Culture as a weapon of the struggle: black women artists contributions to South African art history through conferences and festivals between 1982 and 1990

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dc.contributor.authorSooful, Avitha
dc.contributor.co-promoterGbadamosi, Raimi, Prof.
dc.contributor.promoterCarman, Jillian, Dr.
dc.date.accessioned2023-08-14T01:12:30Z
dc.date.available2023-08-14T01:12:30Z
dc.date.issued2018-11
dc.descriptionD. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology.en_US
dc.description.abstractStudies on art made by women have been deprived of their place in the history of art, globally, however, within the South African context, white women were placed firmly within the arts while black women were marginalised. This study makes two assertions, that culture was used as a weapon during apartheid in the 1980s, and that black women, as artists, contributed to South African art history through conferences and exhibitions. The process adopted in securing these two stated positions was to use the frameworks of Critical Race Theory (CRT) and grounded theory as methods to elicit personal experiences through interviews with six women involved in the arts and who contributed to the apartheid struggle during the 1980s. The process used to structure the research and collect data, was an argumentative review of selective literature. Exhibition reviews, conference presentations and proceedings, as well as journal publications between 1982 and 1990. The review concentrated on ‘what’ and ‘how’ statements made on black artists, specifically black women, to understand the reasons for the neglecting of black women artists in the construction of South African art history in the 1980s. Culture as a weapon of the struggle constructed a substantial part of this research as the study considered aspects that constituted struggle culture during the 1980s and the role of black women within this culture. Important to the role of black women as cultural activists was the inclusion of the oppressive nature of class, gender and race as experienced by black women during apartheid to expose the complexities that impacted black women’s roles as activists. A discussion of conferences, and festivals (with accompanying exhibitions), and the cultural boycott against South Africa, the official adoption of culture as a weapon of the struggle, and the resolutions taken at these conferences is investigated. Also of importance was the inclusion of women as a point of discussion at these conferences: their poor position in society, and support for the inclusion of more women into the visual arts. In support of black women’s contribution to South African art history, a discussion on black women as cultural activists is included. This includes interviews with six activists who were part of the liberation struggle during the 1980s who shared their experiences. The study asserts that black artists, specifically black women artists, were prejudiced during the 1980s. This did not however serve as a deterrent to their contribution to a South African art history. Anti-apartheid movements such as the African National Congress (ANC) and the anti-apartheid movement (AABN), Amsterdam, played an integral role in creating alternative cultural platforms that supported a ‘people’s culture’, that enabled the use of culture as a ‘weapon of the struggle’ against apartheid.en_US
dc.identifier.urihttp://hdl.handle.net/10352/670
dc.language.isoenen_US
dc.publisherVaal University of Technologyen_US
dc.subjectCultureen_US
dc.subjectBlack women artistsen_US
dc.subjectSouth African art historyen_US
dc.subjectApartheiden_US
dc.subjectWomen activistsen_US
dc.subjectAnti-apartheid movementsen_US
dc.subject.lcshDissertations, Academic -- South Africa.en_US
dc.subject.lcshWomen anti-apartheid activists -- South Africa.en_US
dc.subject.lcshWomen artists, Black -- South Africa.en_US
dc.subject.lcshArt, South African.en_US
dc.subject.lcshPopular culture -- South Africa.en_US
dc.titleCulture as a weapon of the struggle: black women artists contributions to South African art history through conferences and festivals between 1982 and 1990en_US
dc.typeThesisen_US
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