Full Text Available
Note: Clicking the button above will open the full text document at the original institutional repository in a new window.
ILIZWE LIFILE
ILIZWE LIFILE is a tactile exploration of the aspects of cultural history kwaXhosa within South African political history that intersect with my own lived experience. Through drawings, tableau, sculptures and video, I explore how cultural, social and political narratives within the South African pos...
Saved in:
| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Thesis |
| Language: | English |
| Published: |
Michaelis School of Fine Art
2020
|
| Subjects: | |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1867613647152349184 |
|---|---|
| access_status_str | Open Access |
| author | Somdyala, Inga |
| author2 | Makhubu, Nomusa |
| author_browse | Makhubu, Nomusa Somdyala, Inga |
| author_facet | Makhubu, Nomusa Somdyala, Inga |
| author_sort | Somdyala, Inga |
| collection | Thesis |
| description | ILIZWE LIFILE is a tactile exploration of the aspects of cultural history kwaXhosa within South African political history that intersect with my own lived experience. Through drawings, tableau, sculptures and video, I explore how cultural, social and political narratives within the South African post-apartheid landscape are negotiated. In this explicatory document, divided in three parts, I focus on interrelated personal and collective histories. Part I establishes a broad overview of the personal experiences driving my studio practice and research enquiries. Drawing from Zakes Mda's The Heart of Redness (2000) to explore readings of history, displacement, education and landscape, I elaborate on a negotiation of my cultural identity within the contentions about collective history and national identity. Part II looks at the negation of black cultural identity through covert impositions of Eurocentric culture and epistemology within education systems in my experience and within history. I employ concepts from Paulo Freire's Pedagogy of the Oppressed (2017) to develop socio-political readings of the television series Yizo Yizo, linking its thematic universe to heterogeneous black identities in post-apartheid South Africa. Part III presents how aspects of an oppressive history are manifest in the present, while offering more explicit interpretations of my body of work as a means for exploring the residue of history in the present. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/32387 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:39:28.259Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2020 |
| publishDateRange | 2020 |
| publishDateSort | 2020 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/32387 ILIZWE LIFILE Somdyala, Inga Makhubu, Nomusa Alexander J fine art ILIZWE LIFILE is a tactile exploration of the aspects of cultural history kwaXhosa within South African political history that intersect with my own lived experience. Through drawings, tableau, sculptures and video, I explore how cultural, social and political narratives within the South African post-apartheid landscape are negotiated. In this explicatory document, divided in three parts, I focus on interrelated personal and collective histories. Part I establishes a broad overview of the personal experiences driving my studio practice and research enquiries. Drawing from Zakes Mda's The Heart of Redness (2000) to explore readings of history, displacement, education and landscape, I elaborate on a negotiation of my cultural identity within the contentions about collective history and national identity. Part II looks at the negation of black cultural identity through covert impositions of Eurocentric culture and epistemology within education systems in my experience and within history. I employ concepts from Paulo Freire's Pedagogy of the Oppressed (2017) to develop socio-political readings of the television series Yizo Yizo, linking its thematic universe to heterogeneous black identities in post-apartheid South Africa. Part III presents how aspects of an oppressive history are manifest in the present, while offering more explicit interpretations of my body of work as a means for exploring the residue of history in the present. 2020-11-11T12:40:10Z 2020-11-11T12:40:10Z 2020 2020-11-11T12:02:12Z Master Thesis Masters MA http://hdl.handle.net/11427/32387 eng application/pdf Michaelis School of Fine Art Faculty of Humanities |
| spellingShingle | fine art Somdyala, Inga ILIZWE LIFILE |
| thesis_degree_str | Master's |
| title | ILIZWE LIFILE |
| title_full | ILIZWE LIFILE |
| title_fullStr | ILIZWE LIFILE |
| title_full_unstemmed | ILIZWE LIFILE |
| title_short | ILIZWE LIFILE |
| title_sort | ilizwe lifile |
| topic | fine art |
| url | http://hdl.handle.net/11427/32387 |
| work_keys_str_mv | AT somdyalainga ilizwelifile |