https://ir.unisa.ac.za/handle/10500/178 2026-08-03T23:00:53Z https://ir.unisa.ac.za/handle/10500/32807 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 https://ir.unisa.ac.za/handle/10500/32806 Utilisation of the internet of things in the management of information services at Polokwane municipality libraries in the Limpopo province of South Africa 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. Abstract in English with Venda and Xhosa translations 2025-02-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/32774 A dialogical analysis of ‘Indian’ South African identity and representation in contemporary visual arts, expressed through data-fluid narratives Pillay, Lucelle Bernadette This study analyses ethnoracial identity formation from the perspective of the self (the artist) and the collective (artists, historians, curators, academics), applying a qualitative mixed methodology within this practice-led visual art research. The enquiry into ‘Indian’ South African identity is both complex and perplexing. A dialogical approach to both theory and art practice provides intellectual and intuitive responses about ethnic identity in South Africa. I use a reflexive (self-dialogical) methodology based on memory, experiential and historical artefacts to create iterations of personal and collective identity formations. Data from archival records (Indian Indenture Ship Lists 1860-1911) undergoes a digital process of sorting and parsing. Narratives are then extracted and visualised within the aesthetic domain of the visual arts, inextricably bound by geography and shifting ideologies. The focus of this study is my own generational group (born in the early 1970s), which has lived through the socio-political contexts of colonialism, apartheid, and democracy. It is based on the premise that my social conditioning in South Africa is unique and unusual, being located at the cusp of transition from rigid racial segregation to democratic freedom. The concept of ‘fluidity’ is used to describe an intellectual position that is characterised by openness, neutrality and racial inclusivity. This study contributes new knowledge about contemporary ‘Indian’ identity formations invisibilised within South African visual culture. The exhibition Afterisms: Excentric Data–Fluid Narratives further contributes to the global paradigm of technology-based contemporary art and offers a cultural reparative, as well as addresses historical oversight through symbolic action.; Hierdie studie het etnoras-identiteitsvorming vanuit die perspektief van die self (die kunstenaar) en die kollektief (kunstenaars, historici, kurators, akademici) geanaliseer, deur middel van ʼn kwalitatiewe gemengde metodologie binne hierdie praktykgeleide visuele kunsnavorsing. Die ondersoek na ‘Indiese’ Suid-Afrikaanse identiteit is beide kompleks en verwarrend. ʼn Dialogiese benadering tot beide teorie en kunspraktyk het intellektuele en intuïtiewe reaksies oor etniese identiteit in Suid-Afrika verskaf. Ek het ʼn refleksiewe (selfdialogiese) metodologie gebaseer op geheue, ervarings en historiese artefakte gebruik om iterasies van persoonlike en kollektiewe identiteitsvormings te skep. Data uit argiefrekords (Indiese Kontrakskeepslyste 1860–1911) het ʼn digitale proses van sortering en analise ondergaan. Narratiewe is toe onttrek en gevisualiseer binne die estetiese domein van die visuele kunste, onlosmaaklik verbind deur geografie en verskuiwende ideologieë. Die fokus van hierdie studie was my eie generasiegroep (gebore in die vroeë 1970’s), wat die sosiopolitieke kontekste van kolonialisme, apartheid en demokrasie deurleef het. Dit is gebaseer op die uitgangspunt dat my sosiale kondisionering in Suid-Afrika uniek en ongewoon is, geleë op die oorgangspuntpunt van rigiede rasse-segregasie na demokratiese vryheid. Die konsep van ‘fluïditeit’ is gebruik om ʼn intellektuele posisie te beskryf wat gekenmerk word deur openheid, neutraliteit en rasse-inklusiwiteit. Hierdie studie dra nuwe kennis by oor kontemporêre ‘Indiese’ identiteitsformasies wat onsigbaar is binne die Suid-Afrikaanse visuele kultuur. Die uitstalling Afterisms: Excentric Data-Fluid Narratives dra by tot die globale paradigma van tegnologie-gebaseerde kontemporêre kuns, bied ʼn kulturele herstel en kyk na historiese oorsig deur simboliese optrede.; Lolu cwaningo luhlaziye ukwakheka kobunikazi bezizwe ngezindlela ezihlukahlukene kusuka kumbono womuntu siqu (iciko) kanye nombutho (amaciko, izazi zomlando, abagcinimibukiso, nezifundiswa), lusebenzisa indlela exubile yocwaningo oliyikhwalithi ngaphakathi kocwaningo lobuciko obuholwa yimisebenzi. Ukuphenya ngobunikazi ‘baseNdiya’ baseNingizimu Afrika kuyinselelo kanti futhi kuyadida. Ukuxoxisana ngabo bobubili ubuciko obubhaliwe kanye nobusebenzayo kunikeze izimpendulo eziphusile nezicacile mayelana nobunikazi besizwe eNingizimu Afrika. Ngisebenzise indlela yokuzihlola (yokuxoxa nami) esuselwa kulokho engikukhumbulayo, engihlangabezane nakho phambilini kanye nemifanekiso yomlando ukudala izinguquko zokwakheka kobunikazi bomuntu siqu kanye nobabanye abantu. Ulwazi olutholakala emarekhodini alondoloziwe (Indian Indenture Ship Lists 1860-1911) lwahluzwa ngendlela yobuchwepheshe yokuhlunga nokuhlukanisa. Izindaba zabe sezicashunwa futhi zaboniswa ngaphakathi komkhakha wobuciko obubukwayo, obuhlotshaniswa ngokungenakwahlukaniswa nendawo kanye nemibono eguquguqukayo. Lolu cwaningo lugxile eqenjini lami engikhule nalo (elizalwe ekuqaleni kweminyaka ye-1970), eliphile ezimeni zomphakathi nezombusazwe ngezikhathi zengcindezelo, ubandlululo kanye nombuso wentando yeningi. Kususelwa ekutheni indlela engakhuliswa ngayo eNingizimu Afrika iyingqayizivele futhi ayivamile, njengoba ngisesigabeni soguquko olukhulu kusukela ekucwasweni ngokobuhlanga kuya enkululekweni yentando yeningi. Umqondo wokuthi 'ukuguquguquka' wawusetshenziselwa ukuchaza indawo yokucabanga ebonakala ngokuvuleleka, ukungachemi kanye nokubandakanya zonke izinhlanga. Lolu cwaningo lunikeza ulwazi olusha ngendlela yobunikazi besimanjemanje 'baseNdiya' obungabonakali ngaphakathi kwesiko elibonakalayo eNingizimu Afrika. Umbukiso i-Afterisms: Excentric Data–Fluid Narratives wengezelele kakhulu kumqondo womhlaba-jikelele wobuciko besimanje obususelwa kubuchwepheshe futhi unikeza ukulungiswa kwesiko kanti futhi ubhekana nokunganakwa komlando ngokwenza izenzo ezinemifanekiso. Text in English with abstract in isiZulu, English and Afrikaans 2026-01-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/32657 The magick of intuition and place in process-led performative spatial arts practices with reference to selected works by Marcus Neustetter and Olivier de Sagazan Cooper, Paul Stephen This research project interrogates the complexity of intuitive processes organised around generative ritualised actions and transient experiences in the performative and spatial arts practices of two artists. Olivier de Sagazan is a French artist. His diverse practice includes painting, drawing, photography and sculpture, as well as performances. Marcus Neustetter is a South African artist. His work focuses on a wide spectrum of practice including arts activism and public art. He favours a wide range of visual imaging modalities including drawing, projection, sound and sculptural construction. Both artists favour situationally-specific and process-related performance. In this research I focus exclusively on a study of ritualised activity in de Sagazan’s work and the transient qualities of light in Neustetter’s work. The otherworldly with its links to the magickal contexts of tacit knowledge – including the occult and esotericism – is framed in relation to critical iterations of place. Applying intuition as a multidimensional creative approach in the understanding of place-related phenomena, a phenomenological praxis of cognitive and metacognitive functioning is proposed as a necessary ingredient in a study of process-led art practices. Present moments are brought into the same conceptual ambit as embodied experiences that implicate personal histories and ontological responses, as well as emotional and sensorial encounters in real time. A mixed methodological approach is employed, drawing on a literature review and interviews, as well as an in-situ and participative engagement with de Sagazan (in France) and Neustetter (in Austria and South Africa) in their studios or workspaces. In a close examination of selected works between 1998 and 2023 by these two artists, a critical case is made for how intuitive processes impact on and intersect with the complexities of place through the agency of de Sagazan’s and Neustetter’s embodied process-led practice. This is an important aspect of the original scholarly contribution to the field of performance and installation art in this study. While not strictly practice- led research, a mixed method presents opportunities to be cognitively embodied through an integral, immersive and sensorial position. The artists’ expansive imaginings materialise through moments of internalised vulnerability and uncertainty. Latent ritualised and transiently induced engagements with materials, people, spaces and objects prompt a polyvalent functionality of place that invokes otherworldly narratives. This research shows that, to bring this into effect, requires a spatially immersive encounter with process through a fully embodied relationship to intuitive impulses and to place. In this way, a commitment to past and present memory, experience and day-to-day encounters enables a representation of personally resonant otherworldly narratives.; Le projekthi yophandolwazi iphicotha ukuntsonkotha kweenkqubo zeemvakalelo okanye ulwazi lwendalo olulungelelaniswe ngezenzo eziveliswayo zemveli, namava exeshana kwimisebenzi yobugcisa bomdlalo nobendawo yamagcisa amabini. UOlivier de Sagazan ligcisa laseFransi. Imisebenzi yakhe eyahlukileyo ibandakanya ukuzoba ngepeyinti, ukuzoba, ukufota, imifanekiso eqingqiweyo, kunye nemidlalo. UMarcus Neustetter ligcisa laseMzantsi Afrika. Umsebenzi wakhe ugxile kwiinkqubo ezininzi ezibandakanya ubutshantliziyo bezobugcisa kunye nobugcisa basesidlangalaleni. Uthanda uluhlu olubanzi lweentlobo zobugcisa obubonakalayo obubandakanya ukuzoba, imiboniso, isandi kunye nokwakhiwa kwemifanekiso eqingqiweyo. Omabini la magcisa athanda imidlalo ejolise kwimeko nakwinkqubo ethile. Kolu phandolwazi ndigxininisa ngokukodwa kuphandolwazi lomsebenzi oqhelekileyo kumsebenzi ka-de Sagazan kunye neempawu ezidlulayo okanye ezingesosigxina zokukhanya kumsebenzi kaNeustetter. Okucingelekayo, okunonxulumano kwiimeko zemilingo yolwazi olungacacanga – kubandakanywa ubugqi kunye nolwazi olufihlakeleyo – kwakhiwe ngokunxulumene nokuphindaphinda okubalulekileyo kwendawo. Ukusebenzisa ulwazi lwendalo nanjengendlela yokuyila entloboninzi ekuqondeni iziganeko ezinxulumene nendawo, uyilo lophandolwazi ngokwamava oluntu kwezentlalo lokusebenza kwengqiqo kunye nokucinga ngokucinga komntu kucetyiswa nanjengesithako esiyimfuneko kuphandolwazi lobugcisa obukhokelwa yimisebenzi yobugcisa esekelwe kwinkqubo yoyilo. Amaxesha angoku angeniswa kwingqikelelo efanayo kunye namava aquka imbali yomntu neempendulo zokuba ngumntu, kunye nokudibana kweemvakalelo nesivo ngexesha langoku. Kusetyenziswa indlela yokwenza uphandolwazi exubileyo, egxile kuphononongo loncwadi nodliwanondlebe, kunye nanjengendlela yokunxulumana nokuzibandakanya no-de Sagazan (eFransi) kunye neNeustetter (eAustria naseMzantsi Afrika) kwizityudiyo okanye kwiindawo zokusebenza zabo. Uphicotho olungqale ngokusondeleyo lwemisebenzi ekhethiweyo yala magcisa mabini phakathi ko1998 no2023, lucacisa umzekelo obanzi malunga nendlela iinkqubo zeemvakalelo okanye ulwazi lwendalo oluchaphazela ngayo luze ludibanise nokuntsonkotha kwendawo ngokusebenzisa impembelelo yomsebenzi wobugcisa ka-de Sagazan nokaNeustetter okhokelwa yinkqubo yokuyila. Lo ngumba obalulekileyo kolu phandolwazi, wegalelo kuphandolwazi lokuqala kwinkalo yobugcisa bomdlalo nobufakelwayo okanye obuxhonywayo. Nangona olu iluphandolwazi olungasekelwanga kumsebenzi wobugcisa ngokungqongqo, indlela yokwenza uphandolwazi exubileyo ibonelela ngamathuba okubonakaliswa kwengqiqo ngokwemeko ehlanganisiweyo, ngokwamava neemvakalelo zabo abazibandakanya nezi ntlobo zobugcisa. Iindlela zokucinga zala magcisa ezigabalala zibonakala ngamaxesha okuchaphazeleka kwangaphakathi kunye nokungaqiniseki. Ubandakanyeko olufihlakeleyo nolwenziwa okwethutyana kunye nemathiriyeli, abantu, iindawo kunye nezinto ezibonakalayo lukhuthaza ukusebenzisa iintlobo ngeentlobo zobugcisa kwindawo evuselela amabali obugqi nolwazi olufihlakeleyo. Olu phandolwazi lubonisa ukuba ukwenza oku kusebenze kufuna ukudibana namava endawo kunye nenkqubo esekelwe kubudlelwane obupheleleyo, neempembelelo zeemvakalelo okanye ulwazi lwendalo kunye nendawo. Ngale ndlela, ukuzibophelela kwinkumbulo yexesha elidlulileyo neyangoku, amava kunye nokudibana kwemihla ngemihla kwenza ukumelwa kwamabali aguqukayo nacingelwayo.; Protšeke ye ya nyakišišo e botšološiša go raragana ga ditshepedišo tša go kwešišega gabonolo tšeo di rulagantšwego go dikologa ditiro tša go tšweletša ditlwaedi le maitemogelo a nakwana mešomong ya bokgabo bja papalo le bja lefelo ya batho ba babedi ba bokgabo. Olivier de Sagazan ke motho wa bokgabo wa Fora. Mešomo ya gagwe ya go fapafapana e akaretša go penta, go thala diswantšho, go tšea diswantšho le go betla, gotee le go dira dipapalo. Marcus Neustetter ke motho wa bokgabo wa Afrika Borwa. Mošomo wa gagwe o tsepeletše go mehutahuta ya ditiro go akaretšwa go lwela bokgabo le bokgabo bja setšhaba. O rata mehutahuta ya mekgwa ya go tšea diswantšho tša go bonwa go akaretšwa go thala, go bontšha, modumo le kago ya go betlwa. Bobedi bja batho ba ba bokgabo ba rata papalo yeo e theilwego godimo ga maemo a itšego le tshepedišo. Mo nyakišišong ye ke tsepeletše ka go lebanya thutong ya tiro ya setlwaedi mošomong wa de Sagazan le dika tša nakwana tša seetša mošomong wa Neustetter. Sa go makatša, ka dikgokagano tša sona maemong a maleatlana a tsebo ya go kwešišega ka ntle le go hlaloša ka go lebanya – go akaretšwa maatla a phagametšego tlhago le tsebo goba dithuto tše di lebišitšwego go sehlopha se se nnyane sa batho bao ba nago le bokgoni – mabapi le dipoeletšo tše bohlokwa tša lefelo. Ka go diriša tsebo bjalo ka mokgwa wa go hlama wa mahlakore a mantši go kwešišeng ditiragalo tše di tswalanago le lefelo, mokgwa wa go šoma wa go tseba dilo le wa go nagana ka dilo o šišintšwe bjalo ka selo se se nyakegago thutong ya mekgwa ya bokgabo yeo e hlahlwago ke tshepedišo. Dinako tša bjale di tlišwa tikologong e swanago ya kgopolo e le diphihlelo tše di akaretšwago tšeo di akaretšago histori ya motho ka noši le dikarabo tša tlhago, gotee le go kopana ga maikwelo ka nako ya kgonthe. Go dirišwa mokgwa wa mokgwa o hlakantšwego, o šomiša tshekatsheko ya dingwalo, dipoledišano, le go ba lefelong gape le go boledišana le de Sagazan (kua Fora) le Neustetter (kua Austria le Afrika Borwa) distudiong tša bona goba mafelong a go šoma. Ka go hlahloba ka kelohloko mešomo yeo e kgethilwego magareng ga 1998 le 2023 ke batho ba bokgabo ba ba babedi, go dirwa taba e bohlokwa ya gore ditshepedišo tše di kwešišegago gabonolo di ama le go kopana le dilo tše di raraganego tša lefelo ka setheo sa mokgwa wa De Sagazan le Neustetter wo o eteletšwego pele ke mokgwa wo o hlahlwago ke tshepetšo. Ye ke karolo e bohlokwa ya kabelo ya mathomo ya tša thuto lefapheng la bokgabo bja go dira le bja go hloma nyakišišong ye. Le ge e le gore ga se nyakišišo yeo e laolwago ke tirišo ka go tia, mokgwa wa mekgwa ye e kopantšwego o aba menyetla ya go diragatša tsebo ka go ba le boemo bjo bo feletšego, bja go tsenelela le bja go kwa. Dikgopolo tša batho ba bokgabo tše di atološitšwego di ipontšha ka dinako tša go ba kotsing le go se kgonthišege. Ditirišano tše di sa lemogegego tše di dirwago ka tsela ya setlwaedi le tšeo di hlohleletšwago ke dilo, batho, mafelo le dilo di hlohleletša go šoma ka ditsela tše di fapafapanego ga lefelo di baka dikanegelo, dikgopolo goba maitemogelo ao a bonagalago a phagametše tlhago. Nyakišišo ye e bontšha gore go dira se go nyaka kopano ya tshepedišo yeo e akaretšago ka mo go feletšego, yeo e theilwego tswalanong e feletšego le dikgoketšo tša tlhago le lefelo. Ka tsela ye, boikgafo dikgopolong tša nakong e fetilego le tša bjale, maitemogelo le diphihlelo tša letšatši le letšatši go dira gore go kgonege go emela dikanegelo tšeo di bonagalago di phagametše tlhago. Abstract in English with Xhosa and SePedi translations 2025-02-01T00:00:00Z