Browsing by Author "Martinez-Ruiz, Barbaro"

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    Imagining space and place: the representation of Africa through image and text in Andrew Lang's Fairy Books (1889-1910)
    (2023) Womersley, Alice; Bam-Hutchison, June; Martinez-Ruiz, Barbaro
    This dissertation examines the representation of Africa and Africans in Andrew Lang's Fairy Books (1889-1910) considered to be the first global anthologies of fairy tales. Published at the heyday of the British Empire, they presented Africa and Europe alongside each other to the Victorian-era British audience of the time. As an appraisal of Lang's role as curator/editor, the study interrogates the books as containing representations of Africa from outside of Africa. While the inclusion of tales originating in Africa makes steps towards acknowledging an African story tradition independent of Europe, the editing process shaped the tales through European tale traditions and coloured by colonial perceptions of Africa. Lang's collaborative team of predominantly female translators/adaptors, as both Victorians and women, shaped the texts through their own sensitivities. The images, also created through one pictorial lens by Henry Justice Ford, were informed by imagination rather than fact, and the images were embraced for artistic merit rather than accuracy. The dissertation explores how the representation interplay and slippage between the image and text in this colonial project of ‘fairy tale' created a complex and contradictory single narrative of Africa and Africans. From this new assessment of Andrew Lang's Fairy Books (1889-1910), the dissertation formulates the argument of the cartographic imagination as fairy tale by comparing both the visual and textual components of fairy stories and maps, in addition to how they operate, how they are assembled, and their roles as agents of socialisation. These visual and textual components of fairy stories and maps were two forms of representation that were both used in the 19th century to socialise African people into being ‘productive' colonised citizens. This study models new approaches – cartographic imagination as fairy tale and the image-text relationship – to reinvestigate Victorian representations of Africa and bring a more nuanced understanding and fresh perspective to this area of scholarship.
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    South African art history: the possibility of decolonising a discourse
    (2017) Becker, Danielle Loraine; Haupt, Adam; Martinez-Ruiz, Barbaro
    In light of recent calls to decolonise curricula at South African universities there has been a renewed interest in what decolonisation might specifically imply for particular academic disciplines. Art history in South Africa has long struggled to move away from its settler colonial origins towards a more Afrocentric focus and its art world has frequently been criticised for being elitist and dominated by white practitioners. To this end, one of the primary questions that this dissertation seeks to answer is to what extent indigenous, African art and African epistemology has been included in South African art history and the institutions that support despite the discourse's traces of colonialism. Through a discussion and analysis of South African art history this dissertation seeks to describe the changes in the discourse since the late twentieth-century in light of the entanglements of the national; the colonial and the decolonial. Such an analysis is provided through a discussion of the biases of art history as a discourse originating in Western Europe; the geographical location of museums and university departments; the character of South African art historical writing; the curatorial strategies used to display African art in South African museums and the specific nature of art history curricula as it is taught at South African universities. The dissertation that follows therefore aims to provide an overarching view of South African art history that takes into account a range of factors impacting its particular framing so that the question of decolonisation can be adequately addressed. The dissertation finds that South African art history has a specific, settler colonial character and that historical African art has been neglected in art historical discourse despite overt attempts to transform the nature of the discipline post-democracy. It is argued that this may be the result of a shift in focus towards contemporary practice in the twenty-first century and away from the historical as a result of a resistance to cultural or racial labels attributed to art due to the legacy of apartheid legislation. As such, I argue that South African art history may find a path towards decolonisation through a renewed focus on historical South African and African art that is perceived on its own terms.