https://ir.unisa.ac.za/handle/10500/177 Tue, 05 May 2026 20:58:15 GMT 2026-05-05T20:58:15Z https://ir.unisa.ac.za/handle/10500/32279 The articulation of trauma in pet loss through ceramic art: an ontological investigation Visser, Beatrice This study investigates the ways in which ceramic art expresses the trauma of pet loss. An ontological investigation, it focuses on the strong attachment bonds I have shared with my pets. The project aims to advance fresh perspectives on the themes of grief, trauma and loss as these relate to pet-owner relationships, while conceptually relevant theories underpin my solo art exhibition, Per(pet)ual Memorium 1 (2024). The artworks explore traumatic recollections after the deaths of beloved companion animals. An analysis of relevant literature, including a comparative theoretical study, supports the conclusions drawn through the art praxis of Per(pet)ual Memorium. My reflective approach to art-making enables theory to guide the creative process where fresh insights emerge from practical developments and facilitate the revision of initial impressions.; Hierdie studie stel ondersoek in na die maniere waarop keramiekkuns die trauma van die verlies aan ’n troeteldier uitdruk. Hierdie ontologiese ondersoek fokus op die sterk hegtheidsband wat ek met my troeteldiere gedeel het. Die projek is daarop gemik om nuwe perspektiewe op die temas van smart, trauma en verlies te werp soos dit met troeteldier-eienaarverhoudings verband hou, onderwyl konseptueel relevante teorieë die onderbou van my individuele kunsuitstalling: Per(pet)ual Memorium vorm. Die kunswerke verken traumatiese herinneringe na die dood van geliefde dieremaats. ’n Analise van relevante literatuur, insluitend ’n vergelykende teoretiese studie ondersteun die gevolgtrekkings waartoe daar gekom is deur die kunspraktyk in Per(pet)ual Memorium. My reflektiewe benadering tot kunsskepping maak dit vir die teorie moontlik om rigting te gee aan die kreatiewe proses waar nuwe insigte uit praktiese ontwikkelings voortspruit en die hersiening van aanvanklike indrukke fasiliteer. Text in English with summaries in Afrikaans and Zulu Sun, 01 Sep 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32279 2024-09-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/32009 How to structure an essay Diko, Andisiwe The Open Educational Resource (OER) was created to support undergraduate students in Art History who struggle with academic writing. It is designed to teach them the basics of academic writing and what is expected when writing an essay. Students who register for Art History modules at UNISA come from various disciplines, such as Education, Communication Science, and Language Studies. The objective of the OER is to teach students writing principles that they can apply in Art History and other disciplines that use essay assessments. The OER focuses on how essays are structured, explaining what an introduction, body, and conclusion is with provided examples. This simplifies the process for students from different academic backgrounds. Mon, 01 Jan 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32009 2024-01-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/31997 Costumes and dress codes as tools for cultural construction and social commentary in performative art Ngcobo, Nkosikhona Bongamahlubi This study highlights the importance of costumes and dress codes first as means of cultural construction, and secondly as tools for social commentary art. Its main aim was to discern whether culturally conceived perceptions about the meaning and interpretation of a costume affect the message a performing artist is conveying. The objective was to answer the question of whether the performance can convey the same message in social commentary art without the performer’s chosen costumes as the vital elements of the actualisation of artworks. The diverse and open-ended interpretation and meaning of clothing were interrogated through the application of the theory of the sublime and Nicholas Bourriaud’s concept of relational aesthetics. The study made the argument that when viewers interpret the meaning of artworks that utilise clothes, they are influenced by their prior or cultural knowledge, leading to multiple interpretations of messages and meanings. Six artists were selected to be informants and subjects of this study. The first group included Steven Cohen, Wezile Mgibe, and Carin Bester, who were chosen due to their performances that comment on social issues and utilise clothing. The second group consisted of Mary Sibande, Yinka Shonibare, and Nandipha Mntambo selected for the performative nature and use of clothing in their various artworks. Focus group interviews were conducted as the primary data collection method for this study to firstly decipher the messages and meanings of the six chosen artists’ works. Secondly, to discover whether there is a relationship between the performing artists' intention and the viewers' interpretations, as well as to ascertain the impact of clothing on artistic expression as culturally constructed objects with diverse meanings. This study postulated that clothes as culturally constructed objects are interpreted differently when used in art, subverting socially unjustifiable intolerant behaviour as well as socially constructed biases. It further recommended a follow-up exercise aimed at measuring and validating the impact of agency through performance art as a means for social commentary toward social transformation.; Olu phando luqaphela ukubaluleka kweekhostyum neendlela zokunxiba okokuqala njengezixhobo zokuphuhlisa inkcubeko, okwesibini njengezixhobo zovakalisozimvo ngezentlalo kubugcisa obenziwa eqongeni. Injongo yalo ephambili yayikufumanisa ukuba ingaba iingcamango eziqondwe ngokwenkcubeko malunga nentsingiselo yekhostyum kunye nokutolikwa kwesinxibo ziyawuchaphazela na umyalezo odluliselwa ligcisa lokwenziwayo. Injongo yayikukuphendula umbuzo wokuba umdlalo wokwenziwayo uyakwazi na ukudlulisa umyalezo ofanayo kubugcisa bokuvakalisa izimvo ngezentlalo ngaphandle kwekhostyum ekhethwe ligcisa lokwenziwayo njengezona zinto zifunekayo ekuphunyezweni kwemisebenzi yobugcisa. Ingcaciso eyahlukahlukeneyo nevulelekileyo kunye nentsingiselo yesinxibo zaphononongwa ngokusebenzisa ithiyori yobuhle obuncamisayo (sublime) nengcamango kaNicholas Bourriauds yobudlelwane bobuhle obuncamisayo. Uphando lwenze ingxoxo yokuba xa ababukeli betolika intsingiselo yemisebenzi yobugcisa esebenzisa iimpahla, bakhuthazwa lulwazi lwabo lwenkcubeko ebebenalo ngaphambili, olukhokelela kwiindlela ngeendlela zokutolika imiyalezo neentsingiselo. Amagcisa okwenziwayo amathandathu akhethwa ukuze be ngabanikezeli bolwazi kunye nabathathinxaxheba kolu phando. Iqela lokuqala labandakanya uSteven Cohen, uWezile Mgibe kunye noCarin Bester, nabakhethwa ngenxa yemisebenzi yabo ephawula ngemiba yezentlalo bekwasebenzisa izinxibo. Iqela lesibini lalinoMary Sibande, uYinka Shonibane kunye noNandipha Mntambo elakhethwa ngenxa yendlela elidlala nelisebenzisa ngayo isinxibo kwimisebenzi yabo yobugcisa eyahlukeneyo. Udliwanondlebe lwamaqela olugxilileyo lwenziwa njengemethodi yokuqokelela iinkcukacha zophando ezisiseko solu phando ukuze okokuqala, ziguqule imiyalezo neentsingiselo zemisebenzi yobugcisa yabadlali abathandathu abakhethiweyo. Okwesibini, ukufumanisa ukuba ngaba bukho na ubudlelwane phakathi kweenjongo zamagcisa okwenziwayo kunye nezimvo zababukeli, kwanokuqinisekisa impembelelo yezinxibo kuvakalelo lobugcisa njengezinto ezakhiwe ngokwenkcubeko nezineentsingiselo ezahlukeneyo. Olu phando lubonise ukuba izinxibo njengezinto ezakhelwe kwinkcubeko zitolikwa ngokwahlukeneyo xa zisetyenziswa kubugcisa, ukungavumeli/ukujongela phantsi indlela yokuziphatha yezentlalo engafanelekanga nenganyamezelekiyo kunye nemikhethe eyakhelwe kwezentlalo. Lukwacebisa umsebenzi wokulandelela ojolise ekulinganiseni nasekuqinisekiseni ifuthe learhente ngobugcisa obenziwayo njengemizamo yokuvakalisa izimvo ngezentlalo malunga nenguqu kwezentlalo.; Lolu cwaningo luqala ngokugqamisa ukubaluleka kwemvunulo nemisiko yengqephu njengendlela yokwakheka kwesiko, bese futhi likuveza njengobuciko bokudlulisa umlayezo emphakathini. Inhloso yalokhu ukuba kubonakale ukuthi ngakube kuyaphazamiseka yini ukudluliseka komlayezo wamaciko asika ingqephu mayelana nomqondo nencazelo ngemibono yawo ekwakheni isiko. Inhloso bekuwukuphendula umbuzo wokuthi ngakube umsebenzi wobuciko owenziwayo udlulisa umyalezo ofanayo yini emphakathini ngaphandle kokukhetha imvunulo ethile njengokuyiyo ebalulekile ekuboneni umsebenzi owubuciko. Incazelo nomqondo ovulelekile ngezimpahla zokugqoka kutholakale ngokuthi kusetshenziswe itiyori ebheka ubuhle obungefaniswe nombono kaNicholas Bourriaud wokubheka ubuhle bobudlelwano. Ucwaningo luveza ukuthi uma izibukeli zihumusha incazelo yemisebenzi yobuciko ethinta izimpahla zokugqoka, zibuka ngendlela yolwazi lwazo lwangaphambili noma lwamasiko, okuholela ekutheni zihumushe imiyalezo nencazelo ngezindlela eziningi. Kulolu cwaningo kukhethwe amaciko ayisithupha ukuba yingxenye futhi kukhulunywe ngawo. Iqembu lokuqala belihlanganisa uSteven Cohen, uWezile Mgibe, noCarin Bester, abaqokwe ngenxa yomsebenzi wabo ophawula ngezindaba zenhlalo kanye nezimpahla zokugqoka. Iqembu lesibili belinoMary Sibande, uYinka Shonibare, noNandipha Mntambo bona abaqokwe ngenxa yemisebenzi yabo kanye nokusebenzisa kwabo izimpahla zokugqoka emisebenzini yabo yobuciko eyahlukene. Lapha kubanjwe izinkulumongxoxo zamaqembu njengendlela yokuqala yokuqoqwa kwedatha yalolu cwaningo ukuze kuqala kuhlaziywe imilayezo nezincazelo zemisebenzi yamaciko ayisithupha akhethiwe. Okwesibili, ukuze kutholakale ukuthi abukho yini ubudlelwano phakathi kwezinhloso zamaciko kanye nezincazelo zezibukeli, kanjalo nokuthola umthelela wezimpahla zokugqoka ekukhombiseni ubuciko njengendlela yokwakha isiko kusetshenziswa izincazelo ezahlukene. Lolu cwaningo luveze ukuthi ukwakheka kwesiko ngokwezimpahla zokugqoka kuhunyushwa ngendlela ehlukile uma kusetshenziswa ubuciko, kuhlanekezela ukuziphatha okungabekezelelani emphakathini nokuchema okudaleka emphakathini. Ucwaningo luphinda futhi luncome ukuba kwenziwe ukulandelela okuhloswe ngakho ukuba kukalwe futhi kuqinisekiswe umthelela odalekayo ngenxa yobuciko obenziwayo njengendlela yokudlulisa umlayezo emphakathini mayelana nokuguqulwa komphakathi. Abstracts in English, Xhosa and Zulu Wed, 30 Oct 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31997 2024-10-30T00:00:00Z https://ir.unisa.ac.za/handle/10500/31996 Empowering up-and-coming Ghanaian artists through mentorship in the creative industries for economic development and cultural heritage preservation Holman, Kweku Mensah This study sought to develop a model of empowering up-and-coming artists by enhancing their participation in Ghanaian creative industries, assisted through the mentorship programme led by cultural pioneering visual arts masters. Creative industries are a combination of the creation, production, and commercialisation of creative and cultural content that can serve as goods and/or services. The model explored the impact of mentorship in skills transfer and development towards economic empowerment and maintenance of cultural heritage through enculturation. The importance of the maintenance of cultural heritage is explored using Pierre Bourdieu’s Theory of Cultural Capital. At the same time, the impact of economic empowerment is explained through social cohesion theory towards economic inclusion. This research questioned whether artists’ social structure can function as a system of social stratification in which certain key characteristics of artists and their practice development affect their success in the creative art industries in Ghana. Qualitative research methods of data collection, particularly the multi-case studies approach, were used. The data analysis was done using conceptual analysis to identify cultural capital indicators embedded in contemporary artists' practice in the Ghanaian creative industries. Thematic analysis was done by grouping emerging themes, patterns, and relationships from the collated data to provide useful insights into what accounts for a successful career in art practice through Ghanaian creative industries. This research sought to contribute to the existing literature by adding to the African perspectives on artistic stratification and cultural production in the creative industries. The study also highlights inequalities for policymakers to formulate policies and implement appropriate interventions to address inequalities in the creative industries. Additionally, it would ensure that the prolific practitioners in the creative industries are identified and supported to grow Ghana’s economy and engender social cohesion.; Olu phando beluzama ukuphuhlisa umfuziselo wokuxhobisa amagcisa asakhasayo ngokuphucula ukuthatha kwawo inxaxheba kwimizimveliso yobugcisa yaseGhana, encediswa ngenkqubo yokuqeqesha ekhokelwa ngoomakhwekhwetha kwinkcubeko yobugcisa obubonakalayo. Imizimveliso yobugcisa yindibanisela yokuqweba, imveliso, kunye nokuthengiswa kwezixhobo zobugcisa nenkcubeko ezinokusebenza njengempahla kunye/okanye iinkonzo. Lo mfuziselo uza kuphonononga impembelelo yoqeqesho kugqithiselo lwezakhono kunye nophuhliso olubhekiselele kuxhotyiso lwezoqoqosho nokulondolozwa kwelifa lemveli ngenkcubeko. Ukubaluleka kokulondolozwa kwelifa lemveli yenkcubeko kuphononongwa kusetyenziswa iTheory of Cultural Capital kaPierre Bourdieu. Ngaxeshanye, impembelelo yokuxhotyiswa kwezoqoqosho icaciswa ngengcingane yokusebenzisana koluntu ekubandakanyekeni kwezoqoqosho. Olu phando belunombuzo wokuba ingaba ubume bentlalontle yamagcisa bunokusebenza njengenkqubo yokucwangciswa kwezentlalo apho iimpawu ezithile eziphambili zamagcisa kunye nophuhliso lomsebenzi wamagcisa luchaphazela impumelelo yawo kwimizimveliso yobugcisa bokuqweba eGhana. Kusetyenziswe iindlela zophandontyilazwi zokuqokelela idatha, ngakumbi indlela yezifundo ngemizekelo emininzi. Uhlalutyo lwedatha lwenziwe ngokusebenzisa uhlalutyo lwengqiqo ukuchonga izalathisi zezibonelelo zenkcubeko ezizinziswe kwiinkqubo zamagcisa ale mihla kwimizimveliso yobugcisa yaseGhana. Uhlalutyo lwemixholo lwenziwe ngokuhlelwa ngokwemixholo evelayo, iindlela/iiphateni, kunye nobudlelwane obusuka kwidatha eqokelelweyo ukuze kubonelelwe ngengqiqo eluncedo malunga nokuba yintoni ebangela ikhondo lomsebenzi eliphumeleleyo kumsebenzi wobugcisa ngokusebenzisa imizimveliso yokuqweba yaseGhana. Olu phando lufaka igalelo kuncwadi olusele lukhona ngokongeza kwiingcamango zesiNtu malunga nokuhlelwa okanye ukucwangciswa kobugcisa nemveliso yezenkcubeko kwimizimveliso yobugcisa. Olu phando lukwagqamisa ukungalingani kubaqulunqi bemigaqonkqubo ukuze baqulunqe imigaqonkqubo nokuphumeza ungenelelo olufanelekileyo ukulungisa ukungalingani kwimizimveliso yobugcisa. Ukongeza, oku kuya kuqinisekisa ukuba abantu abanobuchule bokuqweba kwimizimveliso yobugcisa bayachongwa kwaye bayaxhaswa ukuze bakhulise uqoqosho lwaseGhana kunye nokukhuthaza intsebenziswano kuluntu.; Phuputso ena e batlile ho hlahisa mmotlolo wa ho matlafatsa batshwantshisi ba ntseng ba hlahella ka ho ntlafatsa ho nka karolo ha bona indastering ya boqapi ya Ghana, ba thuswa ka lenaneo la boeletsi le etelletsweng pele ke ditsebi tsa bonono tsa bopula-madiboho ba setso. Diindasteri tsa boqapi ke motswako wa boqapi, tlhahiso, le kgwebo ya ditaba tsa boqapi le tsa setso tse ka sebetsang e le thepa le/kapa ditshebeletso. Mmotlolo ona o tla hlahloba phello ya boeletsi phetisong ya ditsebo le ntshetsopele mabapi le matlafatso ya moruo le tlhokomelo ya lefa la setso ka ho ruta ditaba tsa setso. Bohlokwa ba ho boloka lefa la setso bo hlahlojwa ho sebediswa Theori ya Thepa Eo Motho a Iphedisang ka Yona ya Pierre Bourdieu. Ka nako e tshwanang, phello ya matlafatso ya moruo e hlaloswa ka kgopolo ya bonngwe ba setjhaba ho ya ho ho kenyeletswa ha moruo. Patlisiso ena e ile ya sheba hore na sebopeho sa batshwantshisi se ka sebetsa jwalo ka mokgwa wa tlhophiso ya setjhaba moo ditshwaneleho tse ding tsa bohlokwa tsa batshwantshisi le ntshetsopele ya bona ya boikwetliso di amang katleho ya bona indastering ya bonono ya boqapi naheng ya Ghana. Ho ile ha sebediswa mekgwa ya patlisiso ya boleng ba pokello ya datha, haholo-holo mokgwa wa dithuto tsa maemo a mangata. Manollo ya datha e entswe ho sebediswa manollo ya maikutlo ho hlwaya matshwao a moruo a setso a kentsweng tshebetsong ya batshwantshisi ba mehleng ya kajeno indastering ya boqapi ya Ghana. Manollo ya sehlooho e entswe ka ho hlophisa dihlooho tse hlahang, diphethene le dikamano ho tswa ho datha e kopantsweng ho fana ka ditemohisiso tse molemo tsa hore na ke eng e etsang hore motho a atlehe mosebetsing wa bonono ka diindasteri tsa boqapi tsa Ghana. Patlisiso ena e ne e batla ho kenya letsoho dingodilweng tse teng ka ho eketsa maikutlo a Maafrika mabapi le tlhophiso ya bonono le tlhahiso ya setso indastering ya boqapi. Phuputso e boetse e totobatsa ho se lekane ho baetsi ba melawana ho etsa maano le ho kenya tshebetsong mekgwa e nepahetseng ya ho sebetsana le ho se lekane diindastering tsa boqapi. Ho feta moo, e tla etsa bonnete ba hore ditsebi tse hlwahlwa diindastering tsa boqapi dia tsejwa le ho tshehetswa ho hodisa moruo wa Ghana le ho matlafatsa bonngwe ba setjhaba. Abstracts in English, Xhosa and Southern Sotho Thu, 31 Oct 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31996 2024-10-31T00:00:00Z