of South Africa, Pretoria, <http://hdl.handle.net/10500/19793>
http://hdl.handle.net/10500/19793
Womanism
African Feminism
Ubuntu
Conformity
African ethics
Phenomenology
Culture
Conformity: visual reflection on the social and cultural life of Nguni women
oai:uir.unisa.ac.za:10500/166882018-11-17T13:05:18Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Du Plessis, Daniel
author
1995-06
The use in pictorial art of visual reference to prototypes and conventions in encoding
reality forms the crux of the theoretical research. The theoretical component complements
the practical research, which focuses on the interplay between perceptions of 'reality' and
visual conventions in landscape art. The existence of diverse realities, based on individual
ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists
may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference
constitutes an allegorical procedure because the artist refers to an antecedent text in the
representation of a particular 'reality'. Pictorial signs also rely on conventions to convey
meaning. Both the perception and the artistic recreation of different realities may thus be
regarded as recycling processes. In a world saturated with visual information, reference to
prototypes is a powerful procedure which assists contemporary pictorial artists in the creation
of meaningful images of current realities.
Du Plessis, Daniel (1995) Recycled realities : the exploration of source matieral in contemporary pictorial art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16688>
http://hdl.handle.net/10500/16688
Allegory
Appropriation
Conceptual art
Contemporary pictorial art
Contemporary pictorial art
Copying
Culture/nature
Hybridisation
Iconic signs
Landscape painting
Modernism
Nature/culture
Postmodernism
Prototypes
Realism
Reality
Representation
Semiotics
Visual conventions
Visual reference
Recycled realities : the exploration of source matieral in contemporary pictorial art
oai:uir.unisa.ac.za:10500/38442023-11-02T12:21:11Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Swanepoel, Aletta Margareta
author
2010-11-18T11:16:39Z
This dissertation is an account of the response to the needs of the 19th century
Afrikaner - for patriotic music and for national anthems, particularly a Transvaal
Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche
Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia.
A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in
Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history.
Attempts by Transvalers, Hollanders and South Africans in general to compose works
aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters
of this survey. It is shown how the national anthem of thc Orange Free State
('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable
anthem of its own. Twenty seven early South African and Dutch works, each aimed
at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted.
Chapter VI deals with 24 colourful patriotic compositions from all over the world.
Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera.
But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman
Catharina Felicia van Rees - rose above all opposition, and was finally accepted as
the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters
of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI).
These chapters tell of 'Kent gij dat volk?', the song that soared through the world,
inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees
with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause.
Of the corpus of 695 items in Appendix AI, over 180 are editions and versions
of 'Kent gij dat volk? '. These versions and all the music that could be traced
during my research are incorporated in Chapter VIII - whether as sheet music or in
albums, incorporations or variations, also indicate where she was acknowledged as
composer and where not. For the piracy of her song, not only in the Western world
but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions
of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious.
This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out
of the general musical background, for scrutiny and comparison, has, in my opinion,
revealed a wealth of interesting and useful information. And, could well lead to
much needed further research into and documentation of Africana music.
Swanepoel, Aletta Margareta (2010) Music inspired by the Afrikaner cause (1852-1902) with special reference to the Transvaal Volkslied, University of South Africa, Pretoria, <http://hdl.handle.net/10500/3844>
http://hdl.handle.net/10500/3844
South African music
Transvaal Volkslied
Music inspired by the Afrikaner cause (1852-1902) with special reference to the Transvaal Volkslied
oai:uir.unisa.ac.za:10500/283192021-11-25T10:14:55Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Nortje, Daniel Johannes Rudolf
author
2020-11
The core of this research study is concerned with the importance of a strategically aligned acquisitions policy for a corporate art collection in order for it to remain relevant to and increase its value for the company as collector. The ontologies of corporate art collecting practice in South Africa are investigated with specific focus on the social and investment relevance of the Mobile Telephone Network's (MTN Group Limited) Art Collection. The main research question is whether the MTN Art
Collection (MTNAC) can still be perceived as recognising enough of its current African identities and social concerns and has remained relevant and valuable to its owner. While the research presumes that MTN is the only South African-based telecommunications corporate that has yet to de-accession its art collection and so remains committed to its public arts and culture development programmes, it argues
that its art acquisitions programme has not moved with the times and is in danger of becoming a stagnating relic. The postulated theories of the study are aligned with MTN's business strategy and culminate in a proposed acquisitions policy that accommodates the inclusion of voices that speak out against the 'New Struggle'; the
voices of our continental and Middle Eastern neighbours; and develops platforms for the promotion of digital art forms as well as transnational cultural collaborations. The curated virtual exhibition, Moving with the Times, illustrates not only the premise of the theory in practice but also what such an acquisitions policy would look like if it were adopted by MTN.
Hierdie navorsing handel oor die noodsaak van 'n strategiese aankoopbeleid vir 'n korporatiewe kunsversameling sodat die versameling relevant bly en in waarde toeneem. Die ontologieë van praktiese korporatiewe kunsversameling in Suid-Afrika
word verken. Aandag word aan die maatskaplike en beleggingsrelevansie van in die besonder die Mobile Telephone Network (MTN Groep Beperk) Kunsversameling
bestee. Die hoofnavorsingsvraag is of die MTN Kunsversameling (MTNKV) steeds met hedendaagse Afrika-identiteite en maatskaplike vraagstukke rekening hou, en of dit nog relevant en vir MTN van waarde is. Aangesien aangeneem word dat MTN die enigste Suid-Afrikaanse telekommunikasiemaatskappy is wat nog geen kunswerke uit sy versameling onttrek en verkoop het nie ten einde tot sy openbare kuns-en kultuurprogramme verbind te bly, word aangevoer dat sy kunsaankoopprogram nie met die tyd saamgaan nie en gevaar loop om 'n stagnerende relik te word. Die gepostuleerde teorieë in hierdie studie vind aansluiting by MTN se sakestrategie en loop uit op 'n voorgestelde aankoopbeleid wat voorsiening maak vir stemme wat teen die "Nuwe Struggle" opgaan, vir stemme uit ons buurlande en die Midde-Ooste, vir digitale kunsvorme en transnasionale kulturele samewerking. Die virtuele uitstalling
Moving with the Times illustreer nie alleen die premis van die teorie in die praktyk nie, maar ook hoe die aankoopbeleid daar sou uitsien as MTN dit sou aanvaar.
Umnyombo walolu cwaningo ucwaninga ngokubaluleka kwenqubomgomo yokuthengwa ehambisana namasu okuqoqwa kobuciko bezinkampani ukuze ihlale ifanelekile futhi inyuse
inani layo lenkampani njengomqoqi. Ama-ontholoji womkhuba wokuqoqa ubuciko ezinkampanini eNingizimu Afrika aphenywa ngokugxila ngqo ekubalulekeni kwezenhlalakahle
kanye nokutshalwa kwezimali kweqoqo lezobuciko le-Mobile Telephone Network (MTN Group Limited). Umbuzo omkhulu ocwaningweni ukuthi ngabe iMTN Art Collection (MTNAC) isengathathwa njengokwazisa ngokwanele ubunikazi bayo base-Afrika nokukhathazeka
komphakathi futhi ihlale ibalulekile futhi iyigugu kumnikazi wayo. Njengoba ucwaningo luthatha ukuthi iMTN iyona kuphela inkampani yezokuxhumana yaseNingizimu Afrika engakaqedi ukuqoqwa kwayo kwezobuciko ngakho-ke ihlala izinikele ezinhlelweni zayo
zokuthuthukisa ezobuciko namasiko, ithi uhlelo lwayo lokuthola ubuciko aluhambanga nezikhathi futhi lusengozini yokuba yinsali emile. Amathiyori asetshenzisiwe ocwaningo ahambisana necebo lebhizinisi lakwa-MTN futhi aphetha ngenqubomgomo ehlongozwayo
\okXWhengZa eYXmela XkXfakZa kZama]Zi akhXlXma µnoM]abala]o OmXVha'; amazwi omakhelwane bethu bezwekazi kanye nabaseMpumalanga Ephakathi kZama]Zi akhXlXma ngokXmelene µnoM]abala]o OmXVha'; amazwi omakhelwane bethu bezwekazi kanye nabaseMpumalanga Ephakathi; futhi sakha amapulatifomu okukhuthaza amafomu obuciko bedijithali kanye nokusebenzisana kwamasiko omhlaba jikelele.. Umbukiso owenziwe kahle, iMoving with the Times, awukhombisi nje kuphela umbono wenkolelo eyenziwayo kepha nokuthi inqubomgomo yokuthengwa okunjalo
ibizobukeka kanjani uma yamukelwa yiMTN.
https://hdl.handle.net/10500/28319
Corporate art collecting
Socio-political changes
Fourth industrial revolution
Corporate culture
Transnationalism
Multiculturalism
Intercultural exchanges
African modernism
Digimodernism
Post-neomodernism
Korporatiewe kunsversameling
Sosio-politieke veranderings
Vierde Industriële Revolusie
Korporatiewe kultuur
Transnasionalisme
Multikulturalisme
Interkulturele uitwisselings
Afrikamodernisme
Digimodernisme
Postneomodernisme
Ukuqoqa ubuciko ezinkampanini
Izinguquko kwezenhlalo nezepolitiki
Inguquko Yesine Yezimboni
Amasiko/ukwenza ezinkampani
Ukuhwebelana kwamazwe omhlaba
Amasiko amaningi
Ukushintshana ngokwamasiko
Isimanjemanje sase-Afrika
Idijimodenizimu
Ngemuva kweniyomodenizimu
Moving with the times : a critical investigation into the socio-political and cultural relevance of the current collection policies and strategies of the MTN Art Collection
oai:uir.unisa.ac.za:10500/258552019-10-15T11:48:07Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Muranda, Richard
author
2017
The study focuses on implementing computer-assisted instruction (CAI) as a method in teaching the nyunga nyunga mbira, to first-time music students at university. The research was undertaken at Midlands State University (MSU) in the Department of Music and Musicology I worked in the above department at MSU. I adopted the learner-centred and constructivist approach in my teaching. The study observed the cognitive load theory in multimedia, which calls for learning experiences commensurate to the mental capacities of students. Over- or under-loading students results in unfulfilled needs in teaching and learning. I enabled students’ involvement to give room to discovery learning. Through action research I aimed to find the efficacy of computer-assisted method, in teaching the mbira instrument. I chose 16 students (5 females and 11 males), on the basis of convenience and availability as music students. The 16 students covered 4 hours every week for two semesters, giving a total time of 128 hours of instruction and practice. The students were exposed to 10 nyunga nyunga mbira tunes. The method provided guidance to the playing of the instrument via the colour code (black, green and red) and audio playback. The method used a software based tuning guide for performers to tune their instruments. The method however requires adequate resources in basic computer skills, staff notation, rhythm and pitch prior to teaching. The study reveals that students need adequate materials and apt work (cognitive load theory) to avoid over and under loading them. Also playback enables students to gradually gain confidence as they learnt to play the tunes, the volume and tempo are adjustable to suit the needs of students. I discovered that the instructor should analyse and study each tune carefully so that complex tunes are taught at a later time after students have gained confidence in using the method. It was noted that materials for teaching should be sequenced from simple to complex to enable skills acquisition. All the students managed to play the 10 tunes at their own paces as their performance was above average. It is concluded that CAI requires sufficient guidance to reduce on instructor’s personal involvement. The method requires enough resources in terms skills of instructors, and purchase of requirements, in computers and notation software. It is practically feasible to apply CAI as a method in the tuition of the nyunga nyunga mbira. I recommend the use of the colour code instead of numbers as aide to sight-reading. Complex tunes require more time hence their introduction should be delayed. Basic knowledge in computers and music theory are critical for students to play mbira using CAI. The size of class should range 15-20 and a number more than 20 should be divided into two groups for adequate management of resources. I recommend that research be done with other mbira types played at universities.
http://hdl.handle.net/10500/25855
Implementation of a computer-assisted method in teaching the Nyunga Nyunga Mbira
oai:uir.unisa.ac.za:10500/32232018-11-17T13:05:00Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Human, Corlea Johanna
author
1990-09
The development and singability of the new hymn in Britain is
dependent on the interaction between the hymnologist, organist
(cum music director), minister and members of the congregation.
The discussion of the hymn text points out that it acts as a
form of communication between God and man and as a link between
present and future demonstrations of faith.
Then the tonality, tempo, metre, rhythm and structure of the new
hymn in Britain are discussed.
The structure of the hymn is studied in more detail, using eight
case studies to elucidate the interval structure of the melody,
harmony and structure scheme of the* hymn. Some of the the most
significant deductions are that the patternisation of intervals
enhances the singability of the melody and that a variety of
smaller, and even more so, bigger disjunct intervals lead to
greater variation of the linear and vertical harmonic
implications.
Die nuwc kerklied in Brittanje is vir sy ontwikkeling afhanklik
van 'n interaksie tussen die himnoloog, orrelis (cum
musiekdirekteur), predikaint en gemeentelid. Die mate waarin
hierdie wisselwerking tussen die partye suksesvol is, bepaal
grotendeels die singbaarheid van die kerklied.
Die bespreking van die kerkliedteks behels onder meer dat die teks as konimunikasiemiddel tussen God en die mens dien. en dat dit as mededeler van bestaande en nuwe geloofshandelinge dien.
Die studie behandel verder tonaliteit, tempo, metrum en ritme en die vorm van die nuwe kerklied in Brittanje. Die vorm van die kerklied, in agt gevalstudies belig, behels die
intervalsamestelling van die melodie, die harmonie en
struktuurskema van die kerklied. Van die belangrikste afleidings
is dat die patroonmatige hantering van 'n interval die singbaarheid van 'n melodie verhoog en dat 'n verskeidenheid van kleiner en veral groter disjunkte intervalle groter variasie van sowel liniere as vertikale harmoniese implikasies tot gevolg
het.
Human, Corlea Johanna (1990) Nuwe kerklied in Brittanje, University of South Africa, Pretoria, <http://hdl.handle.net/10500/3223>
http://hdl.handle.net/10500/3223
Nuwe kerklied in Brittanje
oai:uir.unisa.ac.za:10500/196252018-11-17T13:04:10Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Rambau, Lutanani Annah
author
2015-02
This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts.
The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘.
A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song.
In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society.
The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Rambau, Lutanani Annah (2015) Music in the making: a case study of the Caravan Traditional Dance Group, University of South Africa, Pretoria, <http://hdl.handle.net/10500/19625>
http://hdl.handle.net/10500/19625
Music in the making: a case study of the Caravan Traditional Dance Group
oai:uir.unisa.ac.za:10500/171112018-11-17T13:06:25Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Kok, Cornelia
author
1995-11
The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching.
The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the
findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made.
Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die
skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon.
Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en
onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied.
Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering
en tersiere Klasmusiekopleiding.
Kok, Cornelia (1995) Implementering van die Transvaalse onderwysdepartement se senior primêre klasmusieksillabus vanaf 1978 tot 1992, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17111>
http://hdl.handle.net/10500/17111
Instrumentale spel
Liedere
Literatuur
Musiekbeluistering
Notasie
Opvoeders
Onderwysersopleiding
Primere Klasmusiek
Sillabus
Skeppende aktiwiteite
Playing of instruments
Songs
Literature
Listening to music
Notation
Educators
Teacher Training
Primary Class Music
Syllabus
Creative activities
Implementering van die Transvaalse onderwysdepartement se senior primêre klasmusieksillabus vanaf 1978 tot 1992
oai:uir.unisa.ac.za:10500/20412018-11-17T13:05:15Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Ross, Wendy
author
2009-08
The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people
and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change
is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social
upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical
and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of
life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning
of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces.
The study provides a historical context and development of new trends in public and collaborative community arts, contextualises
the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment
and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of
social spaces and the restoration of community esteem together with mutual and self-respect.
Ross, Wendy (2009) Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South Africa, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2041>
http://hdl.handle.net/10500/2041
Art activism
Accessibility
Alternative assessment criteria
Audience participation
Capacity building
Collaborative public art
Community arts
Context of public
Creative expression
Ecological interventions
Empowerment
Interconnectedness of people and planet
Local distinctiveness
New genre public art
Ownership
Place-making
Pro-active role
Public art
Public context
Responsibility
Rural context
Rite specific
Rocial intervention
Sustainability
Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South Africa
oai:uir.unisa.ac.za:10500/276132021-07-07T11:49:38Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Odendaal, Marié Antoinette
author
2021-02
This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.
Hierdie studie was ’n praktykgeleide studie waartydens ek my eie videokunswerk tesame met diè van drie ander kunstenaars krities ondersoek het. Gekose werke uit my eie stal, diè van Penny Siopis, Anders Weberg en Maja Zack handel oor die begrippe herinnering en trauma. Ek het ondersoek ingestel na die visuele strategieë
en tegnieke voortspruitend uit filmteorie wat in videokuns aangewend word om traumatiese herinneringe van oorlogkonflikte te simuleer. Hierdie navorsing het die spesifieke teorieë van Gilles Deleuze en Sergei Eisenstein ontleed ten einde te identifiseer hoe bepaalde filmstrategieë in videokuns gebruik word om smartlike historiese gebeure te simuleer. Ek het die wyse nagevors waarop hierdie gebeure
post-herinneringe modelleer, soos deur Marianne Hirsch en Cathy Caruth geteoretiseer. Die teorieë van Susan Sontag en Jean Baudrillard beskryf hoedat herinneringe op verbeeldingryke belegging en interpretasie steun om ’n simulasie van die verlede te skep waarin affek voorkeur kry bo die akkurate en feitelike voorstelling van traumatiese gebeure.
Seno e ne e le thutopatlisiso e e eteletsweng pele ke tiragatso, moo ke dirisaneng ka tshekatsheko le tiro ya me ya botsweretshi jwa bidio ke e bapisitse le ditiro tsa bidio tsa batsweretshi ba bangwe ba le bararo. Ditiro tse di tlhophilweng tsa ga Penny Siopis, Anders Weberg, Maja Zack le tsa me di samagana le dintlha tsa kgopolo le manokonoko. Ke sekasekile gore go dirisitswe ditogamaano le dithekenini dife tsa pono tse di tswang mo tioring ya difilimi mo botsweretshing jwa bidio go
etsisa dikgopolo tsa manokonoko a dikgotlhang tsa ntwa. Patlisiso eno e lokolotse ditiori tse di rileng tsa ga Gilles Deleuze le Sergei Eisenstein go supa ka moo ditogamaano dingwe tsa filimi di dirisiwang ka gona mo botsweretshing jwa bidio go etsisa ditiragalo tse di botlhoko tsa hisetori. Ke tlhotlhomisitse ka moo ditiragalo tseno
di bopang segopotso sa morago go ya ka tiori ya Marianne Hirsch le Cathy Caruth.
Ditiori tsa ga Susan Sontag le Jean Baudrillard di tlhalosa ka moo kgopolo e ikaegang ka peeletso ya ikakanyetso le thanolo ka gona, e etsisa dilo tsa maloba, moo e leng gore ditlamorago e nna tsona ditlapele go feta pontsho e e nepagetseng le ya nnete
ya ditiragalo tse di bakileng manokonoko.
http://hdl.handle.net/10500/27613
Affect
Trauma
Postmemory
Crossfade
Montage
Narrative
Gilles Deleuze
Sergei Eisenstein
Practice-led research
Simulacrum
Affek
Trauma
Post-herinneringe
Kruisdowing
Montage
Narratief
Gilles Deleuze
Sergei Eisenstein
Praktykgeleide navorsing
Skynbeeld
Ditlamorago
Manokonoko
Segopotso sa morago
Tsenyomodumo ka go ntsha o mongwe (crossfade)
Monthaje
Kanelo
Gilles Deleuze
Sergei Eisenstein
Thutopatlisiso e e eteletsweng pele ke tiragatso
Kemedi/seemedi
Visual strategies in video art : the simulation of traumatic memories
oai:uir.unisa.ac.za:10500/188452019-09-02T10:11:23Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Adefolake Odunayo Orimolade
author
2014-11
This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon.
Adefolake Odunayo Orimolade (2014) Aso Ebi : impact of the social uniform in Nigerian caucuses, Yoruba culture and contemporary trends, University of South Africa, Pretoria, <http://hdl.handle.net/10500/18845>
http://hdl.handle.net/10500/18845
Aso Ebi : impact of the social uniform in Nigerian caucuses, Yoruba culture and contemporary trends
oai:uir.unisa.ac.za:10500/132402018-11-17T13:04:32Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Layton, Myrna June
author
2014-03-03
India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres.
Layton, Myrna June (2014) Illusion and reality : playback singers of Bollywood and Hollywood, University of South Africa, Pretoria, <http://hdl.handle.net/10500/13240>
http://hdl.handle.net/10500/13240
Playback
Bollywood
Hollywood
Illusion
Film music
Marni Nixon
Lata Mangeshkar
India
America
Lip-synchronization
Dubbing artists
Illusion and reality : playback singers of Bollywood and Hollywood
oai:uir.unisa.ac.za:10500/276632021-07-13T13:02:10Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Obermeyer, Chloe
author
2021-02
This project deals with the concepts of care, contentedness and self-reflection in light of the ecological plights that face our planet and the way that my artistic practice reflects this. It achieves this by focusing on marine forms of plastic pollution along Cape Town’s coastline as well as on the water resources during Cape Town’s water crisis that started in 2017. To unite these areas of interest, the conceptual platform and the visual associations of “a low tide” were used to navigate material and
practical considerations of my chosen alternative photographic media and how they can best address such interests.
http://hdl.handle.net/10500/27663
Marine plastic pollution
Water resources
Cape Town’s shoreline
Alternative photography
Low tide
At low tide : an absence of water, and abundance of plastic
oai:uir.unisa.ac.za:10500/24292018-11-17T13:05:10Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Blok, Maria Magdalena
author
2009-08-25T11:03:23Z
This research deals with the artist's contribution towards the current
process of ecological purification through which mankind's attention
are brought to the destructive maintenance of the planet. The
alchemical artist uses purification as a means to make social
comments on the lifestyle of the contemporary person, through the
aestheticism of objects.
The different manifestations of ceo-feministic thought within
environmental activism are explored to make the reader aware of the
diversity of ceo-feministic thought. Eco-feminism in general, tries to
promote the importance of the earth as a life supporting system by
respecting her needs, cycles, energies and eco-systems. As a result of
this process, the public are invited to take part in recycle-art through
which a change in attitude towards purification and the survival of the
planet, are being accomplished
Blok, Maria Magdalena (2009) Herwinning as 'n kunsvorm : 'n ekofeministiese perspektief, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2429>
http://hdl.handle.net/10500/2429
Afval
Alchemisme
Besoedeling
Bewaring
Diversiteit
Ekofeminisme
Estetisering
Herwinning
Lewensonderhoudend
Herwinning as 'n kunsvorm : 'n ekofeministiese perspektief
oai:uir.unisa.ac.za:10500/157392018-11-17T13:04:55Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Papenfus, Anna Francina
author
1994-11
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience
The reformed churches have theological and musicological criteria for their hymns, which,
however, are not always unambiguous.
After the introduction of the Jeugsangbundel (1984) an informal song, with informal
accompaniment, entered the worship and forms a prominent part of the singing in Dutch
Reformed Churches today. Some congregations compile their own volumes of songs. This
study set out to identify these congregations by means of a questionnaire and evaluate the
songs. Other relevant information was also required from congregations.
21 % of the respondent congregations sing unapproved songs. They have a larger percentage of
young people than those singing official songs. Congregations prefer a balance of formal and
informal hymns and both are sung with equal enthusiasm. The melody is the strongest
characteristic of the informal song and edification the strongest of the formal hymn.
The evaluation, however, shows that a considerable number of songs do not meet the required
standard
Papenfus, Anna Francina (1994) 'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV, University of South Africa, Pretoria, <http://hdl.handle.net/10500/15739>
http://hdl.handle.net/10500/15739
The worship
Reformed spirituality
Ecumenical influence
Theological standards
Musicological standards
Secularisation of church songs
Gospel music
South African church music
Informal church songs
Formal church songs
Evaluation of unofficial church songs
'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV
oai:uir.unisa.ac.za:10500/217762018-11-17T13:06:39Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Ganyata, Obert
author
2015-11
This study investigates the challenges experienced by teachers of music literacy in Zimbabwe, and is based on a case study of five primary schools in the city of Gweru. The research builds on a literature review of past studies on Zimbabwean music literacy teaching, and on a review of policy documents. Empirical data was collected through lesson observations, interviews with teachers and administrators, and the analysis of lesson plans. To validate the findings a method of triangulation was used. Results are presented in both narrative and tabular forms in this dissertation, and analysed inductively. Zoltan Kodály’s work informs the theoretical framework, as well as other African and Western music educators, including Dalcroze, Kwami, Nketia, and Suzuki. Consistent challenges recognized by all stakeholders include a lack of resources, inadequate teacher training, and the exclusion of music as an examination subject. Recommendations are provided by way of conclusion.
Ganyata, Obert (2015) Pedagogical challenges experienced by teachers of music literacy in Zimbabwe : a case study of five Gweru primary schools, University of South Africa, Pretoria, <http://hdl.handle.net/10500/21776>
http://hdl.handle.net/10500/21776
Teaching practice
Music education
Specialist music teachers
Generalist music teachers
Education officers
Critical pedagogy for music education
Ministry of Education Sport and Culture
Ministry of Primary and Secondary Education
Early childhood education
Curriculum Development Unit
Curriculum review
Nziramasanga Commission
Zimbabwe
Pedagogical challenges experienced by teachers of music literacy in Zimbabwe : a case study of five Gweru primary schools
oai:uir.unisa.ac.za:10500/185072019-08-28T08:07:44Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Pooler, Richard Shaw
author
2014-10
Customer satisfaction is a key concern in any business strategy. It is often assumed that customer satisfaction can be enhanced using e-services. E-service is defined as interactive service received via the Internet (Jiang et al., 2013). E-service has contributed to business-to-consumer (B2C) e-commerce by providing on-demand solutions to customers. The relationship with the customer is enhanced by introducing self-service options, product customisation and variety. However, there may also be negative impacts, such as techno-stress and lack of online customer assistance. The primary aim of this research was to develop a conceptual framework to describe the correlation relationship between the factors that influence customers’ adoption of e-services.
Organisations use the Internet to attract customers, to conduct financial services and obtain information. This research focussed specifically on online shopping. The Grounded Theory research methodology was chosen for its flexibility and iterative comparison of data. A quantitative survey was conducted to determine the relative significance of the factors uncovered by the Grounded Theory methodology and to validate the hypothesis of the conceptual model.
Customer adoption is attained where customer satisfaction is high, where the customer sees value in the service, and where there is customer loyalty or trust. To date, research has focussed primarily on developed countries. Many challenges face South Africa as a Newly Industrialised Country (NIC). The negative factors facing developing countries in terms of e-service adoption include: lack of infrastructure, economic constraints and an emergent socio-political framework. The aim of this research was to build a conceptual model for explaining interrelationships between the identified factors that have an impact on customer e-service adoption. The customer’s perception of technology-driven services affects the organisation’s reputation, which in turn affects profitability. This research will be beneficial to
ii
managers in local organisations that thrive on e-services. An understanding of customer preferences will lead to improvement of customer services in South Africa.
Pooler, Richard Shaw (2014) The lost manuscripts of Leonardo Da Vinci, University of South Africa, Pretoria, <http://hdl.handle.net/10500/18507>
http://hdl.handle.net/10500/18507
Art history in the Italian Rennaissance
Leonardo da Vinci manuscripts
Treatise of painting
Codex Urbinas
Francesco Melzi
Orazio Melzi
Pompeo Leoni
Du Fresne editions
Cassiano dal Pozzo
Count Libri
The lost manuscripts of Leonardo Da Vinci
oai:uir.unisa.ac.za:10500/220752018-11-17T13:06:33Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Kanni, Balasubramanian
author
2016-02
This research A Descriptive Visual Analysis of the Survival of Tamil Arranged Marriage Rituals and the Impact of Commercialism is a critical analysis of ritual performances as a key component of Tamil wedding ceremonies. These rituals are performed before, during, and after the wedding and are interrogated throughout in this dissertation. This research explored and attempted to identify the significance of ritual performances in Tamil people’s marriages of southern India. Through the documentation and unpacking of traditional Hindu wedding celebrations, this study examined how these ancient rituals have been influenced by the modern world. It explored how cultural beliefs are negatively impacted through the commercialisation of wedding ceremonies and how they justify the maintenance of ritual practice. Symbolic activities and ritual performances are studied and discussed throughout this study by observing various Tamil wedding ceremonies and conclusions are drawn through conversations with couples and parents who have participated in such events. The dissertation further explores the ways in which these rituals are ultimately reflected and represented in artistic practice, inspired by the works of various artists who engage with their mediums in a ritualistic manner.
Kanni, Balasubramanian (2016) A descriptive visual analysis of the survival of Tamil arranged marriage rituals and the impact of commercialism, University of South Africa, Pretoria, <http://hdl.handle.net/10500/22075>
http://hdl.handle.net/10500/22075
Arranged marriage
Community
Hindu religion
Parental support
Performances
Tamil
Rituals
Wedding day
A descriptive visual analysis of the survival of Tamil arranged marriage rituals and the impact of commercialism
oai:uir.unisa.ac.za:10500/187362019-09-10T06:42:44Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Pillay, Thavamani
author
2014-11
In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism.
Pillay, Thavamani (2014) The artistic practices of contemporary South African Indian women artists : how race, class and gender affect the making of visual art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/18736>
http://hdl.handle.net/10500/18736
Race
Separate development
Education
Culture
Religion
Patriarchy
Class
Gender
South African women
Black feminism
Contemporary art
Apartheid
Art institutions
The artistic practices of contemporary South African Indian women artists : how race, class and gender affect the making of visual art
oai:uir.unisa.ac.za:10500/168512018-11-17T13:05:20Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Glazer, Joanne
author
1996-11
Textiles may be used as a vehicle to penetrate and exemplify a society's customs and
traditions. This dissertation concentrates on the Kuba cloths from Zaire and particularly
focuses on the social and political implications associated with these textiles. Part One
explores the economic aspects of the cloths and the values of work, wealth, status and
titleholding among the Kuba. The Kuba's aesthetic preference for pattern and design will
be contemplated in relation to the cloths and as an illustration of this culture's concern
with decoration and display. Part Two of this study examines the occasions for which
these cloths are adorned. It will be observed that these celebrations and rituals, in
conjunction with their ceremonial modes of dress, not only underline the importance of
the nation and its ideologies and customs (as examined in Part One) but serve to
acknowledge ethnic identity, as well as maintain and perpetuate the social and political
order of the Kuba.
Glazer, Joanne (1996) The social and political implications of the Kuba cloths from Zaire, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16851>
http://hdl.handle.net/10500/16851
The social and political implications of the Kuba cloths from Zaire
oai:uir.unisa.ac.za:10500/270142021-01-20T12:00:14Zcom_10500_177com_10500_172com_10500_1com_10500_2979com_10500_44com_10500_506col_10500_178col_10500_2980col_10500_507
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Ansah, Richard
author
2019
The research undertakes a critical study of informal fallacies in some socio-political and religious discourses in Ghana. It clearly and aptly demonstrates that the aforementioned discourses are mostly, if not, always laced with fallacies which obscure and distort clear and critical thinking. The study shows that language, which is the fundamental means by which to engage in socio-political discourse, can be viewed as a complicated tool which is open to misuse and abuse. It shows that language used in socio-political discourses is more often than not utilized poorly, and as such assertions and appeals can be confused with factual/logical inaccuracies. Statements can be formulated in ways that make their content dangerously vague, ambiguous or generally
misleading.
The research shows that although fallacies can be committed intentionally or unintentionally, in discourses in general, they are mostly, if not always, committed intentionally in socio-political discourse so as to achieve political gains and agenda.
Another area of discourse that is tackled in this work where fallacies frequently occur is the religious sector. The study notes that matters of religion are mostly matters that are delicate to handle as these matters are mostly, again if not always, based on faith. It is shown herein that many a time, religious personalities use fallacious as means to drive
their religious agenda across.
The research then looks at what these aforementioned fallacies imply in relation to socio-political and religious discourses. It proceeds to discuss the positive implications of fallacies before it progresses to the negative implications of same. It then asks how a fallacy will be beneficial to a person and or how it will disadvantage the same person. If fallacies often occur in socio-political and religious discourses, then one must have the ability to detect these fallacies and try to avoid them. The work discusses how to detect fallacies and how to avoid them. It makes bold claims that if one has knowledge about
fallacies then one will be able to avoid them.
http://hdl.handle.net/10500/27014
Logic
Arguments
Fallacy
Formal and Informal fallacies
Socio-political discourse
Political argumentation
Political persuasion
Religion
Fideism
Prophet
Prophetic ministry
A critical study of informal fallacies in some socio-political discourse in Ghana
oai:uir.unisa.ac.za:10500/179412018-11-17T13:05:17Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Cruise, Wilma
author
1997-09
The artist uses herself as the object of study. Her subjective position is
validated within a theoretical framework provided by feminism,
existentialism and Freudian theory. The three world views provide the
context for an analysis of sculpture produced between the years 1988
and 1997. Three one-person exhibitions held in 1990, 1993 and 1996,
are examined in terms of their iconographic emphasis and their
theoretical bias. The role of the unconscious in the genesis of the
sculptures and the problem of author/reader dichotomies in interpretation
are dealt with as thematic threads throughout the dissertation.
Cruise, Wilma (1997) Artist as subject : subject as object, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17941>
http://hdl.handle.net/10500/17941
Subjectivity
Feminism
Existentialism
Freud
The unconscious
Dreams
Art
Reader/author
Interpretations
Sculpture
Critics
Artist as subject : subject as object
oai:uir.unisa.ac.za:10500/161022018-11-17T13:05:03Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Brukman, Jeffrey James
author
1998-11
Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music,
notwithstanding tonally camouflaging surface details, clearly had a tonal foundation
which in many respects is a reaction to the emerging atonalism of Schonberg.
Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language
embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k
employed to obscure tonicisation embrace double-degree constructions, quartal
formations, chords of addition and omission and other irregular constructions.
Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic
root movement. Through an application of the Riemann function theory expanded by
Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase
Strauss cadences or closes) becomes apparent within an expanded tonal product.
The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century
manifestation of traditional tonality's primary tenets.
Brukman, Jeffrey James (1998) Expanded tonality in three early piano works of Béla Bartók (1881-1945), University of South Africa, Pretoria, <http://hdl.handle.net/10500/16102>
http://hdl.handle.net/10500/16102
Expanded tonality
Fully-chromaticised scales
Bitonal process
Bitonal product
Double-degree chords
Strauss cadences
Pedal points
Key-introductory six-four chord
Chord of addition
Chord of omission
Quartal constructions
Chord streaming
Expanded tonality in three early piano works of Béla Bartók (1881-1945)
oai:uir.unisa.ac.za:10500/247812021-10-14T11:20:02Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Van Zyl, Adelle
author
2018-08
This study explores how a narrative view of collecting can be expanded and applied to Ilya and Emilia Kabakov’s installations, as well as to my own artworks. It focuses on personal and intimate collections of everyday objects that serve to edify their owner’s sense of being. The project is undertaken in order to arrive at new interpretations of the themes of loss, meaning and absence through Mieke Bal’s (2006) narrative theory, Susan Pearce (1994) and Mikhail Epstein’s (1995) methods of collecting and Jean Baudrillard’s (1996) notions of the collector. These theories are applied to selected installations from the Kabakovs’ series Ten Characters. My own exhibition, S(h)elves, is an exploration of collections, underpinned by conceptually relevant theories. Conclusions are reached by means of literary analysis and comparison of selected theorists and artworks. A reflexive approach to art-making means that theories inform art-making processes while practical developments facilitate re-evaluated perceptions which lead to new insights.
http://hdl.handle.net/10500/24781
https://doi.org/10.25399/UnisaData.14152289.v1
Collecting
Furniture
Hoarding
Ilya and Emilia Kabakov
Installation
Jean Baudrillard
Mieke Bal
Mikhail Epstein
Object
Thing
Loss. meaning and absence in personal collections
oai:uir.unisa.ac.za:10500/196142018-11-17T13:04:03Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Krajewska, Anna Urszula
author
2014-03
This study offers a close look at Andrew Niccol’s (b 1964) satirical film S1mOne from a biocultural perspective emphasising the technological simulation of a Hollywood celebrity and the farce ensuing from her creation. The film is based on Niccol’s assumption that the hypertrophied culture into which he places his cultural object will be one in which human traits of sociality will be well advanced and the highly demanding genre of satire will be entertaining, persuasive, and on occasion punitive in its ridicule of Hollywood.
The study makes a contribution to the idea that a cultural object/text operates as a rapid mechanism for propagating cognition — it shows how Niccol has adapted to less than optimal conditions in his world of Hollywood — in this case he parodies the role of the director of Hollywood films in the figure of Taransky. Cognition is understood as that series of mental processes which include attention, memory, learning (from mimicry as well as other forms), problem solving, ratiocination, and making decisions. Niccol relies on his audience's embodied capacities and skills of recognition, thinking, feeling, remembering, and accounting for his message to be understood. Niccol’s technical skill in editing his narrative to emphasise the satire of the narrative of Taransky and Simone is a critical part of the film’s success. Interpersonal and social propagation of cognition is achieved through reference to other cultural artefacts recalling a variety of similar ideas used in film and other visual creations. The cultural significance of the simulacrum, Simone, is that she is a vehicle for and a form of socially propagated cognition.
The powerful imagistic impression of film helps to structure internalised cognitive artefacts in the viewers who are expected to reflect on their habits of viewing and thinking. When a film, artwork, poem or novel is analysed, then such a cultural object becomes a vehicle of and for propagating cognition.
Krajewska, Anna Urszula (2014) Bioculturalism, simulation and satire : the case of S1mOne, University of South Africa, Pretoria, <http://hdl.handle.net/10500/19614>
http://hdl.handle.net/10500/19614
Biocultural perspective
Coupled systems
Evolution of culture
Framed narrative
Narratives
Propagated cognition
Satire
Simulacra
Simulation
Bioculturalism, simulation and satire : the case of S1mOne
oai:uir.unisa.ac.za:10500/22592018-11-17T13:05:13Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Van Tonder, Anna Magrieta
author
2007-01
Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility.
Van Tonder, Anna Magrieta (2007) On the serious social implications of humorous art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2259>
http://hdl.handle.net/10500/2259
Artistic ontology
Artistic teleology
Becoming
Correspondence thinking
Humour
Logocentrism
Loss of centre
Metonymy
Non-logical
Open-ended
Play
Possibility
Wandering
On the serious social implications of humorous art
oai:uir.unisa.ac.za:10500/265442020-08-20T12:21:57Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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De Lange, Beverley
author
2019-11
That consciousness is ubiquitous, and relevant to autopoietic self-organisation and embodiment within every living being and/or organism, is a prevalent idea in contemporary consciousness research. However, because ‘consciousness’ as a word is derived from con or cum, meaning ‘with’ or ‘together’ and scire, ‘to know’ or ‘to see’ it infers the experience of knowing with an ‘other’ and/or ‘others’.
The narrative that follows, while expressing a life of its own, documents the interdisciplinary research conducted and questions who and/or to what ‘other’ might infer. My visual diary, Dust from dust: Microorganisms and other tales: An Artist’s diary, created as the visual component of a creative practice-as-research undertaking, was silently performed amidst ‘others’ in the Unisa gallery, in an attempt to render visible, the autopoietic, self-organising embodiment essential to the conscious self-developmental component of the project.
Once upon a time, I grew bacterial yeast cells in a glass vitrine to observe how they self-organised their own embodiment and photographed the process. At the same time, I conducted interdisciplinary research into consciousness as a self-developmental process, and utilising the cellular symbiosis unfolding in the vitrine as a self-reflexive mirror, came to visualise how indispensable bodily feelings are to conscious self-development, and being-in-the-world-with-others processes.
As a creative-practice-as-research undertaking, I grew, manipulated and photographed the cellular imagery in the vitrine over many years in an attempt to unfold personal bodily feeling associations the imagery held captive, while gathering photographic footage I considered capable of expressing the primordial nature of certain emotive feeling experiences. Once obtained, I choreographed and performed a stop-frame video, entitled Dust from Dust: Microorganisms and other tales. An artist’s diary. The stop-frame video, along with a catalogue that focuses on the processes engaged with, accompanies the written narrative.
Once edited, I macroscopically projected different phases of the video into a three-walled enclosure in the UNISA Art gallery. The three videos, representing a facet of my praxis, ran concurrently over a two week period. The fourth facet, presented with the video projections to emphasise conscious self-development as an in-the-world-with-others process, was the glass vitrine. It was positioned in a darkened enclosure in the gallery space, opposite the video projections.
This narrative documents how I projected myself into the cellular imagery developing in the glass vitrine, in a way akin to how the ancient alchemists ‘projected’ themselves into the prima materia with which they worked. While the alchemists seemingly worked unconsciously, and my praxis initially started somewhat unconsciously, the process developed into a conscious attempt to embody the research findings. So, while the video choreographed, champions a microbial cell story, by referring to it as an artist’s diary, I emphasise the subjective nature of my praxis as a whole.
In this creative-practice-as-research undertaking, I address the significance of bodily feelings and their relevance to being-in-the-world-with-others processes. In doing so, I aim to offer insight into how and why feelings are essential to inter-subjectivity and/or sociality, self-organisation and conscious self-development, as well as how and why conscious self-development can lead to immersive experiences, which I interpret as embodied adaptation to the rich diversity and/or fullness of life itself.
http://hdl.handle.net/10500/26544
Consciousness
Unconscious
Being
Psyche
Self
Subjectivity
Self-reflexivity
Bacterial yeast cells
Symbiosis
Biological
Autopoeisis
Primordial-ness
Primordial-like
Prima materia
Alchemy
Self/other
Subjective/inter-subjective
Being-in-the-world-with-others
Self-organisation
Embodiment
Conscious self-development
Bodilt feeling-intoned experience
Immersion
Performance
A visual interpretation of consciousness as a continuous process of self-organisation and embodiment
oai:uir.unisa.ac.za:10500/33992018-11-17T13:04:39Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Meents, Tamara Leora
author
2009-11
This study examines the ways in which museums and memorials within South
African society commemorate events of the past. Various examples of
museums and memorials are chosen and identified according to the ways in
which they embody postmodern or modern thought. Postmodern and modern
museums are deconstructed according to various post-structural tenets so as
to arrive at a broader understanding on how they are able to remain a
continuously relevant and vital part of contemporary society.
Meents, Tamara Leora (2009) Deconstructing museums and memorials in pre- and post-apartheid South Africa, University of South Africa, Pretoria, <http://hdl.handle.net/10500/3399>
http://hdl.handle.net/10500/3399
Post-structuralism
Structuralism
Postmodernism
Deconstruction
Hierarchical Binaries
Othering
Bricoleur
Metaphor
Reconstruction
Meta-narrative
Deconstructing museums and memorials in pre- and post-apartheid South Africa
oai:uir.unisa.ac.za:10500/265032020-08-04T11:33:11Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Mkhonza, Bongani W.
author
2019-06
In the thesis, I critically examine the art acquisition policy of the Unisa Art Gallery (UAG) during and after apartheid in South Africa. The Unisa Art Gallery acquisition policy (UAGAP) is investigated against the transformation imperatives as informed by national policies on arts and culture. I take the view that the process of art acquisition does not exist outside of the sociopolitical discourse. Although the thesis is registered in the subject of Art History, the research adopts a multidisciplinary approach as it straddles the domains of visual art and cultural policy. Therefore, its focus on acquisition policy requires a combination of methodologies that can accommodate the intended research objectives.
The study is based on the hypothesis that the collecting of art and acquisition policies are still untransformed from the Eurocentric paradigm of thought. I adopt Afrocentricity and decoloniality as theoretical frames of analysis. University museums are public cultural institutions, and the South African Constitution guarantees the right to culture. Therefore, the reluctance of public institutions to uphold the imperatives demonstrates a level of resistance to transformation.
In the study, I investigate circumstances that influence the positive or negative way the UAGAP seemingly responds to the socio-economic and political imperatives of national policies in post-apartheid South Africa. Data analysis shows that there is no explicit relation between the White Paper on Arts, Culture and Heritage (WPACH) (DAC 1996) and the UAGAP. Another finding is that artworks collected in the past were mainly informed by epistemologies which were predominantly Eurocentric, whereby especially the black society has little or no say in the development of university museum policies. Lastly, the perception of arts practitioners is that the pace of transformation of university art collection policies is slow. The findings give rise to a recommendation that government should go beyond “the arms-length approach” (Deacon 2010) in the transformation of arts institutions, and intervene. Another recommendation is that unless the government White Papers are translated into law, they will continue to be ignored by public institutions.
Kule thesisi, ngiphenya ngendlela egxekayo ukutholakala komsebenzi wobuciko. Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Africa (Unisa Art Gallery) ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo eNingizimu Africa. Umgomo omayelana nokutholakala kwemisebenzi yobuciko yesikhungo Sombukiso Wobuciko eNyuvesi yaseNingizimu Africa uphenywa kubhekwe kwezinto ezinhle ezilethwa yizinguquko njengoba lokhu kugunyazwa yimigomo yezwe kwezobuciko kanye namasiko. Ngithatha umbono othi uhlelo lwezokutholakala kobuciko alwenzeki ngaphandle kwemithelela yezenhlalakahle yabantu kwezepolitiki. Yize ithesisi ibhaliswe kwisifundo soMlando weZobuciko, ucwaningo lwamukela indlela equkethe izifundo eziningi njengoba le thesisi ifinyelela emikhakheni yomsebenzi wobuciko obukwayo kanye nakumgomo wosiko. Ngakho-ke, impokophelo yale thesisi kumgomo wokutholakala komsebenzi wobuciko ifuna inhlanganyela yezindlela zokuhlaziya ezingaxuba phakathi izinhloso zocwaningo eziqondiwe.
Ucwaningo lususelwa kwihayiphothesisi/isihlambiselelo esithi imigomo emayelana nokuqoqwa kwemisebenzi yobuciko kanye nokutholakala kwemisebenzi yobuciko ayikaguquki kwizimpande zemibono yaseNtshonalanga/yaseYurophu. Ngamukela imibono egxile kubu-Afrika nemibono eqeda ubukoloni njengezinhlaka zemibono yokuhlaziya. Izikhungo zokugcina amagugu asenyuvesi zingamaziko wamasiko omphakathi, kanti uMthethosisekelo waseNingizimu Afrika unikeza ilungelo lokwenza usiko. Ngakho-ke, ukuba manqikanqika kwamaziko ombuso ukuphakamisa ubuhle bamasiko ngokuhlukahlukana kwawo njengokomgomo kukhombisa izinga lokunqaba ushintsho.
Kulolu cwaningo, ngiphenya izimo ezinomthelela phezu kwendlela enhle noma embi uhlelo lwe-UAGAP elibonakala libheka ngayo nezindaba ezimayelana nenhlalakahle yabantu kwezomnotho nakwezepolitiki, ezindabeni zemigomo yezwe esikhathi sangemuva kombuso wengcindezelo eNingizimu Africa. Ukuhlaziywa kwedatha kukhombisa ukuthi abukho ubudlelwane obubonakalayo phakathi kwe-White Paper kwezoBuciko, ezamaSiko kanye nama-Gugu (WPACH) (DAC 1996) kanye nohlelo lwe-UAGAP. Okunye okutholakele ukuthi imisebenzi yobuciko eqoqwe esikhathini esedlule beyincike kakhulu kuma-ephistemoloji ebegxile kwingqubo yase-Yurophu/yaseNtshonalanga, kanti-ke, umphakathi ompisholo ikakhulu akukho nokuncane noma akukho ongakukhuluma mayelana nemigomo yokuthuthukiswa kwezikhungo zokugcina ubuciko bamagugu. Okokugcina, umqondo wabasebenzi kwezobuciko uthi izinhlelo zezinguquko zemigomo yokuqoqwa kwemisebenzi yobuciko emanyuvesi zihamba ngonyawo lonwabu. Ulwazi olutholakele kucwaningo luphakamisa isinqumo sokuthi uhulumeni kufanele asebenze ngomgomo owodwa “the arms-length approach” (Deacon 2010) kuhlelo lwezinguquko kumaziko obuciko, bese angenelele. Esinye isinqumo ukuthi ngaphandle kokuthi ama-White Paper kahulumeni ashicilelwe abe wumthetho, amaziko ombuso azoqhubeka nokuwashaya indiva.
Mo polelotheong eno, ke tlhatlhobile pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Unisa (UAG) ka tsela ya tshekatsheko ka nako ya, le morago ga tlhaolele mo Aforikaborwa. Pholisi ya phitlhelelo ya Lefelo la Botsweretshi ya Unisa (UAGAP) e batlisisiwa e bapisitswe le ditlhokego tsa phetogo jaaka di kaelwa ke dipholisi tsa bosetšhaba tsa botsweretshi le setso. Ke akanya gore tirego ya phitlhelelo ya botsweretshi ga e diragale kwa ntle ga puisano ya politiki ya loago. Le fa e le gore polelotheo e kwadisitswe mo setlhogong sa Hisetori ya Botsweretshi, patlisiso e tsaya boitlhagiso jwa melebomentsi jaaka fa e paraletse mo mefameng ya botsweretshi jwa pono le pholisi ya setso. Ka jalo, go tota ga yona pholisi ya phitlhelelo go tlhoka motswako wa mekgwa e e ka amogelang maikemisetso a patlisiso a a lebeletsweng.
Thutopatlisiso e ikaegile ka tshitshinyo ya gore dipholisi tsa kokoanyo le phitlhelelo ya botsweretshi di sa ntse di sa fetoga go tswa mo mogopolong wa setso sa Yuropa. Ke tsaya boikaego jwa Aforika le tloso ya bokoloniale jaaka letlhomeso la tiori la tokololo. Dimusiamo tsa diyunibesiti ke ditheo tsa setso tsa setšhaba, mme Molaotheo wa Aforikaborwa o sireletsa tshwanelo ya setso. Ka jalo, go belaela ga ditheo tsa setšhaba go tsweletsa ditlhokego go bontsha go kgaratlha kgatlhanong le diphetogo.
Mo thutopatlisisong, ke batlisisa mabaka a a tlhotlheletsang mokgwa o o siameng gongwe o o sa siamang o go lebegang e kete UAGAP e tsibogela ka ona ditlhokego tsa ikonomiloago le sepolitiki tsa dipholisi tsa bosetšhaba tsa Aforikaborwa ya morago ga tlhaolele. Tokololo ya data e bontsha gore ga go na kgolagano e e tlhamaletseng magareng ga Pampiritshweu ya Botsweretshi, Setso le Ngwaoboswa (WPACH) (DAC 1996) le UAGAP. Phitlhelelo e nngwe ke ya gore ditiro tsa botsweretshi tse di kokoantsweng mo nakong e e fetileng di ne di ikaegile bogolosegolo ka diepisetemoloji tse di neng di na le phekeetso e kgolo ya setso sa Yuropa, moo tota setšhaba sa bantsho se nang le tshwaelo e e seng kalo gongwe se se na tshwaelo epe mo go tlhamiweng ga dipholisi tsa dimusiamo tsa diyunibesiti. Kwa bokhutlong, kakanyo ya badiragatsi ba botsweretshi ke gore kgato ya diphetogo ya dipholisi tsa kokoanyo ya botsweretshi jwa diyunibesiti e bonya. Diphitlhelelo di baka katlenegiso ya gore puso e tshwanetse go dira go feta “molebo o o sa gateleleng taolo gongwe tekanyetso” (Deacon 2010) mo diphetogong tsa ditheo tsa botsweretshi, mme e tsereganye. Katlenegiso e nngwe ke ya gore kwa ntle ga gore Dipampiritshweu tsa puso di fetolelwe go nna molao, ditheo tsa setšhaba di tlaa tswelela go di ikgatholosa.
In hierdie tesis ondersoek ek die kunsaankoopbeleid van die Unisa Kunsgalery (UKG) tydens en ná apartheid. Die kunsaankoopbeleid van die Unisa Kunsgalery (KABUKG) word volgens die nasionale transformasiebeleid oor kuns en kultuur beoordeel. Kunsaankope staan na my mening nie los van die sosiopolitieke diskoers nie. Ofskoon hierdie tesis onder die vak Kunsgeskiedenis ingeskryf is, word ʼn multidissiplinêre benadering gevolg aangesien die navorsing die terrein van die visuele kunste en dié van kultuurbeleid bestryk. Om die navorsingsdoelwitte te behaal, is ʼn kombinasie van metodologieë dus nodig.
Die studie berus op die hipotese dat die versameling van kunswerke en die aankoopbeleid steeds Eurosentries gerig is en nie getransformeer het nie. Ek neem Afrosentrisiteit en dekolonialiteit as teoretiese ontledingsraamwerke. Universiteitsmuseums is openbare kultuurinstellings en die Suid-Afrikaanse Grondwet waarborg burgers die reg op kultuur. Openbare instellings se onwilligheid om die opdragte uit te voer, dui op ʼn weerstand teen transformasie.
Ek verken die omstandighede wat bepaal hoe die KABUKG ná apartheid op die sosioëkonomiese en politieke opdragte reageer. Die dataontleding toon dat daar tussen die Witskrif oor Kuns, Kultuur en Erfenis (WKKE) (DAC 1996) en die KABUKG geen verband bestaan nie. Voorts is bevind dat kunswerke wat in die verlede aangekoop is, oorwegend Eurosentries was. Buitendien het swart mense tans weinig of geen seggenskap in universiteite se museumbeleide. Ten slotte is die tempo waarteen universiteite se aankoopbeleide transformeer volgens kunspraktisyns uiters traag. Daarom word op grond van die bevindings aanbeveel dat die regering sy armlengtebenadering (Deacon 2019) tot die transformasie van kunsinstellings laat vaar, en ingryp. As witskrifte nie wet gemaak word nie, sal openbare instellings aanhou om hulle te ignoreer.
http://hdl.handle.net/10500/26503
Acquisition policy
Afrocentricity
Art acquisitions
Cultural policy
Decoloniality
Discourse analysis
Social transformation
University art collections
Umgomo wokuthola
Okunezimpawu zobu-Afrika
Ukutholakala komsebenzi wobuciko
Umgomo wezamasiko
Uhlelo lokuqeda ubukoloni
Ukuhlaziywa kwesifundo
Uhlelo lokuguqula umphakathi
Uhlu lwemisebenzi yobuciko eqoqiwe
Pholisi ya phitlhelelo
Boikaego jwa Aforika
Diphitlhelelo tsa botsweretshi; pholisi ya setso
Tloso ya bokoloniale
Tokololo ya puisano
Diphetogo tsa loago
Dikokoanyo tsa botsweretshi tsa diyunibesiti
Pholisi ya setso
Aankoopbeleid
Afrosentrisiteit
Kunsaankope
Kultuurbeleid
Dekolonialiteit
Diskoersontleding
Sosiale transformasie
Universiteitskunsversamelings
Art acquisition policy of the University of South Africa (Unisa) Art Gallery during and after apartheid : a critical analysis
Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Afrika ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo : uhlaziyo olunqala
Pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Yunibesiti ya Aforika Borwa (Unisa) ka nako ya, le morago ga tlhaolele : tokololo e e sekasekang
Kunsaankoopbeleid van die Universiteit van Suid-Afrika (Unisa) se kunsgalery tydens en ná apartheid : ʼn kritiese ontleding
oai:uir.unisa.ac.za:10500/40472023-05-26T08:16:46Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Vekony-Harper, Delia
author
2010-06
The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle.
Vekony-Harper, Delia (2010) What defines a good work of art within the contemporary art word? theories, practices and institutions, University of South Africa, Pretoria, <http://hdl.handle.net/10500/4047>
http://hdl.handle.net/10500/4047
Messiah
Art market
Marxist criticism
Formalism art
Modernist art
Jena Group
Museum
Damien Hirst
Art criticism
Quality-judgment
What defines a good work of art within the contemporary art word? theories, practices and institutions
oai:uir.unisa.ac.za:10500/270782021-02-04T16:20:53Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Nkosinkulu, Zingisa
author
2020-12
My study is a theoretical intervention of the South African contemporary visual art of Mary Sibande. It focuses on the figure of Sophie representing the maid in three series; namely, Sophie-Elsie, Sophie-Merica, and Sophie-Velucia. The study applies Frantz Fanon’s thought to the understanding of the figure of Sophie while emphasising the themes of naming, the human subject, and presence-absence. The theoretical framework of this thesis is a decolonial epistemic theory, which is used as a lens to understand Fanon’s political
thoughts. I argue that the themes of naming, human subject, and presenceabsence are inherent in Fanon’s thought. These thematic areas give a better understanding of the existential questions of the figure of Sophie in the antiblack Manichean world. It is important to unpack the figure of Sophie as a Manichean figure who represents the crossing of two different worlds – the white world and the black world, Africa and Europe. The study highlights the importance and relevance of reviving Fanon’s thought concerning decolonial contemporary African art and establishing other tools of interpretation necessary to understand decolonial aestheSis. The thrust of this thesis is to
deploy decolonial epistemic theory as a theoretical framework to the Fanonian understanding of the figure of the three Sophies that embody the modern/colonial predicament of the figure of the maid and blackness.
http://hdl.handle.net/10500/27078
Blackness
Decolonial aestheSis
Decoloniality
Fanon (Frantz)
Maid
Fanonian decolonial theory
Modernity/coloniality
Ontology
Sibande (Mary)
Sophie
Decolonising the figure of Sophie : a Fanonian analysis of Mary Sibande’s contemporary visual artworks
oai:uir.unisa.ac.za:10500/171482018-11-17T13:05:26Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Krynauw, Elizabeth
author
1994-06
Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale
kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word
ingesluit.
Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet
aan die volgende kriteria voldoen, voordat die komposisies as
verwysings kan kwalifiseer:
(a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees.
(b) Instrumentale kamernusiekkomposisies moet volledig en voltooid
wees.
( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf
wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem.
Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit.
'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in.
Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite,
asook die blootstelling aan plaaslike en internasionale
instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of
soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese,
militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol
in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel.
Evaluering van geselekteerde instrumentale kamermusiekkomposisies van
1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing
van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op
enkele parameters gabaseer:
(a) Tematiese metamorfose
(b) Tematiese frasestruktuur
(c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of
direkte herhaling.
Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk.
In Volume 2 word die verblyftydperk van besoekende komponiste asook die
immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting
van 512 instrumentale kamermusiekkomposisies deur 139 amateur
en professionele Suid-Afrikaanse of besoekende komponiste, is daar
gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit.
Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek
An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included.
Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria:
(a) Compositions must be composed mainly on South African soil.
(b)Instrumental chamber music compositions must be complete and finished
(c)Compositions must be composed for three to nine instrumentalists
Changing or alternating of instruments by perfonning artists
considered.
Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works.
The availability of instruments, tuition facilities and exposure to
national and inteniational perfornances through public concerts,
private concerts or soirees, during the preparatory phase (1652-1910)
created a favourable milieu for the developnent of chamber music.
External influences such as economical, sociological, military,
religious and political activities, played a determining role in the
developmental tempo of South African instrumental chamber music.
:Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters:
(a)Thematic metamorphosis
(b) Thematic phrase structure.
(c) Certain composition techniques exempli gratia imitation or
direct repetition.
The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies.
In Volume 2 the period of sojourn of visiting composers as well as the
inmigration and emigation dates of composers are indicated. With the
enclosure of 512 compositions by 139 amateur or professional South
African or visiting composers, it has been endeavoured to incorporate
impotrant biographical details as well as some contributions of
relevant composers.
'A chronological list of compositions reflects the extensive expansion
of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix
Krynauw, Elizabeth (1994) Suid-Afrikaanse kamermusiek : 'n historiese oorsig en evaluasie van geselekteerde werke, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17148>
http://hdl.handle.net/10500/17148
Suid-Afrikaanse kamermusiek : 'n historiese oorsig en evaluasie van geselekteerde werke
oai:uir.unisa.ac.za:10500/284982022-02-02T13:19:15Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Pieters, Vivienne
author
2021-12
This history of music and Presbyterianism at the Lovedale Missionary Institute focuses on the work of Scottish Presbyterian missionaries, students and graduates of Lovedale in the period 1841 to 1955. The period under consideration begins with the foundation of the mission in 1841 and ends with its closure in 1955 as a result of the apartheid government’s decision to stop funding the independent mission schools. This work offers a critical appraisal of the careers, influence and ideology of the five Scottish principals: William Govan, James Stewart, James Henderson, Arthur West Wilkie and Robert Henry Wishart Shepherd. Many of South Africa’s most prominent African intellectuals and composers studied at Lovedale under their tutelage. A survey of these musicians and intellectuals is described in a series of profiles, which include discussion of their careers and analysis of their music. Case studies of composers Tiyo Soga, John Knox Bokwe, Benjamin Tyamzashe, Daniel Marivate, Michael Moerane, Joshua Polumo Mohapeloa and Reuben Caluza explore themes of influence and syncretism. Stories about events, characters and the relationships that developed between students and teachers are brought to the fore because these give insight into the social and political dynamics of music and mission in general, and to a changing South Africa in the nineteenth and twentieth centuries. The role of women at Lovedale is emphasised with a focus on the wives of missionaries, such as Mina Stewart, but also independent figures, such as Frieda Bokwe Matthews, Jane Waterston and Monica Wilson. It thematically discusses how Lovedale became an intellectual and musical centre with a strong tradition of African music and literature supported by the publications of the Lovedale Press. This thesis offers a careful review of documentary sources in South Africa and Scotland, and in so doing draws close attention to the mission’s policies and educational outcomes in relation to music. The research is based on archival methods and framed by contemporary theories of postcolonialism and decoloniality.
Le mbali yomculo nobuPresbhitari kwiziko Lecawe laseDikeni (iLovedale Missionary Institute) igxila kumsebenzi wabaququzeleli bevangeli bamaSkoti, abafundi kunye nabathweswa zidanga besinala saseDikeni esaziwa ngokuba yiLovedale ngeminyaka ephakathi kowe1841 nowe1955. Eli xesha sifunda ngalo liqala ekwakhiweni kwemishini ngowe1841 kwaye liphela ekuvalweni kwayo ngowe1955 kuba urhulumente wocalucalulo wagqiba ekubeni apheze ukuxhasa ngemali izikolo zeecawe ezizimeleyo. Esi sifundo siphengulula ngeliso elibukhali umsebenzi, impembelelo kunye nezimvo ezisisiseko seenqununu zamaSkoti ezintlanu: uWilliam Govan, uJames Stewart, uJames Henderson, uArthur West Wilkie kunye noRobert Henry Wishart Shepherd. Uninzi lweenkcubabuchopo nabaqambi beengoma abangama-Afrika bafunda eLovedale phantsi kwezi nqununu. Uphononongo lwezi nkcubabuchopo nabaqambi beengoma lwenziwe kwiqela leeprofayili eziquka ingxoxo ngemisebenzi yabo nohlalutyo lomculo wabo. Izifundo ezingumzekelo ezingoTiyo Soga, uJohn Knox Bokwe, uBenjamin Tyamzashe, uDaniel Marivate, uMichael Moerane, uJoshua Polumo Mohapeloa kunye noReuben Caluza ziphonononga imixholo yempembelelo kunye nokudityaniswa kweenkolo ezahlukeneyo. Kubaliswa namabali eziganeko, abantu abahlukeneyo nentsebenziswano eyayikho phakathi kwabafundi nootitshala. La mabali adandalazisa amahla ndinyuka kwezentlalo nezopolitiko malunga nomculo kunye nemishini ngokubanzi, noMzantsi Afrika owawuguquka ngenkulungwane yeshumi elinethoba neyamashumi amabini. Indima yamabhinqa eLovedale iqwalaselwe ngokugxila kumakhosikazi abaququzeleli bevangeli abanjengoMina Stewart kunye namanye amakhosikazi azimeleyo afana noFrieda Bokwe Matthews, uJane Waterston kunye noMonica Wilson. Isifundo sibonisa ngokwemixholo, indlela iLovedale eyaba liziko lemfundo nelomculo osekelwe ngamandla kumculo wobuAfrika noncwadi olwalupapashwa kwiziko lokushicilela, iLovedale Press. Le ngxelo yophando inika uphengululo olunzulu lwemithombo yolwazi eseMzantsi Afrika naseScotland, kwaye ngokwenza njalo itsalela ingqalelo kwimigaqo nkqubo yale mishini kunye neziphumo zemfundo emalunga nomculo. Uphando lusekelwe kwiindlela zemithombo kavimba kwaye luphanhlwe ziingcingane (iithiyori) ezingexesha lasemva kobukoloniyali nokupheliswa kolawulo lwezizwe ezingamathanga.
Hierdie geskiedkundige oorsig van musiek en Presbiterianisme by die Lovedale Missionary Institute fokus op die werk van Skots-Presbiteriaanse sendelinge, studente en gegradueerdes van Lovedale in die tydperk 1841 tot 1955. Die tydperk onder bespreking begin met die stigting van die sendingpos in 1841 en eindig met die sluiting daarvan in 1955 vanweë die apartheidregering se besluit om nie meer die onafhanklike sendingskole te befonds nie. Hierdie werk bied ʼn kritiese beoordeling van die loopbane, invloed en ideologie van die vyf Skotse hoofde: William Govan, James Stewart, James Henderson, Arthur West Wilkie en Robert Henry Wishart Shepherd. Vele van Suid-Afrika se mees prominente Afrika-intellektuele en komponiste het by Lovedale gestudeer onder hul leiding. ʼn Oorsig van hierdie musikante en intellektuele word in ʼn reeks profiele beskryf en dit sluit ʼn bespreking van hul loopbane en ʼn ontleding van hul musiek in. Gevallestudies oor die komponiste Tiyo Soga, John Knox Bokwe, Benjamin Tyamzashe, Daniel Marivate, Michael Moerane, Joshua Polumo Mohapeloa en Reuben Caluza fokus op temas wat met invloed en sinkritisme verband hou. Stories oor gebeure, karakters en die verhoudings wat tussen studente en onderwysers ontwikkel het, word prominent omdat dit insig gee in die sosiale en politieke dinamika van musiek en sending oor die algemeen, en ʼn veranderende Suid-Afrika in die negentiende en twintigste eeu. Die rol van vroue by Lovedale word beklemtoon, met ʼn fokus op die vrouens van sendelinge – soos Mina Stewart, maar ook onafhanklike figure soos Frieda Bokwe Matthews, Jane Waterston en Monica Wilson. Daar word tematies bespreek hoe Lovedale ʼn intellektuele en musieksentrum geword het, met ʼn sterk tradisie van Afrika-musiek en -literatuur, ondersteun deur die publikasies van die Lovedale Press. Hierdie tesis gee ʼn sorgvuldige oorsig van dokumentêre bronne in Suid-Afrika en Skotland, en vestig sodoende die aandag op die sending se beleide en opvoedkundige uitkomste ten opsigte van musiek. Die navorsing is gebaseer op argivale metodes in die konteks van kontemporêre teorieë van postkolonialisme en dekolonialisme.
https://hdl.handle.net/10500/28498
African composers
Choralism
Free Church of Scotland
Hymns
Lovedale Missionary Institute
Post-colonialism
Presbyterianism
Tonic sol-fa
South Africa
Afrika-komponiste
Koorsangtradisies
Free Church of Scotland
Lofsange
Lovedale Missionary Institute
Postkolonialisme
Presbiterianisme
Tonika-solfa
Suid-Afrika
Abaqambi bama-Afrika
Ubukwayara
Icawe Ekhululekileyo yaseSkotlani
Amaculo ecawe
Iziko Lecawe laseDikeni/eLovedale
Emva kobukoloniyali
UbuPresbhitari
Umculo wetonic sol-fa
uMzantsi Afrika
Music and Presbyterianism at the Lovedale Missionary Institute, 1841–1955
oai:uir.unisa.ac.za:10500/271312021-02-26T04:21:40Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Van Heerden, Carel Jacobus
author
2020-01
Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media.
This study employed a literature review of selected discourses related to new media studies.
Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies
of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective.
These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing
markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality.
The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist,
a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery.
Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili
kwezokuxhumana nezendabuko ezintsha.
Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe.
Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa
ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe
zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi
zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya.
Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa
uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari.
Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha
zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso
yale mihla neyakudala.
From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo
zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla,
kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo
ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga
ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso)
ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari).
http://hdl.handle.net/10500/27131
Immediacy
Interactive art
Hypermediacy
Metalanguages
New media
Photomontage
Postmedia
Augmented reality
Photogrammetry
Photography
Digital compositing
Autotopography
Memory
Nostalgia
Identity formation
Imidiyesi noma Ukulamula
Ubuciko obusebenzisanayo
Hayiphamediyesi
Izilimi ezihlukene
Izindaba ezintsha
Amaseli noma ifothomtheji
Ukujeqeza ngemuva kwezindab
Iqiniso elingathandwa
Uuhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri
Izithombe
Ukuhlanganiswa kwedijithali
I-othothophografi noma ukuziphendulela
Inkumbulo
Isifiso noma inolstajiya
Ukwakheka kobunikazi
Indibano yesiquphe
Ubugcisa bentsebenziswano
Ukuqwalasela nzulu
Iilwimi zokucacisa ezinye iilwimi
Imiboniso yale mihla
Umfanekiso wezijungqe
Emva kwemibonis
Ubunyaniso obongezelelweyo
Ubuchwepheshe nenzululwazi yeefoto
Ubugcisa bokufota
Ukuyila ngobuchule bedijithali
Zisiifoto ezivuselela inkumbulo
Inkumbulo
Inkumbulo yendawo ngothando
Ukwenziwa kwesa
Interactive digital media displacement : digital imagery contextualised within deep remixability and remediation
oai:uir.unisa.ac.za:10500/10262018-11-17T13:05:32Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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De Gabriele, Mathilde Daatje Johanna Fenna
author
2009-08-25T10:48:58Z
This dissertation investigates the correlation between semiotic theory and the way that
gendered subjectivity is represented in contemporary South African art. The phenomenon
of signification is central to the semiotic theories of the Bulgarian semiotician and
psychoanalyst Julia Kristeva. Semiotics can be described as the science of the sign that
considers the way in which artists express their personal experience in art making.
In this investigation I refer mainly to women's artworks, although the concept of
gendered subjectivity in the work of male artists is also discussed. This particular
research investigates the symbolic relations of culture in gender terms, that explores the
apparent contradictions of subjectivity inherent in capitalist patriarchal society.
De Gabriele, Mathilde Daatje Johanna Fenna (2009) A Semiotic reading of gendered subjectivity in contemporary South African art and feminist writing, University of South Africa, Pretoria, <http://hdl.handle.net/10500/1026>
http://hdl.handle.net/10500/1026
Femininity
Difference
Negativity
Rejection
Drives
Transference
The Thetic
Enunciation
Abjection
Desire
Jouissance
Transcendence
A Semiotic reading of gendered subjectivity in contemporary South African art and feminist writing
oai:uir.unisa.ac.za:10500/190252018-11-17T13:05:21Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Erasmus, Megan
author
2015-02
The rise of the biotechnical and genomic revolution has motivated contemporary artists to explore the use of scientific methods as a medium for art-making. The application of these ground-breaking methods within the realm of contemporary art allows for the distortion that exists between life sciences and the imagination to become a reality. This practice is known as transgenic art. With biotechnology as the new playing-field for art comes a myriad of dangerous implications, ethical issues, questions of authorship and responsibilities. The transgenic artworks of Eduardo Kac entitled GFP Bunny (2000) and Genesis (1999) form the basis of the research. The main question posed in this research explores the purpose of transgenic art and the unavoidable impact thereof on society. Social awareness of ethical issues surrounding this type of art-making is addressed. The poignancy of the study lies in debates deliberately introduced by the artist, but also unintended controversial issues that surface from the creation of living artworks.
Erasmus, Megan (2015) Transgenic art and science in Eduardo Kac’s work: ethical issues acknowledged, University of South Africa, Pretoria, <http://hdl.handle.net/10500/19025>
http://hdl.handle.net/10500/19025
Transgenic Art
Bioart
Bioethics
GFP bunny
Genesis
Genetic engineering
Biotechnology
Kac (Eduardo)
Transgenic art and science in Eduardo Kac’s work: ethical issues acknowledged
oai:uir.unisa.ac.za:10500/272602021-05-04T10:30:58Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Jooste, Ané
author
2020-08
The study delves into traumatic memories rooted in the unconscious mind and the modalities of expression of traumatic memories of childhood. Specific reference is made to the trauma studies of Cathy Caruth and Bessel van der Kolk. Using a framework of contemporary trauma theory, I argue that trauma manifests through
childhood sexual abuse (CSA) manifests in trauma and that a number of artworks by myself, Penny Siopis and Nathani Lüneberg, reflect such trauma. The research is conducted as practice-led research and focuses on interpretations of selected artworks as well as a theoretical component. The body of large-scale digital paintings plays a
significant role in the research process, which implies that theory leads practice and vice versa. The work encompasses the visual exploration of CSA and it is specifically analysed according to my interpretation of symbols such as the naked female body and intimate scenes which illustrate, vulnerabilty, curtains that metaphorically
represent a view into my unconscious mind. The symbol of the uterus or the womb, where a foetus or unborn baby develops and grows, is a symbol of nurturing and protection. The artworks are primarily considered according to notions of CSA that cause betrayal and traumatic associations with sex, angst and psychological fragility
in children. The exhibition portrays the psychobiological and psyhoanalytical aspects of childhood trauma resulting from CSA. The creative work consists of four digital paintings and seven photographic artworks. The artworks in The Silent Wound Series
portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are continuously embodied in my artworks. As the portrayal of the fragile girl
child’s body as a signifier in the artworks relates to my personal situation, I choose an empathic view of childhood trauma within the study, portraying traumatic events and the memories thereof in the unconscious. The aim of the study is to recognise how
digital painting and photography enable the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art. The main study objective is to investigate if traumatic memories occur in victims of CSA.
Uphononongo lungena nzulu kwiinkumbulo ezoyikisayo ezendele kwingqondo eleleyo kunye neendlela zokubonisa iinkumbulo ezibuhlungu zobuntwana.
Ngokukhethekileyo kujoliswe kuphando olwenziwe kwizifundo zomothuko zikaCathy Caruth noBessel van der Kolk. Ndisebenzisa isakhelo sethiyori yanamhlanje, ndivakalisa ukuba umothuko wokuxhatshazwa ngokwesondo ebuntwaneni (i-CSA) bubonakala kuloyiko kwaye eminye yemisebenzi yam yobugcisa, uPenny Siopis kunye noNathani Lüneberg, ibonisa uloyiko olunjalo.
Uphando lwenziwa njengophando olukhokelwa kukuziqhelanisa kwaye lujolise kutoliko lwemisebenzi yobugcisa ekhethiweyo kunye nenxalenye yethiyori. Uvimba wemizobo emikhulu yedijithali idlala indima ebalulekileyo kwinkqubo yophando,
oko kuthetha ukuba ithiyori ikhokelela ekusebenzeni kwaye
nangokuphendulelekileyo.
Umsebenzi uquka uphando olubonakalayo kwe-CSA kwaye ucazululwa ngokukodwa ngokokutolika kwam iisimboli ezinje ngomzimba wabasetyhini ehamba ze kunye nemiboniso esondeleleneyo ebonisa, ukuba sesichengeni, iikhethini ngokukwekwayo ezimele imbono kwingqondo yam eleleyo. Uphawu lwesibeleko okanye isibeleko,
apho umbungu okanye usana olungekazalwa lukhula khona kwaye lukhule, siluphawu lokondla nokukhusela. Imisebenzi yobugcisa iqwalaselwa ikakhulu ngokwemibono ye-CSA ebangela ukungcatshwa kunye nomanyano oludakumbisayo
ngezesondo, ixhala kunye nobu-ethe-ethe ngokwengqondo ebantwaneni.
Umboniso uzoba iimeko zengqondo ephilayo kunye nohlalutyo lwengqondo elimeleyo yobuntwana ebangelwe yi-CSA. Umsebenzi wobugcisa unemizobo emine yedijithali kunye neefoto zobugcisa esixhenxe. Imisebenzi yobugcisa kwi-Silent Wound Series izoba i-CSA, umothuko wobuntwana, kunye neenkumbulo ezibuhlungu ezikwingqondo eleleyo. Ukusebenza nokuqonda nokutolika
ukwenzakaliswa kobuntwana okufana ne-CSA, le mixholo ihlala iyinxalenye kwimisebenzi yam yobugcisa.Njengoko ukwenza uzobo lomzimba o-ethe-ethe womntwana oyintombazana njengomboniso kwimisebenzi yobugcisa kunxulumene nemeko yam yobuqu, ndikhetha umbono onovelwano wokwenzakala kobuntwana kolu phononongo, ndibonisa iziganeko ezihlasimlis 'umzimba kunye neenkumbulo
zazo ezingqondweni ezileleyo.
Injongo yophando kukufuna ukuqonda ukuba imizobo ngedijithali kunye nokufota kukwenza njani ukumelwa kunye nokuqondwa kwe-CSA neenkumbulo ezenzakalisayo nokuba ilizwi elithulisiweyo nempatho-mbi yomntwana linokuvakaliswa njani ngokomgangatho ochaphazelayo notshintshayo wobugcisa.
Eyona njongo iphambili yophando kukuphanda ukuba iinkumbulo ezibuhlungu ziyenzeka kumaxhoba e-CSA.
http://hdl.handle.net/10500/27260
Traumatic memory
Digital painting
Photography
Contemporary trauma theory
Repression
Afterwardsness
Childhood sexual abuse
Inkumbulo ebuhlungu
Umzobo wedijithali
Ukufota
Ithiyori yoxinzelelo lwangoku
Ingcinezelo
Ngokwasemva koko/ukuba semva
Ukuxhatshazwa kobuntwana ngokwesondo
Childhood sexual abuse and contemporary trauma theory : a visual exploration in selected South African artworks
oai:uir.unisa.ac.za:10500/49392022-02-04T08:57:10Zcom_10500_23650com_10500_177com_10500_172com_10500_1com_10500_506col_10500_23651col_10500_178col_10500_507
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Masasabi, Abigael Nancy
author
2011-05
The Bukusu community is predominantly found in Bungoma district of Western Kenya. The
Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this
instrument is what is referred to as Litungu music. This music makes use of sung text and
“verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of
this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study
seeks to identify the cultural and compositional role of silao-sikeleko in the music.
To achieve the objectives of this study I used a qualitative approach to collect and analyze data.
Data collection included the use of interviews and observation. The interviewees included
performers of Litungu music, whose music was audio recorded and video recorded for analysis.
In addition, I made observations of the performance sites and performance behaviour, taking
notes and making audio and video recording. Music for analysis was then selected on the basis
that it had the silao-sikeleko component.
The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of
life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the
involvement of various performers in the performance composition process. Here the contexts
within which silao-sikeleko is performed are identified. Analysis of the relationship between
sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko
substantiates the sung texts by facilitating an understanding of messages contained in
the songs. The analysis of language use ascertained that silao-sikeleko makes use of language
devices such as proverbs, idioms, symbolism, riddles and similes.
I established that silao-sikeleko as a performance compositional element has its own
presentational structure that influences the overall structure of the Litungu music. Litungu music
has a quasi-rondoic structure whose output is not static but varies according to context and the
wishes of the soloist. The soloist interprets how effectively a given message has been
communicated during performance determining how much silao-sikeleko should be performed.
Silao-sikeleko is in most cases composed and performed by various members of a performing
group.
Masasabi, Abigael Nancy (2011) Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music, University of South Africa, Pretoria, <http://hdl.handle.net/10500/4939>
http://hdl.handle.net/10500/4939
Kenyan music
Performance composition
Music composition
Music structure
Improvisation
Bukusu music
Bukusu culture
Litungu music
Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music
oai:uir.unisa.ac.za:10500/217972018-11-17T13:06:32Zcom_10500_177com_10500_172com_10500_1com_10500_506com_10500_18562col_10500_178col_10500_507col_10500_18564
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Shorkend, Danny
author
2016-02
This thesis is concerned with understanding sport theory based on art theory. In so doing, in extending their relationship, a deeper appreciation of both may result. In turn, this may enhance our lives.
While postmodern theories of art somewhat devalue the rarefied status of art, at the same time art’s openness is particularly well appointed to understanding other aesthetic domains. Scholarly attention to the so-called aesthetics of the everyday of which sport is an example, is a relatively recent paradigm shift that attempts to give philosophical weight to common, ordinary experiences as aesthetic. Art as the paradigm case of aesthetic experience is therefore useful in illuminating such experiences, one of which is sport.
The results of this study are: Like art, sport idealises in its desire for perfection. Like art, sport is a second-order mimetic activity that is autonomous and reflects extra-aesthetic concerns. The implications of the postmodern language turn for art, namely detotalising and/or meaninglessness can be applied to sport. Drawing from Wittgenstein, art and sport are culturally embedded within institutional frameworks and quite simply are learnt ways of thinking and doing. Expressive theories of art were introduced which, it was found, has resonance with sport, as it can be similarly described as an expression of “aesthetic ideas”, to use Kant’s phrase. The artistic formalist perspective and the realization of form led to describing sport as aesthetically beautiful in many ways. One might apply Zangwell’s moderate aesthetic formalism to sport where formal qualities, representation and content co-exist, thus somewhat combining the above conclusions.
An analysis of this kind suggests that sport may derive its meaning from an artistic perspective, at least in theory. At the same time, though not the primary focus of this thesis, one might describe the relationship between art and sport as an oscillation, if at times a dialectic, in which case boundaries between them inevitably become more complex. It is conceivable that within that complexity/struggle/play there can be self-
realization and world-bettering. It is also conceivable that this is a result of the emergence of a new sub-discipline, namely sports art.
Shorkend, Danny (2016) A new interpretation of sport derived from art-related aesthetics, University of South Africa, Pretoria, <http://hdl.handle.net/10500/21797>
http://hdl.handle.net/10500/21797
Art
Sport
Idealism
Mimesis
Postmodernism
Institution
Expressionism
Formalism
Play
Body
Aesthetic
A new interpretation of sport derived from art-related aesthetics
oai:uir.unisa.ac.za:10500/295782022-11-18T07:09:42Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Amoah, Gloria Bosomtwi
author
2022-03
This study investigated the performance management system practices in Ghanaian university
libraries to develop a framework for implementing an integrated performance management system
for university libraries. The study used the pragmatic research paradigm within the convergent
mixed-method research design. Quantitative responses from questionnaires were corroborated by
qualitative findings from semi-structured interviews. The study was restricted to Ghanaian
university libraries focusing on library staff and head librarians. The stratified sampling method
was used to select universities, and the census technique was employed to select respondents for
the study.
Out of the 291 questionnaires distributed, 218 respondents completed and returned the
questionnaires giving a response rate of 74.1%. Nine university head librarians in all the selected
universities were included for the qualitative phase. The questionnaire and interview guide were
used as research instruments to gather relevant data for the study. The quantitative data collected
were analysed using descriptive statistics, including frequency tables, graphs and charts. Thematic
analysis was used to analyse qualitative data. This study conformed to ethical research standards
found in the University of South Africa’s ethical review guidelines.
Firstly, the study revealed that most libraries did not have a documented key performance indicator
(KPI). Thus, there was no clarity and measurability of KPIs among respondents noting that they
are supposed to be clear and measurable for easy and effective staff appraisal. However, this study
identified some unwritten KPIs that staff used as guidelines for performance. Some of these are
community engagement and support, contribution to student success and number of physical users’
visits. Further, this study revealed that the current state of integrated performance management
systems in Ghanaian university libraries is poor. Several reasons were ascribed to this and
included, but was not limited to, inadequate knowledge by management on the concept,
insufficient resources and lack of policies on the performance management system. Factors such
as training, effective provision of feedback, staff motivation and effective system integration were
identified to improve performance management and staff performance in university libraries.
Finally, the study found out that, even though most of the respondents were aware of the fourth
industrial revolution (4IR) and the benefits associated with it, most libraries had not adopted most
of its technologies for effective performance and adequate dissemination of information. The study concluded that performance management in Ghanaian university libraries needs to be
relevant and documented and its facets made known to all those who matter. Recommendations
are that, firstly, library management and staff should be trained on the concepts associated with
the performance management system, KPIs and 4IR. Secondly, there should be proper
documentation of all the concepts related to performance management and KPIs. This study
proposed a framework for effectively implementing an integrated performance management
system in university libraries. The researcher encouraged library management and other concerned
individuals to adopt and use this framework for effectiveness. The proposed framework may go a
long way to influence professional use and management of library staff performance.
https://hdl.handle.net/10500/29578
Staff performance
Library staff
Performance management
Integrated performance management system
Key performance indicators
Industrial revolution
Fourth industrial revolution
University libraries
Performance system factors
Ghana
Towards an integrated performance management system for university libraries in Ghana
oai:uir.unisa.ac.za:10500/231342018-11-17T13:06:40Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Retief, Mari Elize
author
2017-02
The purpose of this research is to use semiotic and narrative theory to
unpack the layered meanings related to postage stamps and handwritten
letters and explore their similarities. The theories of Peirce on icon, index
and symbol, provide a systematic framework from which to explore the
parallel narratives in a personal collection of postage stamps and letters
received between 1996 and 1999.
Postage stamps and letters are sent as a unit, allowing their public and
private narratives to arrive in parallel. Both the practical and theoretical
components of this research explore these narratives, treating letters and
postage stamps as both personal and impersonal objects of
communication. They are archival objects of national and personal history
and of an era that is slowly fading. This research does not reinforce the
different modes of communication offered by postage stamps and letters,
but rather unpacks and compares, from a personal perspective, their many
layers of meaning.
Retief, Mari Elize (2017) A semiotic contextualisation of South African postage stamps and letters received between 1996 and 1999, University of South Africa, Pretoria, <http://hdl.handle.net/10500/23134>
http://hdl.handle.net/10500/23134
Semiotics
Narrative
Postage stamps (South Africa)
Handwritten letters
Peirce (Charles Sanders)
Correspondence
Visual Arts
A semiotic contextualisation of South African postage stamps and letters received between 1996 and 1999
oai:uir.unisa.ac.za:10500/161142018-11-17T13:05:02Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Steyn, Frances Caroline
author
1994-11
Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African
Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It
is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse
of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an
extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the
Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world
intended for musical performance to contain the Ter terni by William of Hirsau; furthermore
it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et
dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy
of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is
shown that, although a marked textual similarity exists between the manuscripts, there are
variant melodies. The conclusion is therefore drawn that the Carthusians did not have a
single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS
Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same
exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34
and 41, ot the neighbouring Charterhouse of Fontenay.
The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers,
written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated
1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The
presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23.
The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de
Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles
at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed
are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes.
Steyn, Frances Caroline (1994) Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape Town, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16114>
http://hdl.handle.net/10500/16114
Carthusian
Liturgical
Musicological significance
Antiphonary
Evangeliary
Tonary
Hymnary
Kyriale
Textual similarity
Variant melodies
Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape Town
oai:uir.unisa.ac.za:10500/118622020-07-28T13:52:39Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Van der Klashorst, Elsa
author
2013-10-17
Various potential modes of interpreting the urban space in the inner city of Pretoria is evaluated in this study with the purpose of expanding discourse around spatial production in the city. Production of meaning through formal and structural means produced a city that served as administrative capital and ideological base for Afrikaners until the arrival of a democracy in 1994. The contemporary urban space is produced by people through everyday life, as theorised by Henry Lefebvre, rather than through formal means such as name changes. This study evaluates the way that identity and belonging is created by referring to everyday life practices, rhythmanalysis and daily activities as performances. Urban space is evaluated from a phenomenological perspective through the eyes of an artist and resident and expressed in an art exhibition. The way artists Julie Mehretu and Franz Ackermann dealt with urban space in their art is also referenced.
Van der Klashorst, Elsa (2013) A reinterpretation of urban space in Pretoria, University of South Africa, Pretoria, <http://hdl.handle.net/10500/11862>
http://hdl.handle.net/10500/11862
African city
Afrikaner
Art and city
De Certeau
Deleuze & Guattari
Everyday life
Lefebvre
Performance
Performativity
Post-Apartheid city
Post-colonial
Pretoria
Rhythmanalysis
Social space
Tshwane
Urban geography
Urban space
A reinterpretation of urban space in Pretoria
oai:uir.unisa.ac.za:10500/266592020-09-22T12:35:33Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Hills, Paul R.
author
2020-01
This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several
theoretical fronts to provide a view of the film from a cognitive cultural studies perspective.
The insights gained from cognitive theory are used to situate the debate by indicating the value
cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that
results is a vehicle for the central concern of this study, which is to understand the diverse,
often contradictory, meaning-making exhibited by Avatar audiences. A focus on the
construction of empathic responses to the film’s messages investigates the success of this
polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of
viewing Avatar are made discursively; they are situated in definable traditions, mores and
values; and this meaning-making takes place in a cognitive framework which allows for the
technical reproduction and reception of the experience while providing powerful, emerging and
cognitively plausible narratives. In an attempt to situate the film’s commercial success and its
plethora of awards, including an Oscar for best art direction, the analysis takes a critical view
of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the
continuing development of these elements over the whole series and product line or, as Henry
Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the
methodologies used in this study and in arguing for their complementarities, the study
contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this
formulation as cognitive cultural studies.
http://hdl.handle.net/10500/26659
Cognitive – cultural studies
Theory of mind
Empathy
Polysemy
Film analysis
Avatar
James Cameron
Neural narratives and natives: cognitive attention schema theory and empathy in Avatar
oai:uir.unisa.ac.za:10500/276662021-07-14T10:16:50Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Grobler, Diek, 1964-
author
2021-02
This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed
strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act.
These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid.
Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore
mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka
bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo.
Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga
Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le
difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
http://hdl.handle.net/10500/27666
Animation
Animated poetry-film
Animation praxis
Authorship
Editing
Experimental animation
Metamorphosis
Poetry-film
Practice-based research
Visual narrative strategies
Kekišo
Filimi ya go ekišwa ke diphoofolo
Mekgwa ya kekišo; bongwadi
Go rulaganya
Kekišo ya boitemogelo
Kgolo ya diphoofolo
Filimi ya theto
Dinyakišišo tše di theilwego go tiro
Mekgwa ya kanego ya go bonwa
Bongwadi
Narrative strategies in the creation of animated poetry-films
oai:uir.unisa.ac.za:10500/259512019-11-07T11:21:53Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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de Waal, Hugo Adriaan
author
2019
Since the release of ‘Kind of Blue’ in 1959 by Miles Davis, various approaches to jazz improvisation have become more modal. Scales and their various modes has become a well-documented topic in music education. Through my own teaching I have noticed that learners do understand the theory and various applications of chord scales on harmonic structures but often fall short in the practical implementation on their instrument during improvisation. Lack of quick visualization of the various scale patterns by learners has proved to be more of a physical than musical issue. This leads to the research question: How do kinetically efficient actions and patterns interact to enable an improvising guitarist to navigate the fretboard most effectively?
Pat Martino (1983) introduced a reduction concept where five master areas of activity based around minor patterns across the fretboard were identified. These five minor patterns were moved through various keys with slight fingering variations. Through my studies with John Fourie we explored the Martino reduction concept from a Dorian point of view. By recycling these Dorian patterns and application of a set of formulas, all seven modes of the major scale could be implemented in any key on the fretboard. Martino’s minor concept provided the foundation for this project, as well as further exploration under guidance of Johnny Fourie from 1998-2007.
Five skilled participants performed various tasks from memory in the practical execution of master scale patterns and their intervallic formulas. Economy and efficiency were tested through vertical as well as horizontal movement across the fretboard by means of IPA, video recordings of semi-structured interviews and active research.
This project finds that the standard tuning system of the guitar bids affordance to the improviser through implementation of a reduction concept with chunking of master scale patterns and their various intervallic applications. Through effective practice, repetition and practical application of these master scale patterns and intervallic formulas, effectivities become available during improvisation. It was found that the affordances of the instrument remain the same for various participants in the research undertaking, but their effectivities are variable and directly influenced by the participants’ individual perceptions and practical competencies.
http://hdl.handle.net/10500/25951
affordances, effectivities, guitar, morphology, patterns, memorisation, chunking, economy, voice leading, dynamic touch, cognitive efficiency
The identification and related application of kinetically efficient patterns in jazz guitar improvisation
oai:uir.unisa.ac.za:10500/166952018-11-17T13:05:16Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Du Plessis, Stephen James
author
1998-11
The dissertation identifies three types of tonality:
scalicfmodal, melodic, and harmonic. Scalic/modal
tonality and melodic tonality are known to have been
existent in Antiquity. Messiaen adheres to these
ancient types of tonality and also harmonic tonality.
Messiaen uses these types of tonality in his own
combinations -- his concept of tonality is revealed
to be highly complex.
Du Plessis, Stephen James (1998) Olivier Messiaen's concept of tonality, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16695>
http://hdl.handle.net/10500/16695
Messiaen, O.
Tonality
Modal tonality
Scalic tonality
Melodic tonality
Harmonic tonality
Expanded tonality
Olivier Messiaen's concept of tonality
oai:uir.unisa.ac.za:10500/270312021-01-20T12:03:13Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Cloete, Zelda
author
2019-12
This study is an enquiry into how The educator’s new clothes by Mark
Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity.
Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The
educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa
bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go
TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye
mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi.
Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše
mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka
dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego.
Hierdie studie behels ʼn ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ʼn kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ʼn literatuurstudie verken, en ʼn aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ʼn verkenning van hoe plekspesifisiteit op ander maniere toegepas word.
Ek het in Oktober 2017 ʼn plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit.
http://hdl.handle.net/10500/27031
Site-specific art
Performance art
Public art
Viewer participation
Everyday life contexts
Mark Rautenbach
The Educator’s New Clothes
Exhibiting site-specific art
Art commenting on education
Connection between art and site
Installation art
Daydreaming
Utopia
Bokgabo bja ka lefelong le itšego
Bokgabo bja tiragatšo
Bokgabo bja setšhaba
Go kgatha tema ga babogedi
Kamano ya bophelo bja ka mehla
Mark Rautenbach
The Educator’s New Clothes
Go bontšha bokgabo bja ka lefelong le itšego
Bokgabo bjo bo swayaswayago tša thuto
Kgokagano magareng ga bokgabo le lefelo
Bokgabo bja tlhomo
Go lora
Yutopia
Plekspesifieke kuns
Kuns-in-uitvoering
Publieke kuns
Kykerdeelname
Daaglikse leefkontekste
Mark Rautenbach
The Educator’s New Clothes
Uitstalling van plekspesifieke kuns
Kuns wat op onderwys kommentaar lewer
Verband tussen kuns en plek
Installasiekuns
Dagdromery
Utopia
Site-specificity in The educators new clothes by Mark Rautenbach
oai:uir.unisa.ac.za:10500/19392018-11-17T13:05:19Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Truter, Carmen Estelle
author
2007-11
During the premodern era, images corresponded to the doctrines of ”The
Word”, but in contemporary society this relationship is open and does not
correspond to the divine Word. Because of our perceived, postmodern
inability to respond to ancient Christian symbols, there is a need to revision
these symbols and Christian spirituality. The result of such a
revisioning would include an ”opening up” of ”The Word” and of traditional,
worn symbols which have lost vitality in this milieu. Art produced with this
in mind needs to make ”The Word” more currently accessible and relevant.
Further, this revisioning would add significance and enhance the possibility
of resurrecting language dealing with ”The Word”. In the process of
revitalising old Christian imagery and language, I aim to show that the
primary role of contemporary Christian art is to function metaphorically.
Finally, I argue that Christian images can take on significance as
contemporary images.
Truter, Carmen Estelle (2007) Images in, through and for "The W/Word" : a revisioning of Christian art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/1939>
http://hdl.handle.net/10500/1939
The Word
Text
Symbols
Spiritual
Sublime
Signs
Religion
Post-structuralism
Postmodernism
Metaphor
Language
Icons
Holy scriptures / Holy Bible
Flesh
Discourse
Deconstruction
Contemporary religion
Christian spirituality
Christian art
Body
Images in, through and for "The W/Word" : a revisioning of Christian art
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Lategan, Stephanus
author
1994-11
Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die
funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk
gebruik om historiese gegewens oar die konstruktiewe en destruktiewe
aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer.
Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking
tot:
Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur
musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak.
Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie
kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue
bevorder.
Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge
uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van
'n innige geloofsgemeenskap te bevorder.
Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen.
'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur
bevorder.
Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om
mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke
stelsels te ondersteun.
Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture
van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te
bevorder.
Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en
as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig,
'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone
te be1nvloed.
Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te
orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe
toestande teweeg te bring.
Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede,
ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie
aangewend.
Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn,
religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording
en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige
gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming
ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is.
'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van
musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het
uit die analise voortgevloei.
Certain findings concerning the positive and negative influences of music and
the functions fulfilled by it in the life-world of man were used as a
reference framework in order to analyse historical data on the constructive
and destructive applications of music in mainly Germany and the U.S.A.
It came to light that music was constructively applied with regard to:
Intellectual shaping: Music was employed to enhance various intellectual
skills, to improve the acquisition of knowledge and to render the learning
process more pleasant and effective.
Aesthetic shaping: An aesthetic value system and a good artistic taste were
developed and the shaping of complete, balanced individuals was promoted
through music.
Religious shaping: Music was employed to express religious thoughts and
perceptions and to promote close community of faith, knowledge transfer,
evangelization and missionary effort.
Ethical shaping: Ethical truths were reiterated and "practised" and a "moral
atmosphere" and a value system established through music.
Political shaping: Political feelings and opinions were expressed through
music and people were influenced to support specific viewpoints, parties,
governments or political systems.
National shaping: Music was employed to express patriotism, to reflect the
cultures of nations, to add lustre to national gatherings and to promote
national unity.
Social shaping: Music was a source of entertainment and recreation and a means
of communication. Through music the establishment of a group identity,
socialization and a communal sense were promoted and behavioural patterns
affected.
Affective shaping: Music was a means of ordering and ennobling inner life and
of facilitating positive changes in affective conditions.
Physical shaping: Relaxation, recreation, physical skills and activities were
promoted through music which was utilized as a therapy.
Music was also destructively employed by undermining the Christian church and
harming religious worship, by negatively influencing youth's emotional selfcontrol,
ethical value systems and the actualization of independence, by
furthering aggressive and rebellious behaviour, inducing trances, causing
physical damage to hearing organs and promoting militarism, political
viciousness, racial hatred and the overthrow of governments.
A number of recommendations and warnings concerning the employment of music
in formal, non-formal and informal educational situations resulted from the
analysis.
Lategan, Stephanus (1994) Konstruktiewe en destruktiewe aanwending van musiek sedert die aanvang van die moderne era : 'n ondersoek vanuit 'n opvoedingsperspektief, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17173>
http://hdl.handle.net/10500/17173
Aspects of adulthood
Informal education
Influence of music
Functions of music
Constructive applications of music
Destructive applications of music
Historical uses of music
History of music in education
History of music therapy
Music education in the modern era
Political music
Popular music as educational agent
Konstruktiewe en destruktiewe aanwending van musiek sedert die aanvang van die moderne era : 'n ondersoek vanuit 'n opvoedingsperspektief
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Roman, Paul David
author
2022-03
Just as a door handle invites a user to either push it or pull it, certain aspects of guitar chords invite the player to move from one chord more easily to one or another chord. This user-friendly aspect of certain guitar chord structures highlights the presence of affordances embedded in the structure that offer an easy path to executing a different chord. The theory of affordances stems from early work in cognitive studies and ecological psychology by James Gibson and is demonstrated by Don Norman’s architectural design work in door handle structures. Norman’s position is that as a person approaches a closed door, the design of the handle should suggest whether the individual should push the door handle or pull it to open the door.
More recently, cognitive scientists have considered the quality of embeddedness of certain affordances, much like the jigsaw puzzle piece that shows the puzzle worker where it belongs by certain traits that it carries. Similarly, affordances embedded in the chord structures of Chris Tomlin point the guitarist to an easy path for quick chord changes, allowing the beginning guitar student to learn quickly and the guitar-player-worship-leader to offload attention from the hand and chord shifts, freeing up attention for other worship-leading details.
The application of embedded affordances is useful in design principles like Thaniya Keereepart’s graphic user interfaces for handheld internet devices. Music composition
iv
practices such as Herbert Clarke’s trumpet compositions also rely on embedded idiomatics, and Joel Krueger, Marc Duby, and Rob Withagen are just three of many who have considered the sonic affordances inherent in certain types of music, leading to specific action possibilities. This research specifically studies the chord structures found in the music of CCM artist Chris Tomlin in relation to the science surrounding cognition, ecological psychology, and embedded affordances. The primary idea driving this research is that there are specific guitar chord fingering patterns and structures that allow for easy transitions from one chord to another more so than other patterns and structures, and those chords are represented in Tomlin’s music.
https://hdl.handle.net/10500/29178
Affordances
Christian Contemporary music
Chris Tomlin
Cognition
Embedded
Embodied embedded cognition
Gibson
Guitar chords
Perception
Perception-action cycle
Affordances for the guitar : chordal structures for performance in the worship music of Chris Tomlin
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Van der Watt, Gerhardus Daniël
author
1996-11
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England
Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand
Van der Watt, Gerhardus Daniël (1996) The songs of Gerald Finzi (1901-1956) to poems by Thomas Hardy, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16287>
http://hdl.handle.net/10500/16287
The songs of Gerald Finzi (1901-1956) to poems by Thomas Hardy
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Gaerdes, Johanna Marié Athena
author
1996-11
Die doel van hierdie verhandeling is om die opvoedkundige en artistieke waarde van
klavierwerke, wat vir die Universiteit van Suid-Afrika (hiema UNISA) se musiekeksamens
voorgeskryf is, uit te lig.
Die eerste hoofstuk gee 'n beknopte oors1g van die geskiedenis van UNISAmusiekeksamens.
In die tweede hoofstuk word geselekteerde werke ontleed en
geevalueer. Daarna volg drie bylaes wat die volgende inligting bevat:
Bylae 1
'n V olledige lys van alle werke wat tot 1990 gekomponeer is vlf UNISA se
klaviereksamens, volgens komponiste gerangskik. W erke word alfabeties ingedeel
volgens die komponis en datums word voorsien van wanneer die werk gekomponeer en
voorgeskryf is. Werke wat nie in hierdie verhandeling ontleed is nie, word met 'n
asterisk aangedui.
Bylae 2
'n Volledige lys van alle werke wat tot 1990 gekomponeer is Vlf UNISA se
klaviereksamens, volgens grade ingedeel. Komponiste word graadsgewys alfabeties
gerangskik.
Bylae 3
Kort biografiese sketse van die komponiste gedek in hierdie verhandeling ter inligting van
leerlinge en onderwysers. Komponiste word alfabeties gerangskik.
In hierdie verhandeling is slegs navorsing gedoen met betrekking tot die klavierwerke.
W erke van ander instrumente is nie nagevors nie. Veertig komponiste se werke word
gedek. Meer as eenhonderd en dertig stukke is versamel. Die ontleding van al hierdie
werke sou te veel wees vir die omvang van hierdie verhandeling en is daar dus
geselekteer. Seleksie het plaasgevind op grond van:
Eksamengraad
Daar word op laer grade gekonsentreer (V oorgraad 1 tot graad 5) omrede dit juis
gedurende hierdie aanvangsonderrig is waar die liefde en belangstelling vasgele
word vir die aanleer van werke uit eie bodem. Twee vorige verhandelings oor
Suid-Afrikaanse klavierwerke ontleed oorwegend werke van hoer grade. Die
navorser verwys hier na verhandelings van Rosemary YA Maritz en CL Venter
(volledige verwysing in bibliografie).
Moeilikheidsgraad Stukke wat makliker hanteerbaar is vir die leerling, het voorkeur geniet. Geen
werke van graad 8 en die Onderwyslisensiaat of Voordraerslisensiaat word ontleed
nie. Enkele werke van grade 6 en 7 word egter ook ontleed.
Die ontleding en evaluering van die werke word alfabeties, volgens komponiste, ingedeel.
In die ontleding word daar gelet op aspekte wat van opvoedkundige en artistieke waarde
vir die jong leerling sal wees. Dit word ook bedoel as aansporing vir die onderwyser om
van die werke aan die leerling te leer.
Al die werke (voorgraad 1 tot graad 7) is bekombaar van die Argief in die biblioteek van
die Universiteit van Suid-Afrika. Sommige onderwysers mag nog van die ou
eksamenbundels in hul privaat versameling he. Dit sou egter 'n groot aanwins wees
indien al hierdie musiek beskikbaar sou wees in een bundel. Onderwysers sou dan meer
gereeld van die werke in die jong leerling se repertorium kon insluit.
Die navorser vertrou dat die benadering van hierdie verhandeling, wat konsentreer op
interessante opvoedkundige aspekte, die leerkrag sal voorsien van voldoende motivering
om van die ryke erfenis uit eie bodem gebruik te maak, sodat dit nooit verlore mag gaan
nie.
Gaerdes, Johanna Marié Athena (1996) Klavierwerke deur Suid-Afrikaanse komponiste, voorgeskryf vir Unisa-musiekeksamens tot 1990 :, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16825>
http://hdl.handle.net/10500/16825
Klavierwerke deur Suid-Afrikaanse komponiste, voorgeskryf vir Unisa-musiekeksamens tot 1990 : 'n analitiese-pedagogiese perspektief
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Liebenberg-Barkhuizen, Estelle Juliana
author
2009-08-25T10:47:32Z
Liebenberg-Barkhuizen, Estelle Juliana (2009) The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940, University of South Africa, Pretoria, <http://hdl.handle.net/10500/879>
http://hdl.handle.net/10500/879
Stainbank, Mary
South African scultpure
Art in Natal
Natal Society of artists
Native study
Representation of the black person
Primitivism
Modernism
Empire exhibition 1936
Architectural decoration
The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940
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Haute, Bernadette van
author
1996-11
This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612-
1661 ). Ryckaert grew up in a family of artists, and painted within a close community
of fellow artists. According to several twentieth-century critics, Ryckaert was no
more than a minor imitator of other Flemish painters. Underlying such relegation of
Ryckaert is an uncritical and distinctly Modernist glorification of originality, or
merely novelty. The chief argument of this thesis is that a careful reconstruction of
the socio-cultural circumstances ofRyckaert's work calls into question the destructive
employment of originality as a criterion of artistic greatness. Much of the vocabulary
of Flemish art of the time was established. Artists thus proved their excellence both
to fellow painters and a public fully conversant with the artistic traditions of subject
and style, if such pictorial conventions were notably refmed or treated with a
remarkable grace. Embracing the criteria of personal style and the beauty of the work,
this environment is clearly averse to the blank veneration of new or original art.
I argue that the term originality is itself dangerous therefore and that to neglect
Ryckaert's work as that of a minor imitator is invalid and unhelpful.
A careful examination of Ryckaert's known oeuvre reveals that his work is
distinguished by a fine modelling, harmonious composition and a warm palette with
colourful highlights. Although he relied on an established iconographic repertory, he
maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation
of other artists' work requires us to adjust twentieth-century criteria which tend to be
pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to
have refmed his individuality as a painter through the testing creative encounter with
and imitation of other artists.
Haute, Bernadette van (1996) David III Ryckaert : a seventeenth-century Flemish painter, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16916>
http://hdl.handle.net/10500/16916
Art history
Painting
17th Century
Antwerp (Belgium - Flanders)
Ryckaert family
Genre art
Peasant painting
Imitation
Collaboration
Art market
Allegory in art
David III Ryckaert : a seventeenth-century Flemish painter
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Radhamony, Manu Manjeesh Laal Vazhooreth
author
2018-06
The gap between diverse cultures living in a globalized world is not intransigent nor unassumingly flexible. This space is an arena of dissimilarities and correlations, which result in interactions that incite unusual expectations. ‘Cultural hybridity’ is clearly mirrored within contemporary society. New methods and approaches are
required to comprehend the lived experiences of escalating displacement. This research traces the trajectory of migration, identity, self and other from the point of view of contemporary diasporic artists. Notions of ethnicity, authenticity, identity, transnationality, singularity and duality are debated against the backdrop of the creative practices of Anish Kapoor and Yinka Shonibare. Informed by Homi K.
Bhabha’s concept of the third space, and also theories of hermeneutic translation by Georg Gadamer and Paul Ricoeur, this dissertation creatively and critically investigates the ambiguities and ambivalences in this field of inquiry.
Die gaping tussen uiteenlopende kulture wat in ’n geglobaliseerde wêreld woon, is nóg onversetlik nóg pretensieloos veerkragtig. Hierdie ruimte is ’n arena van ongelykhede en korrelasies wat lei tot interaksies wat ongewone verwagtings ontketen. “Kulturele hibridisme” word duidelik in die eietydse samelewing weerspieël. Nuwe metodes en benaderings word vereis om die werklike ervarings van toenemende ontheemding te verstaan. Hierdie navorsing spoor die trajektorie
van migrasie, identiteit, self en ander vanuit die oogpunt van eietydse
diasporiese kunstenaars na. Idees rondom etnisiteit, egtheid, identiteit,
transnasionaliteit, enkelvoudigheid en tweevoudigheid word teen die agtergrond van die kreatiewe praktyke van Anish Kapoor en Yinka Shonibare bespreek.
Hierdie verhandeling, wat geïnspireer is deur Homi K. Bhabha se konsep van
die derde ruimte, asook teorieë van hermeneutiese verplasing deur Georg Gadamer en Paul Ricoeur, ondersoek op ’n kreatiewe en kritiese wyse die dubbelsinnighede en teenstrydighede in hierdie ondersoekveld.
Sekgala magareng ga ditso tse di farologaneng tse di tshelang mo lefatsheng le le susumetsanang ga se a tsepama le mme ga se obege bonolo. Sebaka seno ke serala sa dipharologano le dikamano tse di lebisang kwa dikgolaganong tse di tlhosetsang ditsholofelo tse di sa tlwaelegang. Tota 'motswako wa setso' o bonala sentle mo setšhabeng sa sešweng. Go tlhokega mekgwa le selebo se sentšhwa go tlhaloganya maitemogelo a phuduso e e oketsegang. Patlisiso eno e
lebelela motlhala wa bofudugedi, boitshupo, jwa sebele le jo bongwe go tswa mo mogopolong wa batsweretshi ba sešweng go tswa mo mafelong a bofudugedi (diaspora) Go ganetsanwa ka megopolo ya lotso, boammaaruri, boitshupo, boditšhaba, bongwefela le bobedi go lebeletswe ntlha ya ditiragatso tsa boitlhamedi tsa ga Anish Kapoor le Yinka Shonibare. Thesisi eno e e theilweng mo mogopolong wa ga Homi K. Bhabha wa sebaka sa boraro, le ditiori tsa saense ya boranodi ka Georg Gadamer le Paul Ricoeur, e batlisisa ka boitlhamedi le ka tshekatsheko, ketsaetsego e e mo lephateng leno la dipatlisiso.
Radhamony, Manu Manjeesh Laal Vazhooreth (2018) Translation as a creative act: cultural hybridity as a concept in selected contemporary artworks, University of South Africa, Pretoria, <http://hdl.handle.net/10500/25549>
http://hdl.handle.net/10500/25549
Art
Culture
Displacement
Globalization
Hermeneutics
Heterogeneity
Hybridity
Kapoor (Anish)
Otherness
Postcolonial
Shonibare (Yinka)
Translation
Kuns
Kultuur
Ontheemding
Globalisering
Hermeneutiek
Heterogeniteit
Hibridisme
Andersheid
Postkoloniale
Verplasing
Botsweretshi
Setso
Phuduso
Tshusumetsano ya batho lefatshe ka bophara
Saense ya boranodi
Seemo sa go farologana (heterojeneiti)
Motswako
Pharologano
Morago ga bokoloniale
Phetolelo
Translation as a creative act: cultural hybridity as a concept in selected contemporary artworks
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Trapani, Alex
author
2017-02
The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Trapani, Alex (2017) Bruce Nauman : the true artist is an absurd fountain, University of South Africa, Pretoria, <http://hdl.handle.net/10500/23276>
http://hdl.handle.net/10500/23276
Absurd
Conceptual art
Cyclical
Dialetheism
Existentialism
Fountains
Human body
Performance
Subversion
Truth
Bruce Nauman : the true artist is an absurd fountain
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Grundy, Susan Audrey
author
2004-06
Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the
concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a
shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father
Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the
camera obscura effect. Painting from a projection meant that Artemisia could achieve
an extreme form of realism and detail in her work. This knowledge, which was of
necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
manipulate the technology, an extreme competitive edge over their rivals. This
dissertation challenges the naive assumptions that have been made about Artemisia's
working practices, effectively ignoring the strong causal links between art and science
in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up
her story to a whole new generation of scholarship.
Grundy, Susan Audrey (2004) Artemisia Gentileschi and Caravaggio's looking glass, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2987>
http://hdl.handle.net/10500/2987
Gentileschi
Artemesia
Orazio
Caravaggio (Michelangelo Merisi)
Camera obscura technology
Inguisition
Painting techniques and practice
Baroque
Seicento
Italian painting
Painting and optics
David Hockney
Women's painting and feminist art history
Artemisia Gentileschi and Caravaggio's looking glass
oai:uir.unisa.ac.za:10500/169592018-11-17T13:05:22Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Holdcroft, Z. T. ( Zillah Theresa)
author
1999-06
This thesis sets out to investigate new notation symbols, systems, and string techniques in some one
hundred 20th century string quartets, selected from a variety of composers. The analysis includes
compositions that have, through contemporary aesthetic ideals, extended musical and technical
resources and stimulated the development of compositional methods in such a way as to influence
later works in the genre.
k
The thesis divided into two parts : Histoiy and Research
Part One is a brief history of 20th century music, and includes the development o f the string quartet
from earliest times up to the mid-century. Part Two researches string techniques and notation from
the turn of the century up to 1990.
The historical perspective demonstrates that after World War n, with the emergence o f the electronic
age and a changing social and intellectual climate, traditional concepts were being challenged.
Composers facing the dilemma affecting music in general, and the string quartet in particular, had
to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were
initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the
developmental paths took shape from the problem itself and different approaches emerged to master
the multi-faceted dimensions available to composers.
Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems
and string techniques. Quartets of the first half of the century show that both the dissolution and the
extension o f traditional processes were contained, importantly, within the continued use of
conventional notation. The impact and significance of these quartets within the context of 20th
century development cannot be ignored. However, the quartets researched post-1960 demonstrate that
composers have enlarged all parameters of the genre through the extension of traditional resources
and by radical innovation.
This research demonstrates that the emergence of new symbols and string techniques in the second
half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these
elements is undertaken.
Holdcroft, Z. T. ( Zillah Theresa) (1999) String techniques, notation systems and symbols in selected 20th century string quartets, University of South Africa, Pretoria, <http://hdl.handle.net/10500/16959>
http://hdl.handle.net/10500/16959
Twentieth century
Contemporary composers
String Quartets
Music syntax
New notation systems
New symbols
Extension to - Rhythm
Pitch
Timbre
Contemporary bowing techniques
Innovative use o f staves and clefs
String techniques, notation systems and symbols in selected 20th century string quartets
oai:uir.unisa.ac.za:10500/90362021-05-25T09:15:56Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Tumusiime, Amanda Evassy
author
2012-04
This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies.
Tumusiime, Amanda Evassy (2012) Art and gender : imag[in]ing the new woman in contemporary Ugandan art, University of South Africa, Pretoria, <http://hdl.handle.net/10500/9036>
http://hdl.handle.net/10500/9036
Art and gender
Contemporary Ugandan art
Domesticity
Representations of women
Eroticism
New woman
Makerere Art School
Women’s emancipation in Uganda
Art and gender : imag[in]ing the new woman in contemporary Ugandan art
oai:uir.unisa.ac.za:10500/7712018-11-17T13:05:17Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Steele, John
author
2009-08-25T10:46:35Z
Artefacts acquire/embody migratory meanings according to
contexts of raw material manipulation, use, discard and
discourse. First-Millennium Agriculturist ceramics and
concomitant private and public significances/use values are
placed within aspects of a deep past Stone Age history of space
and artefact usage in the Eastern Cape, South Africa. Some
thought paradigms and cultural contexts are examined as having
directly influenced discourse, what artefacts were foregrounded,
and in which manner writers of southern African prehistory
considered them. Thereafter ceramic artefacts and associated
technologies are focussed upon as being intimate to personal/
community lifeways and worldviews. Domestic and ceremonial
utilityware, figurines and masks, as well as clay usage in
homebuilding and metalworking, and urges to apply a mark to
malleable clay, or deliberately alter and/or bury ceramic
artefacts; are explored as manifestations of medium and usage
well suited to regularly reconfigured meanings .
Steele, John (2009) First-millennium agriculturist ceramics of the Eastern Cape, South Africa : an investigation into some ways in which artefacts acquire meaning, University of South Africa, Pretoria, <http://hdl.handle.net/10500/771>
http://hdl.handle.net/10500/771
Artefacts
Burials
Ceramics
Communication
Community
Death engraving/incising
Early Iron Age
Eastern Cape
South Africa
Figurines
First-Millennium Agriculturist
Gender
Grave goods
Homestead
Kalundu Tradition
Lifeways
Masks
Meaning/significance
Prehistory
Potters
Rites of passage
Sculpture
Style
Technology
Thought
Use value
Utilityware
First-millennium agriculturist ceramics of the Eastern Cape, South Africa : an investigation into some ways in which artefacts acquire meaning
oai:uir.unisa.ac.za:10500/28882018-11-17T13:05:04Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Thomas, Lee Ann
author
2009-03
Artworks that use found or appropriated images and objects
often function as collections. These collections simulate the
everyday collections of mementos and souvenirs that come to
represent aspects of an individual's personality and past. The
collections of objects mirror the individual's collection of memories
that help to define himself and provide a means of communication
with others. The artist as collector takes on roles similar to that of
storyteller and anthropologist, providing a narrative of conscious
preservation. Through various devices of display and denial a
curiosity cabinet I Wunderkammer representing and simulating a
Self is created and the role of collector is passed on to the viewer.
Thomas, Lee Ann (2009) The artist's role as collector of memory and self, University of South Africa, Pretoria, <http://hdl.handle.net/10500/2888>
http://hdl.handle.net/10500/2888
Collector
Memory
Souvenir
Memento
Allegory
Cabinet of curiosity
Wanderkammer
Collector
Collection
Memory
Self
Object
Souvenir
Memento
Allegory
Cabinet of curiosity
Wunderkammer
Siopis (Penny)
Hiller (Susan)
Cornell (Joseph)
Kabakov (Ilya)
Srewart (Susan)
Baudrillard (Jean)
Benjamin (Walter)
The artist's role as collector of memory and self
oai:uir.unisa.ac.za:10500/253402019-05-16T09:17:41Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Yudkoff, Ambigay
author
2018-01
This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa.
The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society.
This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism.
The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016.
In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change.
Yudkoff, Ambigay (2018) "When voices meet" : Sharon Katz as musical activist during the apartheid era and beyond, University of South Africa, Pretoria, <http://hdl.handle.net/10500/25340>
http://hdl.handle.net/10500/25340
Musical activism
Peace Train
Voices
Apartheid
Therapist
Songs
Humanitarian work
Multi-cultural
Languages
Cultural utopia
"When voices meet" : Sharon Katz as musical activist during the apartheid era and beyond
oai:uir.unisa.ac.za:10500/226772023-09-28T11:40:48Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Moses, Roland H.
author
2015-03
The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area.
Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music.
The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement.
A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the
quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches.
Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators.
Moses, Roland Hansel (2015) Pentecostal church music praxis : Indians in the Durban region 1994-2011, University of South Africa, Pretoria, <http://hdl.handle.net/10500/22677>
http://hdl.handle.net/10500/22677
Bethesda
Christianity
Church music
Community music
Informal music
Music education
Pentecostal church
Praxis
Religion
Indian South African
Diaspora
Pentecostal church music praxis : Indians in the Durban region, 1994-2011
oai:uir.unisa.ac.za:10500/221922018-11-17T13:06:34Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Sotewu, Siziwe Sylvia
author
2016-02
The study unpacked the meaning and the value of intonjane in traditional Xhosa communities. It also provides a critical analysis and interpretation of the intonjane custom and in particular its impact on the upbringing of a Xhosa traditional girl child. It investigates the value of this practice, especially in relation to where it is still being performed, even in our modern times. I researched closely into all aspects of how the girls were brought up, and with what social values. The data collection has been conducted through interviews with the Philakukuzenzela group when they were in Grahamstown Art Festival in July 2011 who come from a place called Centuli, and other people (abaThembu) who practice and have knowledge of the different aspects of the intonjane process and observation during the actual ceremonies in O. R. Thambo district, and in Gemvale near Port St Johns in the Province of the Eastern Cape. Interviews were conducted in Xhosa and translated into English. This Visual Narrative investigates and contributes to the debate regarding the value of traditional African thought and how it can enrich our contemporary belief system. The objective was to investigate the essence and merit of the knowledge imparted by elderly women to young girls during the initiation period of intonjane within Xhosa traditional communities. This study provides a foundation and springboard for my practical artworks which utilized symbols and metaphors to express my understanding of the important events and stages associated with this traditional ceremony. Clay medium was used as the medium of expression, applying different techniques such as throwing, press mold, slab building, coiling, engraving, sewing and inlaying, with press mold being the main technique utilized. My artworks are of three different types, which are symbolic of the three aspects or stages, of liminality, namely: pre-liminal, liminal and post-liminal.
Soweto, Siziwe Sylvia (2016) A visual narrative reflecting on upbringing of Xhosa girls with special references to 'intonjane", University of South Africa, Pretoria, <http://hdl.handle.net/10500/22192>
http://hdl.handle.net/10500/22192
Liminal theory
Intojane
Ukwaluka
Victor Turner
Deborah Bell
Churchill Madikida
Nicholas Hlobo
Xhosa Culture
A visual narrative reflecting on upbringing of Xhosa girls with special references to 'intonjane"
oai:uir.unisa.ac.za:10500/179312018-11-17T13:05:19Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Cornew, Clive
author
1999-11
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity.
Cornew, Clive (1999) The battle of changing times : picaresque parodies from Bruegel to Grosz, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17931>
http://hdl.handle.net/10500/17931
Ancient and modem debate
Bruegel (Pieter the Elder)
Camivalisation
Daumier (Honore)
Didactic pedagogics (moral instruction)
Eighteenth century
Emblematics
Epideictic rhetoric
Folly
Genre hierarchy
Grosz (George)
Grotesque
Heteroglossia
Hogarth (William)
Interpretation of pictures
Irony
Laughter
Litotes
Meiosis
Modes (low mode and high mode)
New Rhetoric
Nineteenth century
Paradox
Parody (visual parody)
Parodic trope structure
Perchronics
Picaresque world view
Picaresque battle
Perception
Play
Rhetoricity
Satire
Satura
Scatology
Seventeenth century
Sixteenth century
Social hierarchy
Steen (Jan)
Twentieth century
Visual rhetoric
World Upside Down topos
The battle of changing times : picaresque parodies from Bruegel to Grosz
oai:uir.unisa.ac.za:10500/293092022-08-24T08:41:14Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Kopping, Jennifer
author
2022-01
In this research, both discursive and in practice, I give account of my Judaic family dispersal, which requires a particular interaction and interrelationship between the past and the present. This interrelationship forms a dialectic that holds two positions: first, the past, represented as a haunting through the intergenerational transference of traumatic postmemory and, second, the present as a manifestation of cultural hybridity. I attempt to reconcile these seemingly opposite polarities in a manner that gives agency to a traumatic Judaic familial diasporic narrative rooted in the context of the Holocaust. This is made especially complicated, given the intricate histories both personal and collective that intersect in my family’s diasporic journey in Poland, America and South Africa. These include
the Holocaust, Polish-Jewish relations, pre- and during WWII, and apartheid in South Africa.
I combine and interconnect these diverse historical, cultural and spatial locations to form what I term ’entanglements‘: the interweaving of the past and the present, folkloric and mythological narratives. My practice-led research is approached from a Bricolage perspective, which incorporates an autoethnographic and subjective stance, supported by
literature and textual comparison. These include notions of nostalgia, explicated by Svetlana Boym (2001), and empathic imagination, as examined in the writings of Caroline Pedwell (2016) and Dominik La Capra (1999, 2001). Through re-contextualisation of existing family
documentation, my research problematises haunting trauma to become an affective and affirmative representation of postmemory narratives. I refer to the pivotal texts concerning postmemory and hybridity in relation to Marianne Hirsch (1997, 2012) and Homi Bhabha
(1994, 2004.). In addition, the theories of Eva Kosofsky Sedgwick (2003) and Jill Bennett (2005) provide a reparative reading of this exegesis. By way of comparison, Mirta Kupferminc, Firelei Baez and Pamela Phatsimo Sunstrum are selected as artists who
challenge representation of diasporic hybrid hauntings through their own cultural heritage and mythological constructs. The outcome enabled a dialogical conversation with my own practice, developing innovative narratives of haunting.
In hierdie navorsing – sowel diskursief as in die praktyk – beskryf ek my Joodse familieverspreiding, wat ’n ondersoek na die interaksie met en onderlinge verwantskap tussen die hede en die verlede vereis. Hierdie onderlinge verwantskap het ’n dialektiek gevorm wat twee posisies behels: eerstens, die verlede, wat voorgestel word as ’n
herinneringstog deur die intergenerasie-oordrag van traumatiese postherinnering en, tweedens, die hede as ’n manifestasie van kulturele hibriditeit. Ek het probeer om hierdie
skynbaar teenoorgestelde polariteite te verenig op ’n manier wat mag gee aan ’n traumatiese Joodsefamilie- diasporiese verhaal wat in die konteks van die Joodse volksmoord gewortel is. Hierdie poging was veral ingewikkeld, vanweë die verwikkelde geskiedenisse, persoonlik sowel as gemeenskaplik, wat mekaar kruis in my familie se
diasporiese reis in Pole, Amerika en Suid-Afrika. Hierdie geskiedenisse sluit die Joodse volksmoord, Pools-Joodse verwantskappe, die pre-WWII- en WWII-tydperke en apartheid in Suid-Afrika in. Ek het hierdie uiteenlopende historiese, kulturele en ruimtelike liggings
gekombineer en onderling verbind om te vorm wat ek “verwikkelings” noem: die vervlegting van die verlede en die hede, en folkloristiese en mitologiese verhale. My praktykgedrewe navorsing is benader vanuit die perspektief van bricolage, wat ’n outo-etnografiese en
subjektiewe standpunt inkorporeer – gesteun deur literatuur en teksvergelyking. Hierdie tekste sluit begrippe van nostalgie in, soos ontleed deur Svetlana Boym (2001), en empatiese verbeelding, soos bestudeer in die skryfwerk van Caroline Pedwell (2016) en
Dominick LaCapra (1999, 2001). Deur die herkontekstualisering van bestaande familiedokumentasie het my navorsing herinneringstrauma geproblematiseer en dit omskep in ’n affektiewe en affirmatiewe voorstelling van postherinneringsverhale. Ek het verwys na
die sleuteltekste oor postherinnering en hibriditeit met betrekking tot Marianne Hirsch (1997, 2012) en Homi Bhabha (1994, 2004). Die teorieë van Eva Kosofsky Sedgwick (2003) en Jill Bennett (2005) het ’n herstellende lesing van hierdie eksegese gebied. By wyse van
vergelyking is Mirta Kupferminc, Firelei Báez en Pamela Phatsimo Sunstrum gekies as kunstenaars wat die voorstelling van diasporiese hibriede herinneringstogte deur hul kulturele nalatenskap en mitologiese konstrukte in twyfel trek. Die uitkoms het ’n dialogiese
gesprek met my eie praktyk moontlik gemaak deur die ontwikkeling van innoverende verhale oor herinneringstogte.
Kulolu cwaningo, kokubili ukuxoxisana kanye nokusebenza, nginikeze ukulandelana kwezahlakalo zokuhlakazeka komndeni wami wamaJuda, okwakudinga ukuhlola ukusebenzelana nokuhlobana phakathi kwesikhathi esedlule nesamanje. Lokhu kuhlobana
kwakha ulimi lwesifunda elihlanganisa izikhundla ezimbili: eyokuqala, eyedlule, emelwe njengesixakaxaka ngokudluliswa kwezizukulwane ngezizukulwane zenkumbulo ebuhlungu futhi, okwesibili, okwamanje njengokubonakaliswa kokuhlanganiswa kwamasiko.. Ngizamile
ukuhlanganisa lezi zinkolelo-mbono ezibonakala ziphambene ngendlela enikeza i-ejensi indaba edabukisayo yomndeni wamaJuda nolimi lwesigodi esekelwe kumongo wokuQothulwa Kwesizwe. Lo mzamo wawunzima kakhulu, uma kubhekwa imilando
eyinkimbinkimbi, yomuntu siqu kanye neqoqo elididyelwe ndawonye, ehlangana ohambweni lomndeni wami lofuduko ePoland, eMelika kanye naseNingizimu Afrika. Le milando ihlanganisa ukuQothulwa Kwesizwe, ubudlelwano bamaPholishi namaJuda, izikhathi
zangaphambi kweMpi II kanye neyesi-II, kanye nobandlululo eNingizimu Afrika.
Ngihlanganise futhi ngaxhumanisa lezi zindawo ezihlukene zomlando, zamasiko nezendawo ukuze ngenze lokho engikubiza ngokuthi 'ukubopha': ukwelukwa kwesikhathi esedlule nesamanje, kanye nokulandisa ngezinganekwane. Ucwaningo lwami oluholwa umkhuba
wokuzijwayeza lwasondelwa ngokombono webrayikholeji, ohlanganisa isimo seothnonografi kanye nokuzicabangela , esisekelwa izincwadi nokuqhathanisa umbhalo. Le mibhalo ihlanganisa imibono yokukhumbula ekahaya, njengoba ichazwe ngu-Svetlana Boym
(2001), kanye nemicabango yokuzwela, njengoba ihlolwe emibhalweni kaCaroline Pedwell (2016) kanye no-Dominick LaCapra (1999, 2001).. Ngomsebenzi wokwakhiwa kabusha kwemibhalo ekhona yomndeni, ucwaningo lwami lwaba nenkinga yokuhlukumezeka
okudabukisayo, ukuyiguqula ibe ukumelwa okuthintekayo nokuqinisekisayo kokulandisa kwenkumbulo, ukuyiguqula ibe ukumelwa okuthintekayo nokuqinisekisayo kokulandisa
kwenkumbulo eza ngemuva. Ngibhekisele emibhalweni ebalulekile ephathelene nenkumbulo yangemuva kanye nengxubevange ngokuhlobene no-Marianne Hirsch (1997, 2012) kanye no-Homi Bhabha (1994, 2004). Izinkolelo-mbono zika-Eva Kosofsky Sedgwick
(2003) kanye noJill Bennett (2005) zinikeze ukufundwa okuphindaphindiwe kwalesi sichazamazwi. Ngokuqhathanisa, u-Mirta Kupferminc, uFirelei Báez no-Pamela Phatsimo
Sunstrum baqokwe njengamaciko abekela inselele ukumelwa ufuduko lwezinto ezingafani ezikulandelayo ngokusebenzisa amagugu abo amasiko kanye nezinganekwane.
Umphumela unike amandla udaba oluyingxoxo nokuzijwayeza kwami ekuthuthukiseni izindaba eziqanjiwe ezikulandela njalo nje.
https://hdl.handle.net/10500/29309
Affect
Autoethnography
Baez
Bricoleur
Empathy
Family narrative
Holocaust
Judaism
Kupferminc
Nostalgia
Postmemory
Sunstrum
Outo-etnografie
Báez
Bricoleur
Empatie
Familieverhaal
Die Joodse volksmoord
Judaïsme
Kupferminc
Nostalgie
Postherinnering
Sunstrum
Affekteer
Enthnografi ezenzakalelayo
uBáez
Umuntu oyiciko lowakha okuvela kuyinhlobonhlobo zezinto ezitholakalayo
Ukuzwela
Indaba yomndeni
ukuQothulwa Kwesizwe
UbuJuda
uKupferminc
Ukukhumbula ekhaya
Inkumbulo yangemuva
uSunstrum
Umthelela
Judaic diasporic hybrid hauntings
oai:uir.unisa.ac.za:10500/17682018-11-17T13:04:57Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Ntsihlele, Flora Mpho
author
2009-08-25T10:56:28Z
Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures.
It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.
Ntsihlele, Flora Mpho (2009) Games,gestures and learning in Basotho children's play songs, University of South Africa, Pretoria, <http://hdl.handle.net/10500/1768>
http://hdl.handle.net/10500/1768
African music
Basotho
Basotho folk music
child development
children's games
children's music
children's rhymes
folk music education
games with chanting
primary school music
traditional music education and learning
Games,gestures and learning in Basotho children's play songs
oai:uir.unisa.ac.za:10500/221892018-11-17T13:06:35Zcom_10500_177com_10500_172com_10500_1com_10500_506col_10500_178col_10500_507
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Potelwa, Siphe
author
2016-02
This study critiques the extravagant behaviour associated with burial practises of modern Xhosa people, with special focus on the Eastern Cape of South Africa. It uses human altruism, cultural conformism, and cooperative behaviour as the theories to explain why people do things they consider to be the norm or do things in a prescribed way, in order to be accepted by a cultural group or class. The artworks which form part of this study are informed through interviews with key informants who are members of the community, as well as the writer’s observations during modern burial events. These artworks portray the obsessive behaviour associated with extravagant funerals, illustrated through repetition, layering, and the multiplicity of cultural objects, such as coffins, candles, pots and other items.
Potelwa, Siphe (2016) The visual narrative relating to social perfomance of the Xhosa people during burial, University of South Africa, Pretoria, <http://hdl.handle.net/10500/22189>
http://hdl.handle.net/10500/22189
Altruism
Burial culture
Conformism
Cooperative behaviour
Social performance
Xhosa
The visual narrative relating to social perfomance of the Xhosa people during burial
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