Browsing by Subject "decolonisation"
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- ItemOpen AccessDeconstructing “de/colonised knowledge” in South Africa: the case of radical academic history under apartheid (1960-1991)(2022) Martinerie, Camille; Bam-Hutchison, June; Teulié, GillesThis thesis explores the inherent complexities and contradictions embedded in the radical turn in South African historiography with regards to the decolonisation of the discipline of history in South African universities under apartheid from 1960 to 1991. By choosing to deconstruct radical history in a white liberal university, the study seeks to further demonstrate the limits of intellectual decolonisation and its underlying assumptions in the academic field during apartheid. It interrogates radical history as a form of academic resistance and leads a reflection on the political role of the intellectual in the context of the anti-apartheid struggle, asking more broadly: to what extent can radical academic history be considered “de/colonised knowledge”? Building on the links between ideology and curriculum, this study aimed to measure the coloniality of history using history examination questions as tools to investigate the methodological, theoretical and ideological assumptions of historians. Theoretically, the study relied on the role of the historian as a recontextualising agent of disciplinary knowledge taught and examined within a historically white higher education institution to study its concomitant underlying historiographical silences at the time. Methodologically, it deployed quantitative and qualitative research methods, using interviews and semi-structured questionnaires with a targeted cohort of authentic interlocutors to triangulate the discursive analysis of institutionalised “de/colonised” historical knowledge. This interdisciplinary study was thus inscribed in a critical deconstructionist approach to knowledge which contributed to a finer conceptual and empirical understanding of the coloniality of history as a discipline and its reproduction in the South African higher education context. The study hopes (1) to contribute to understanding the nuanced intersections between the history of intellectual colonisation and decolonisation and how these tensions impacted on history education in the apartheid university, (2) to provide an original interdisciplinary mixed method of analysis of institutionalised “de/colonised knowledge”, and (3) to contribute new critical insights into blind spots in South African radical historiography in higher education during the period 1960 to 1991, which could shed light on the various understandings of the imperative for decolonisation today in the discipline.
- ItemOpen AccessLocating Malangatana: decolonisation, aesthetics and the roles of an artist in a changing society(2019) De Andrade Pissarra, Mario; Sitas, AriThis thesis responds to the dearth of detailed studies of pioneering African modernists; and the need for fresh theoretical frameworks for the interpretation of their art. Building on recent scholarship that applies decolonisation as an epistemic framework, it argues that a productive decolonial discourse needs to consider concurrent forms of nationalism and cultural agency in both the anti/colonial and postcolonial periods. Central to this approach is an analysis of the aesthetic responses of artists to the experiences and legacies of colonialism. This thesis is grounded in a study of Malangatana Valente Ngwenya (1936-2011), Mozambique’s most celebrated artist. It draws substantially on archival material and rare publications, mostly in Portuguese. The artist’s career is located within changing social and political contexts, specifically the anti/colonial period, and the promise and collapse of the postcolonial revolutionary project, with the pervasive influence of the Cold War highlighted. Following the advent of globalisation, the artist’s role in normalising postcolonial relations with Portugal is foregrounded. Parallel to his contribution to Mozambican art and society, Malangatana features prominently in surveys of modern African art. The notion of the artist fulfilling divergent social roles at different points in time for evolving publics is linked to an analysis of his emergence as a composite cultural sign: autodidact; revolutionary; cultural ‘ambassador’; and global citizen. The artist’s decolonial aesthetics are positioned in relation to those of his pan-African peers, with four 6 themes elaborated: colonial assimilation; anti-colonial resistance; postcolonial dystopia; and the articulation of a new Mozambican identity. Key to this analysis is an elaboration of the concept of the polemic sign, initially proposed by Jean Duvignaud (1967), adapted here to interpret the artist’s predilection for composite visual signs that, in their ambivalence and often provocative significations, resist processes of definitive translation. It is argued that through a juxtaposition of disparate forms of signs, and the simultaneous deployment of semi-realist and narrative pictorial strategies, the artist develops a complex, eclectic and evocative aesthetic that requires critical and open-ended engagement. The thesis concludes with provocative questions regarding the extent to which the artist’s aesthetics reflect hegemonic national narratives, or act to unsettle these. of a new Mozambican identity. Key to this analysis is an elaboration of the concept of the polemic sign, initially proposed by Jean Duvignaud (1967), adapted here to interpret the artist’s predilection for composite visual signs that, in their ambivalence and often provocative significations, resist processes of definitive translation. It is argued that through a juxtaposition of disparate forms of signs, and the simultaneous deployment of semi-realist and narrative pictorial strategies, the artist develops a complex, eclectic and evocative aesthetic that requires critical and open-ended engagement. The thesis concludes with provocative questions regarding the extent to which the artist’s aesthetics reflect hegemonic national narratives, or act to unsettle these.