https://ir.unisa.ac.za/handle/10500/177 2026-10-22T21:49:29Z 2026-10-22T21:49:29Z Tshangana, Nangamso Ntokozo https://ir.unisa.ac.za/handle/10500/32936 2026-08-14T12:15:37Z 2025-02-01T00:00:00Z

An artistic deconstruction of female obesity by referencing Xhosa and Western cultural contradicting stereotypification Tshangana, Nangamso Ntokozo This study interrogates female obesity, referencing contradicting Xhosa and Western cultural stereotypes and their impact on modern females, arguing that these stereotypes affect individuals’ self-acceptance, sometimes resulting in low self-esteem. It also highlights the impact of social media on the obesity of modern young women, affecting their self-image and confidence. The study argues that the contradicting African cultural and Western stereotypes present modern African women’s self-image with emotional and physical chaos. This is because most African traditional cultural people believe that a healthy child’s image is that of a full body, which is in opposition to the Western norm that a thin body shape is “sexy” and a sign of wellness. This study is set within phenomenological and autoethnographic methodologies based on the researcher’s self-reflection while presenting various scenarios and practices regarding the modern female body and its dilemmas. These include beauty pageantry, acceptable looks and current practices such as tummy tucks, breast enlargement and reduction, buttocks augmentation and many other modifications driven by the so-called ideal and appealing female body. This study further argues that fatness both fascinates and repels modern society, as can be seen in the popularity of fat jokes in an era of supposed tolerance and respect for diversity and in the mockery of fat bodies in the pop cultural spheres. Thus, in this context, fatness is stigmatised due to socially acceptable stereotypes. The study is situated within current feminist discourses on the female embodiment of her body and the application of stereotyping as a form of stigmatising. Feminist theories describe the present condition of women and men’s ways of understanding towards eliminating race, gender and sexual hierarchies. Male and female gaze concepts are also explored to express the impact of stereotypes on the female body. This study is practice-led and practice-based, and it culminated in a solo exhibition depicting emerging visual representations towards new knowledge while improving artistic practice. The practical work was framed through various contemporary artistic discourses that deal with and embrace the full body shape, as well as using art activism as a therapeutic endeavour.; Olu phandolwazi luphanda ngokutyeba kwabasetyhini, lubhekisa kwiinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaXhosa neyaseNtshona kunye nefuthe lazo kubantu basetyhini bale mihla, lubonisa ukuba ezi nkolelo zigwenxa zichaphazela ukuzithemba komntu, ngamanye amaxesha zikhokelela ekuzijongeleni phantsi. Lukwabhentsisa ifuthe lamajelo onxibelelwano loluntu ekutyebeni kwabasetyhini abaselula bale mihla, elichaphazela indlela abazibona ngayo nokuzithemba kwabo. Olu phandolwazi lubonisa ukuba iinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaAfrika neyaseNtshona ziveza indlela abazibona ngayo abasetyhini bale mihla kunye nokudideka ngokweemvakalelo nasemzimbeni. Oku kungenxa yokuba abantu abaninzi benkcubeko yemveli yaseAfrika bakholelwa ukuba umfanekiso womntwana osempilweni ngumzimba omkhulu, nto leyo ephikisanayo nenkcubeko yaseNtshona yokuba umzimba obhityileyo onomtsalane ngo- "sexy" nobonakalisa impilo entle. Olu phandolwazi lusekelwe kwiindlela zokwenza uphando ngokwamava oluntu kwezentlalo kunye nendlela yophandontyilazwi apho abaphandilwazi basebenzisa amava abo obuqu ukuqonda imicimbi yezentlalo (iautoethnography), esekelwe ekuzibonakaliseni komphandilwazi ngelixa ebonisa iimeko ngeemeko neenkqubo ngeenkqubo malunga nemizimba yabasetyhini yale mihla kunye neengxaki zayo. Oku kuquka imiboniso yoonobuhle, inkangeleko eyamkelekileyo kunye neenkqubo zangoku ezifana nokunciphisa isisu, ukukhulisa nokunciphisa amabele, ukongezwa kweempundu kunye nolunye utshintsho lwenkangeleko olubanzi olwenziwayo kwimizimba yabasetyhini olubizwa ngokuba kukufaneleka nokuba nomtsalane. Olu phandolwazi luqhubeka lubonisa ukuba ukutyeba kusematheni kwaye akwamkelekanga kuluntu lwale mihla, nanjengoko kunokubonwa indlela uluntu oluthanda ngayo ukuhlekisa ngokutyeba ngelixa kusithiwa uluntu luyanyamezelana kwaye iyahlonitshwa iyantlukwano yalo, kunye nokuhlekwa nokugezelwa kwemizimba etyebileyo kwiinkalo vii ezahlukileyo zentlalo yoluntu. Ngoko ke, kule meko, ukutyeba kubekwa ibala ngenxa yeenkolelo ezigwenxa ezamkelekileyo eluntwini. Olu phandolwazi lubekelwe phakathi kweengxoxo zangoku zobutshantliziyo ngezobubhinqa malunga nokubonakaliswa kwemizimba yabasetyhini kunye nokusetyenziswa kweenkolelo ezigwenxa nanjengendlela yokubeka ibala. Iingcingane zobutshantliziyo ngezobubhinqa zichaza imeko yangoku yeendlela zabasetyhini nezamadoda zokuqonda malunga nokuphelisa ukungalingani ngokobuhlanga, isini kunye nezesondo. Kukwaphononongwa nesigama sendlela yokujonga amadoda nabasetyhini ukubonisa ifuthe leenkolelo ezigwenxa kwimizimba yabasetyhini. Olu phandolwazi lusekelwe kwaye lukhokelwa ngumsebenzi wezobugcisa, lwaze lwafikelela kwinqanaba lomboniso wobugcisa owodwa obonisa ukuboniswa okubonakalayo kokuvelayo kulwazi olutsha ngelixa kuphuculwa umsebenzi wezobugcisa. Umsebenzi owenziwayo wezandla uqulunqwe ngeentetho ezahlukileyo zobugcisa zala maxesha ezijongana nokwamkela ukumila komzimba omkhulu, kunye nokusebenzisa ubutshantliziyo bezobugcisa nanjengenzame yokulungisa umba wezempilo nempilontle yoluntu.; Nyakišišo ye e botšološiša go nona ga basadi, e šupetša thulano ya dikgopolotee tša setšo sa Bodikela le sa Sethosa le khuetšo ya tšona go basadi ba sebjalebjale, ka go bolela gore dikgopolotee tše di ama boikamogelo bja batho, ka dinako tše dingwe di feleletša ka boinyatšo. Gape e gatelela khuetšo ya bobegaditaba tša leago godimo ga go nona ga basadi ba e lego baswa ba sebjalebjale, go ama boitlhompho le boitshepo bja bona. Nyakišišo e bolela gore dikgopolotee tše di thulanago tša setšo sa Afrika le sa Bodikela di fa boitlhompho bja basadi ba sebjalebjale ba Afrika mathata a maikutlo le a mmele. Se ke ka lebaka la gore bontši bja batho ba setšo sa setšo sa Afrika ba dumela gore seswantšho sa ngwana yo a phetšego gabotse ke sa mmele wo o feletšego, seo se thulanago le mokgwa wa Bodikela wa gore sebopego se se sesane sa mmele se “sexy” gape ke seka sa bophelo bjo bobotse. Nyakišišo ye e beakantšwe ka gare ga mekgwa ya fenomenolotši le othoetenokrafi yeo e theilwego godimo ga boipotšološišo bja monyakišiši mola e tšweletša maemo le mekgwa ye e fapanego mabapi le mmele wa sebjalebjale wa mosadi le mathata a wona. Tše di akaretša go bontšha botse, ponagalo ye e amogelegago le mekgwa ya bjale ya go swana le go dithamithake, go oketša le go fokotša matswele, go oketša marago le diphetogo tše dingwe tše ntši tšeo di hlohleletšwago ke seo se bitšwago mmele wa mosadi wo o lego maleba le wo o gogago šedi. Nyakišišo ye e tšwela pele gape go bolela gore go nona go kgahla le go tena setšhaba sa matšatši a lehono, bjalo ka ge go ka bonwa ka go tuma ga metlae ya ka ka ga go nona mehleng yeo go thwego ke ya kgotlelelo le tlhompho ya go fapafapana le go kwerwa ga mebele ye e nonnego mo dikarolong tša setšo sa phopo (pop). Ka go realo, mo sebopegong se, go nona go kgethollwa ka lebaka la dikgopolotee tše di fošagetšego tšeo di amogelegago setšhabeng. Nyakišišo e beakantšwe ka gare ga dipolelo tša bjale tša bofeminisi ka ga mothofatšo ya mosadi wa mmele wa gagwe le tirišo ya go se swane bjalo ka mokgwa wa go kgetholla. Diteori tša bofeminisi di hlaloša seemo sa bjale sa ditsela tša kwešišo tša ix basadi le banna go ya go fediša maemo a morafe, bong le thobalano. Dikgopolo tša go lebelela ga banna le basadi le tšona di a hlahlobja go tšweletša khuetšo ya dipono tše di sa swanego mmeleng wa mosadi. Nyakišišo ye ke ya go etwa pele le go thewa godimo ga tiragatšo, gomme e feleleditše ka pontšho e tee ye e bontšhago dikemedi tša pono tše di tšwelelago go ya tsebong ye mpsha mola e kaonafatša mokgwa wa bokgabo. Mošomo wo o šomago o be o foreimilwe ka dipolelo tša bokgabo tša sebjalebjale tše di fapafapanego tšeo di lebanego le go amogela sebopego sa mmele ka moka, gammogo le go šomiša boikgafo bja bokgabo bjalo ka maitapišo a kalafo.

2025-02-01T00:00:00Z Mouret, Heidi Elizabeth https://ir.unisa.ac.za/handle/10500/32888 2026-08-06T12:38:13Z 2026-02-01T00:00:00Z

Lamenting chaos. Vulnerability expressed in art Mouret, Heidi Elizabeth This study examines anxiety through a posthuman lens, using rhizome theory and the concept of “becoming”. It embraces a fluid state of environmental connection, accepting real and perceived chaos. Through visual art, a tensional relationship between trauma, vulnerability and obsessive control is explored, establishing its impact on female artists and their creative work. The study interrogates chaos and order, fear and control, despair and resilience in the works of Julie Mehretu, Leora Farber and Joana Choumali, through a review of literature, textual analyses, autoethnography and practice-led artmaking. Employing new materialism, multidirectional thinking and convergence theories, the research highlights how selected works from these artists intersect with my creative praxis as an embodied expression of lamentation and grief. My artmaking resulted in the exhibition Disquiet (2024), which, through art, provides a dialogical response to the ambivalences and resilience required to live a precarious life.; Hierdie studie ondersoek angs deur ʼn postmenslike lens, met behulp van risoomteorie en die konsep van “wording”. Dit behels ʼn vloeibare toestand van omgewingsverbintenis, wat werklike en waargenome chaos aanvaar. Deur middel van visuele kuns word ʼn spanningsverhouding tussen trauma, kwesbaarheid en obsessiewe beheer ondersoek, wat die impak daarvan op vroulike kunstenaars en hulle kreatiewe werk bepaal. Die studie gebruik ʼn literatuuroorsig, tekstuele ontledings, outo-etnografie en praktykgedrewe kunsmaak om chaos en orde, vrees en beheer, wanhoop en veerkragtigheid in die kunswerke van Julie Mehretu, Leora Farber en Joana Choumali te ondersoek. Met behulp van nuwe materialisme, multidireksionele denke en konvergensieteorieë, beklemtoon die navorsing die oorvleueling van my kreatiewe praktyk met geselekteerde kunswerke van hierdie kunstenaars as ʼn beliggaamde uitdrukking van weeklaag en hartseer. My kunsmaak het gekulmineer in die uitstalling Disquiet (2024), wat ʼn dialogiese reaksie bied op die ambivalensies en veerkragtigheid wat nodig is om ʼn onseker lewe te lei.; Olu phandolwazi luphonononga ixhala ngokwembono yobuposthuman1 ekwiyindlela yokuhlalutya ejonga ubudlelwane phakathi kwabantu, ubuchwepheshe, indalo nezinye izinto ezingengobantu, endaweni yokubeka umntu njengoyena obalulekileyo, ngokusebenzisa ithiyori yerhayizom2, kunye nengcamango ethi “ukuba kwinkqubo yenguqu eqhubekayo”. Kwamkelwa imeko eguquguqukayo yonxibelelwano nendalo esingqongileyo, ukuba umntu unxulumene, uyinxalenye ephilayo yehlabathi elingenakuqondakala, nokuba kwimeko yokuyeka ukufuna ukulawula yonke into, kunye nokwamkela ukuba ebomini kukho izinto ezingekho ngqiqweni nezingaqikelelwanga neemvakalelo zokubhideka anokuba nazo. Ngokusebenzisa ubugcisa bokuzoba, kuphononongwa ubudlelwane obunoxinzelelo phakathi komonzakalo wengqondo, ukuba buthathaka, nolawulo olugqithisileyo, ukuze kuboniswe indlela ezi zinto ezichaphazela ngayo amagcisa angabasetyhini, kunye nomsebenzi wawo wobugcisa. Olu phandolwazi luhlalutya iingcamango zesiphithiphithi nocwangco, uloyiko, ulawulo, ukuphelelwa lithemba, nokomelela xa kujongwa imisebenzi kaJulie Mehretu, ULeora Farber, kunye noJoana Choumali, kusetyenziswa uphononongo loncwadi, uhlalutyo lwetekisi, autoethnografi3, kunye nokuveliswa kobugcisa obukhokelwa yinkqubo yokuzoba. Ngokusebenzisa ithiyori yematerialism entsha (egxininisa ukuba izinto eziphathekayo, indalo, imizimba, nezinto ezingengobantu zinendima ebalulekileyo ekubumbeni ihlabathi nakwimveliso yolwazi, hayi nje abantu bodwa), ukucinga ngeendlela ezininzi, kunye neethiyori zokudibana kweengcamango neenkqubo4. Olu phando lubonisa indlela imisebenzi yobugcisa ekhethiweyo yala magcisa edibana ngayo nomsebenzi wam wobugcisa njengendlela ebonakalisa ngokwasemzimbeni ukulila nokuba nentlungu. Umsebenzi wam wokwenza ubugcisa wafikelela kwinqanaba eliphezulu ngomboniso wobugcisa iDisquiet (2024), onika impendulo yengxoxo malunga nokungaqiniseki neemvakalelo eziphikisanayo, kwakunye nokomelela okufunekayo ukuze umntu aphile ubomi obungazinzanga. Text in English with abstract in English, Afrikaans and Xhosa

2026-02-01T00:00:00Z Shadel, Nick https://ir.unisa.ac.za/handle/10500/32886 2026-08-28T10:28:22Z 2022-01-01T00:00:00Z

Theorizing the augmented reality orchestra: a reflexive analysis of an original film score for chamber orchestra and electronic effects Shadel, Nick My thesis explores the relationship between orchestral instruments and digital sound processing in a film scoring context, with particular emphasis on the analysis and development of composition and orchestration techniques. I analyze the results of various electronic effects, when applied to acoustic instruments of the orchestra, both individually and in ensembles. My project incorporates the composition of an original film score that utilizes orchestral instruments being processed through digital effects to create a unique sonic landscape. I have named the concept ‘The Augmented Reality Orchestra’, and much of my study analyzes Augmented Reality Orchestration Theory, which identifies the impact of digital sound processing on traditional orchestration practices, and ways in which it can eliminate limitations and expand the expressive scope of the ensemble. My experiment explores processing the effects in real time, as they are being played and recorded with a microphone, as well as adding digital effects to virtual instruments. The ensemble will be used to write and record film music, a field undergoing changes from a notation-based approach to a DAW-based approach, exploring expanded tonal and performance opportunities. The first phase of my methodology involves testing individual instruments through a variety of effects, and documenting the results. I then experiment with the effected sounds in a creative, compositional context, eventually leading to the development of composition and orchestration techniques. I begin small, writing for solo instruments, then duets, quartets, quintets, a chamber ensemble, then finally score a film with the techniques that I have collected. The primary goal of the study is to reinterpret and recontextualize the instrumental palette of the orchestra, in the age of digital technology.; My verhandeling ondersoek die verhouding tussen orkesinstrumente en digitale klankverwerking in ʼn filmkomponeringkonteks, met klem op die ontleding en ontwikkeling van komposisie en instrumentasietegnieke. Ek ontleed die resultate van verskeie elektroniese effekte wanneer dit op akoestiese orkesinstrumente toegepas word, beide individueel en in ensembles. My projek het die komposisie van oorspronklike filmmusiek behels wat orkesinstrumente deur digitale effekte verwerk het om ʼn unieke klanklandskap te skep. Ek het die konsep The Augmented Reality Orchestra (die aangevulde realiteitsorkes) genoem en baie van my studie ontleed die teorie van aangevulde realiteitinstrumentasie, wat die impak van digitale klankverwerking op tradisionele instrumentasiepraktyke identifiseer, en maniere waarop dit beperkings kan uitskakel en die uitdruklike omvang van die ensemble kan uitbrei. My eksperiment ondersoek die intydse verwerking van die effekte soos wat dit met ʼn mikrofoon gespeel en opgeneem word, asook die byvoeging van digitale effekte na virtuele instrumente. Die ensemble sal gebruik word om filmmusiek te komponeer en op te neem, ʼn veld wat verandering van 'n ideegebaseerde benadering na ʼn digitale oudiowerkstasie-benadering ondergaan, en uitgebreide tonaliteit- en uitvoeringgeleenthede ondersoek. Die eerste fase van my metodologie behels die toetsing van individuele instrumente deur ʼn verskeidenheid effekte en dokumentering van die resultate. Ek het daarna in ʼn kreatiewe, kompositoriese konteks met die effekte klanke geëksperimenteer, wat uiteindelik tot die ontwikkeling van komposisie- en instrumentasietegnieke gelei het. Ek begin klein deur vir soloinstrumente te komponeer, dan duette, kwartette, kwintette, ʼn kamerensemble, en uiteindelik filmmusiek deur die tegnieke wat ek versamel het. Die primêre doel van die studie is om die instrumentale palet van die orkes in die tyd van digitale tegnologie te hervertolk en herkontekstualiseer.; Ithesis yami ihlola ubudlelwano phakathi kwezinsimbi ze-okhestra kanye nokucutshungulwa komsindo wedijithali kumongo wokuthola amaphuzu wefilimu, ngokugcizelela kakhulu ekuhlaziyweni nasekuthuthukisweni kokwakheka kanye namasu okucula. Ngihlaziya imiphumela yemiphumela ehlukahlukene ye-elekthronikhi, uma isetshenziswa kumathuluzi e-akhscoustic weorchestra, ngawodwana nakuma-ensembles. Iphrojekthi yami ihlanganisa ukwakheka kwesikolo sangempela sefilimu esebenzisa amathuluzi e-okhestra acutshungulwa ngemiphumela yedijithali ukuze kwakhe indawo yesonikhi eyingqayizivele. Ngiqambe lo mqondo ngokuthi ‘I-Augmented Reality Orchestra’, futhi ingxenye enkulu yocwaningo lwami ihlaziya i-Augmented Reality Orchestration Theory, ekhomba umthelela wokucubungula umsindo wedijithali ezinkambisweni zokucula zendabuko, nezindlela ezingasusa ngazo imikhawulo futhi zandise ububanzi obucacile beqoqo. Ukuhlola kwami kuhlola ukucubungula imiphumela ngesikhathi sangempela, njengoba idlalwa futhi irekhodwa ngombhobho, kanye nokwengeza imiphumela yedijithali kumathuluzi abonakalayo. Iqoqo lizosetshenziselwa ukubhala nokuqopha umculo wefilimu, umkhakha obhekene nezinguquko ukusuka endleleni esekelwe kumanothi ukuya endleleni esekelwe ku- DAW, ukuhlola amathuba anwetshiwe ethoni nawokusebenza. Isigaba sokuqala sendlela yokusebenza yami sibandakanya ukuhlola amathuluzi ngamanye ngemiphumela ehlukahlukene, nokubhala imiphumela. Ngibe sengizama imisindo eyenziwe ngomongo wobuciko, wokuqamba, ogcina uholela ekuthuthukisweni kokuqamba kanye namasu okucula. Ngaqala kancane, ngibhalela labo abasebenzisa izinsimbi zomculo wesolo, bese kuba amajuwethi, amakhwathethi, amakhwinthense, itshemba ehlanganisiwe, bese ekugcineni ngikora ifilimu ngamasu engiwaqoqile. Umgomo oyinhloko wocwaningo ukuhumusha kabusha nokuhlanganisa kabusha iphalethe yezinsimbi ze-okhestra, eminyakeni yobuchwepheshe bedijithali.

2022-01-01T00:00:00Z Mpayiphel, Mpayiphelo https://ir.unisa.ac.za/handle/10500/32807 2026-07-29T13:48:09Z 2025-02-01T00:00:00Z

Becoming the other through intercultural identity: a practice -led-based autoethnographic journey of being a Rastafarian Mpayiphel, Mpayiphelo This study is an autoethnographic representation of the researcher’s journey as a Rastafarian and is expressed through visual metaphors. It interrogates the predisposition and vulnerabilities caused by being othered through stereotypification within intercultural identity existence. Otherness in this study is explored as a complex and multivalent term defined by differences through outside markers and internal characteristics within cultural identities. It outlines the psychoanalytic and philosophical origins of othering and stereotyping among different cultures, their present-day practice and selected criticisms. It further argues that ethnic minority cultures like South African Rastafari are bound by intercultural othering through the formation of stereotypes, discriminating against cultural groups’ representation of the self and the other and religious othering. Lastly, it maintains that othering defines the power arrangements in cultural hierarchies and the representational significances, such as identity construction. It aims to reveal that Rastafarians take pride in their Africanity, acknowledging Ethiopia from where it originated and that this is one country in Africa that was never colonised. This research is both practice-led and based, and it culminated in a solo exhibition and is framed within the concepts of othering and stereotyping and the post-colonial theory of Liminality. Phenomenology and autoethnography are used within a qualitative paradigm to unearth and explain emergent knowledge, which is also presented in the practical works forming an integral part of this research; Olu phandolwazi lubonisa indlela yophandontyilazwi apho umphandilwazi asebenzisa amava akhe obuqu ukuqonda imicimbi yezentlalo kuhambo lwakhe nanjengeRasta kwaye lubonakaliswa ngezafobe ezibonakalayo. Luhlalutya ukuba sesichengeni nokuba semngciphekweni okubangelwa kukuchazwa ngenye indlela okanye ukwahluka kusetyenziswa iingcinga ezigwenxa ngokuba nobuni beenkcubeko ezahlukileyo. Ukwahluka kolu phandolwazi kuphononongwa nanjengegama elintsonkothileyo nelibanzi elichazwa kukwahluka ngokweempawu zangaphandle nezangaphakathi ngaphakathi kwiimpawu zobuni ngokwenkcubeko. Luchaza imvelaphi yokufihlakeleyo engqondweni nefuthe lako ekuziphatheni nakwiinkolelo zokuchazwa ngenye indlela nangokweengcinga ezigwenxa phakathi kweenkcubeko ezahlukileyo, inkqubo yazo yanamhlanje kunye nezigxeko ezikhethekileyo. Lukwaxoxa kwakhona ukuba iinkcubeko eziligcuntswana okanye ezincinci zobuhlanga ezifana neyamaRasta oMzantsi Afrika ziqingqwe kukuchazwa ngenye indlela okanye ukwahluka ngokwenkcubeko ngokwakhiwa kweengcinga ezigwenxa, ucalucalulo lokuzibonakalisa kwamaqela eenkcubeko ezahlukileyo ukuba ngubani omnye komnye kunye nokuchazwa ngenye indlela okauye ukwahluka ngokwenkolo. Okokugqibela, olu phandolwazi luxhasa ukuba ukuchazwa ngenye indlela okanye ukwahluka kuchaza ukuhlela ngokwamanqanaba enkcubeko kunye nokubaluleka kokumelwa, okufana nokwakhiwa kobuni. Injongo yalo kukuveza ukuba amaRasta ayazingca ngobuAfrika babo, lusamkela iEthiopia apho ubuRasta buvela khona kwaye eli lelona lizwe eAfrika elingazange libe phantsi kobukoloniyali. Olu phandolwazi lukhokelwa kwaye lusekelwe kumsebenzi owenziwayo wezandla, luye lwafikelela kumboniso owodwa kwaye luqulunqwe phakathi kwesigama sokuchazwa ngenye indlela okanye ukwahluka kwabanye abantu nakwiingcinga ezigwenxa kunye vi nengcingane yasemva kobukoloniyali yoqingqwa kweenkcubeko okanye iqela elithile labantu i-post-colonial theory of Liminality. Kusetyenziswe uphandolwazi ngokwamava oluntu kwezentlalo kunye nendlela yophandontyilazwi apho abaphandilwazi basebenzisa amava abo obuqu ukuqonda imicimbi yezentlalo (i-autoethnography) zisetyenziswa ngaphakathi kwindlela yophandontyilazwi ukubhentsisa nokucacisa ulwazi oluvelayo, olukwabonakaliswe kwimisebenzi eyenziwayo eyenza inxalenye ebalulekileyo yolu phandolwazi.; Nyakišišo ye ke kemedi ya othoetenokrafi ya leeto la monyakišiši bjalo ka Lerasta gomme e tšweletšwa ka ditshwantšhišo tša go bonwa. E botšološiša tshekamelo le mafokodi a go hlolwa ke go ba yo mongwe ka go swantšha ka gare ga go ba gona ga boitšhupo bja go akaretša ditšo. Boswananoši ka gare ga nyakišišo ye bo nyakišišwa bjalo ka lereo la mohola ye mentši leo le hlalošwago ke diphapano ka maswao a ka ntle le dimelo tša ka gare ka gare ga boitšhupo bja setšo. E hlaloša mathomo a tshekatsheko ya monagano le ya filosofi ya go dira tše dingwe le go dira dilo tše di sa swanego gare ga ditšo tše di fapanego, mokgwa wa bona wa sebjalebjale le ditshwayatshwayo tše di kgethilwego. Gape e bolela gore ditšo tša merafe ye mennyane go swana le Marasta a Afrika Borwa di tlengwa ke go akaretša setšo se sengwe ka go bopa dikgopolotee tše di sa swanego, go kgetholla kemedi ya dihlopha tša setšo tša boithati le yo mongwe le go ba ba bangwe ga bodumedi. Sa mafelelo, e tiišetša gore go ba bangwe go hlaloša dipeakanyo tša maatla ka go tatelano ya setšo le bohlokwa bja kemedi, go swana le kago ya boitšhupo. E ikemišeditše go utolla gore Marasta a ikgantšha ka Boafrika bja ona, a amogela Ethiopia moo e thomilego gona le gore ye ke naga e tee ka Afrika yeo e sa kago ya dirwa dikoloni. Nyakišišo ye ke ya bobedi go etwa pele le go thewa godimo ga mokgwa, gomme e feleleditše ka pontšho ya go ba noši gomme e foreimilwe ka gare ga dikgopolo tša go dira tše dingwe le go dira dilo tše di sa swanego le teori ya ka morago ga bokoloniale ya Liminalithi (Liminality). Fenomenolotši le othoetenokrafi di šomišwa ka gare ga mmotlolo wa boleng go utulla le go hlaloša tsebo ye e tšwelelago, yeo gape e tšweletšwago ka mešomong ye e šomago yeo e bopago karolo ye bohlokwa ya nyakišišo ye. Abstract in English with Xhosa and Northen Sotho translations

2025-02-01T00:00:00Z