Questioning heritage : colonial ideologies in contemporary museum practice.

Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.The research problem to be explored in this study is to what extent colonial ideologies continue to influence museum society and contemporary museum practices. The museological display of non-Western, and specifically African material cultures will be investigated. This study will enter into a dialogue with the construction of the ‘Other’, both in a colonial context and within museological paradigms. The evolutionary nature of culture and heritage will be emphasized, with particular prominence given to the dangers of exhibiting cultures as static and objectified. The Exhibitions Congo. The Colonial Era (Royal Museum of Central Africa, Tervuren) and Zulu heritage: the history and culture of the Zulu people (Msunduzi Museum, Pietermaritzburg) are used as case studies, as both displays raise questions of appropriation and the display of ‘Other’. These exhibitions are analysed and then contextualized within existing museological research. Current debates located in post-colonial discourse, notably those of Edward Said, are discussed in relation to the display of African material culture. In discussing museum exhibitions and readership, the writings of Hooper-Greenhill and Kaplan are considered. An understanding of heritage is generated in relation to the theories of Lowenthal. The paper concludes that by combining a ‘contrapuntal’ (Said) view of the histories surrounding an artefact, with the acknowledgment of the viewer’s lived experience in accordance with Reader-Response criticism, one would create a basis from which the viewer could begin to question and engage with cultural representations of the ‘Other’

Being white: Part I: A self-portrait in the third person | Part II: Whiteness in South African Visual Culture

This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser

Being white

This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser.</p

Being white: Part I: A self-portrait in the third person | Part II: Whiteness in South African Visual Culture

This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser.This thesis is not currently available in OR