https://ir.unisa.ac.za/handle/10500/178 Wed, 17 Jun 2026 08:31:38 GMT 2026-06-17T08:31:38Z https://ir.unisa.ac.za/handle/10500/32574 A traumatic experience from an intimate partner’s violence : a personal catharsis through art Mohale, Makoma Boitumelo This study explores art as a means to work through a lived traumatic experience because of an intimate partner’s violence. It examined the therapeutic qualities of artmaking to process past trauma and facilitate personal catharsis. Practice-led research methods culminated in an exhibition forming part of the research process. The artworks readdress the researcher’s past traumatic experience of intimate-partner violence and represent her journey of working through her experiences through art to reach personal catharsis. Narrative therapy and therapeutic journaling theories facilitated this study. The theories advance therapeutic outcomes of healing and catharsis by crafting metaphorical narratives of difficult experiences and expressing them through art. Data were collected by means of a multi-method approach within artistic research design and practice-led research methods, together with thick descriptions. Reflective narrative and autoethnography formed the method of analysis. The findings demonstrate that art offers multiple pathways to safely revisit and express traumatic experiences of intimate-partner violence and to share one’s experience, inspire dialogue and facilitate personal catharsis.; Dinyakišišo tše di lekola bokgabo bjalo ka mokgwa wa go šoma ka maitemogelo a kgatelelo a monagano ao batho ba phetšego ka ona ka lebaka la dikgaruru tša baratani. Di lekotše boleng bja kalafo bja go dira bokgabo bja go šoma ka kgatelelo ya monagano ye e tseneletšego ye e fetilego le go nolofatša tšweletšo ya bohloko ka matšwasehlabelo. Mekgwa ya dinyakišišo ye e laolwago ke tirišo e feleleditše ka gore go be le pontšho ye e bopago karolo ya tshepedišo ya dinyakišišo. Bokgabo bo ahlaahla leswa maitemogelo ao a fetilego a kgatelelo ya monagano ye e tseneletšego a dikgaruru tša baratani ebile bo emela leeto la gagwe la go šoma ka maitemogelo a gagwe ka go diriša bokgabo gore a kgone go fihlelela tšweletšo ya bohloko bja gagwe. Diteori tša kalafo ka kanegelo le kalafo ka kgašo di nolofaditše dinyakišišo tše. Diteori tše di tšwetša pele dipoelo tša kalafo tša go fola le tša tšweletšo ya bohloko ka go hlama dikanegelo tša tshwantšhišo tša maitemogelo a boima le go a tšweletša ka go diriša bokgabo. Tshedimošo e kgobokeditšwe ka tsela ya mekgwa ye mentši ya dinyakišišo ka gare ga tlhamo ya dinyakišišo ya tša bokgabo le mekgwa ya dinyakišišo ya go laolwa ke tirišo, gammogo le mokgwa wa tlhathollo ya tša leago. Kanegelo ya kgopodišišo le kanegelo ka ga maitemogelo a gago di bopile mokgwa wa tshekatsheko ya tshedimošo. Dikutollo di laetša gore bokgabo bo fana ka ditsela tše ntši tša go etela leswa le go hlagiša maitemogelo a kgatelelo ya monagano ye e tseneletšego ka polokego ye e bakwago ke dikgaruru tša baratani le go abelana ka maitemogelo a gago, go hlohleletša dingangišano le go nolofatša tšweletšo ya bohlokwa bja maitemogelo ao.; Olu phando luphonononga ubugcisa bokuzoba njengendlela yokuqubisana nomenzakalo ophilwe kumava omntu ngenxa yobundlobongela beqabane/umntu omthandayo. Luvavanye iimpawu zonyango loxinzelelo ngobugcisa bokuzoba ukusebenza umenzakalo owadlulayo kwanokukhuthaza ukukhulula intliziyo yomntu. Iindlela zophando ezikhokelwa kukwenza zakhokelela kumboniso ukwenza inkqubo yophando. Umsebenzi wobugcisa bokuzoba ubonisa phandle amava okuchukumiseka okudlulileyo komphandi ngenxa yobundlobongela beqabane/umntu omthananayo kwaye umele uhambo lwakhe ngokujonga amava akhe ngokusebenzisa ubugcisa bokuzoba ukuze afikelele kokumchukumisayo. Iingingane/iithiyori yonyango ngokubalisa ngokutsha nokubhala kwijenali okuphilisayo zizo ezenze lula olu phando. Iingcingane/iithiyori ziqhubela phambili iziphumo zonyango lokuphila nokukhulula intliziyo ngokuthi kwenziwe ubaliso ngezikweko ngamava anzima ukuze avakaliswe ngobugcisa bokuzoba. Iinkcukacha zophando zaqokelelwa ngendlela yeemethodi ezininzi kunkqulunqo lophando lobugcisa bokuzoba kunye neemethodi ezikhokelwa kukwenza, zikunye neenkcazelo ezibanzi. Iimethodi yohlalutyo yenziwe ngembaliso engamava nenzululwazi yebali elibaliswa ngumbhali ngokwakhe ngamava nangeentlanga. Iziphumo zibonakalisa ukuba ubugcisa bokuzoba bunika iindlela ezininzi zokuqwalasela kwakhona ngokukhuselekileyo kwaye zivakalise amava omenzakalo wobundlobongela beqabane/umntu omthandayo nokwabelana ngamava, ukuphembelela incoko nokukhuthaza ukukhupha okuchukumisayo emntwini. Abstract in English, Sepedi and IsiXhosa Sat, 01 Feb 2025 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32574 2025-02-01T00:00:00Z 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/10500/32156 Clothed in meaning: the representation of women in the clay sculptures of Noria Mabasa, Olive Seoka and Rebecca Mathibe Harber, Karen The dissertation investigates the representation of women in clay sculptures made by three female artists from the northern Transvaal. A brief history of southern African terracotta sculpture precedes discussion of the selected artists' lives, and their contemporary imagery is compared with that of two traditional women potters. In an analysis of specific examples, discussion is focussed on iconography (clothing and depicted activities) and on techniques and formal issues to deduce the social meaning of the sculptures. The feminist methodology employed ensures that women's role is thoroughly investigated in both traditional and contemporary rural society. The theoretical research is accompanied by the candidate's practical body of work, and the influence of the research on the iconography and evolution of the black and white drawings and etchings is explored in an Appendix to the dissertation. Text and summary in English Sun, 01 Nov 1992 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32156 1992-11-01T00:00:00Z 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