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| What can restrict expressive freedom available to artists? |
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Definition
practical considerations: such as technology and utilitarian purposes.
(pottery: parameters of clay and firing limit shape and utilitarian purpose {to hold} further limits shape of pots) |
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| medium through which art conveys a message or meaning |
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"visual phenomena created or assembled with the conscious knowledge that they will be destroyed, dismanteld or permitted to decompose within, hours, days, or at the most several months"
-include masks, fireworks, food decoration and mud sculpture
-art that doesn't follow wobst's assertion that artifacts continue to convey information after they're created |
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-informal, ritualized gathering in the United Arab Emirates.
-hostess brings guests tray of food, followed by coffee, followed by her "shandug" or glass box full of perfume and incense. Pass around perfume and dab onto hair, neck, behind ears, or cloak covering armpits, shoulders and chest. Finally hostess lights incense and wafts it under her cloak.
-practiced for purification, islamic belief and to pleasure themselves and their husbands. |
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- the way that artwork is executed
- medium affects the senses that artwork appeals to. (dance, painting, sculpting=visual, music=hearing, culinary=taste, fualah=smell)
- Some media require more skill than others therefore societies tend to favor certain media over others |
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-component of hindu aesthetics.
-equates sexual libido with essential, beneficial and creative energy.
-art is charged with sexual and erotic energy which is mean tot enhance the vital forces of the universe |
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-Generally taken forgranted in Western society
-In all complex, horticultural, small-scale, and hunter-gatherer societies skill is recognized in art
-skill and art go hand in hand |
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| 1950-assigned different racial groups to different residential and business sections in urban areas |
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| 1950- forbid all inter-racial relationships in south africa |
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Term
| Suppression of Communism Act |
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Definition
| -The act formally banned the Communist Party of South Africa and defined communism as any scheme that aimed “at bringing about any political, industrial, social, or economic change within the Union by the promotion of disturbance or disorder |
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1. examination of the ways that the struggle against apartheid impaced the social milieus and choices of representational forms available to black artists
2. The development of modernist art among black artists in SA within its own social and aesthetic contexts.
3.understanding and reinterpretation the local context in terms of a cosmopolitan and nonracial art practice |
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-Prime Minister of SA 1978
-Total strategy was a counterinsurgency plan designed to push back the rise of Black Power using military, psychological, political and economic means
-included aspects of reform and repression
-led to revitalization of popular insurgency that had lost much of its momentum |
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| -protesters were killed in Sharpeville in 1960 for refusing to carry reference books |
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1953
-Enforced separation of races in all educational institutions
-aimed at directing black youth into the unskilled labor market |
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| -Reservation of Seprate Amenitites Act |
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Definition
-1953
-legalized the "seperate but not necessarily equal" public places for blacks, whites and "coloreds" that had sprung up since 48 |
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-1952
-required all black South Africans over age 16 to carry passbooks
- law determined where, when and for how long a person could remain in a given area. (regulated by passbooks)
-Passbook without valid entry=arrest and imprisonment |
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1951
- Creation of 10 African homelands (had no actual correlation between race and geography)
-Bantustans were meant to become nominally independent so black South Africans would no longer legally reside in South Africa |
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| 1948 Legislature adopted from British colonial practices |
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Definition
Practices hardened model for white minority rule included:
1. removal of African families from their farms and placing them in "native reserves"
2. Segregation of living, working and recreational spaces within cities
3. classification of Africans as "temporary sojourners" within cities
4. laws restricting interactions between races including separation of public services and amenities |
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Term
| Grand Apartheid vs Petty Apartheid |
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Definition
-Petty apartheid: separation of public services and amenities, restrictions on interactions between races, etc
-Grand apartheid: creation of homelands with intention of nominal independence |
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Definition
1985-1990
-Response to renewed outbreaks of violent resistance
-Police were given wide-ranging powers for forceful suppression of popular protest including the detention and interrogation of suspects without trial
-over 30,000 people were detained between 86-87 |
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-1976
-Led by Steve Biko
-Soweto students rallied in Soweto
-Protest against study of Afrikaans turned into protest for immediate end to apartheid and release of political prisoners
-Police opened fire and months of protest followed |
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Term
| UDF: United Democratic Front |
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Definition
-1983 UDF formed from loose alliance of churches, cultural groups and unions across racial groups
-sought an immediate end to apartheid
-banned in 1988 and leadership went undeground. Coalition regrouped under banner of Mass Democratic Movement |
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1988
-free settlement act: recognized "grey-areas" united people of all colors in all areas |
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-founded in 1899 as white middle-class neighborhood near Johannesburg.
-1910's became working-class area with diverse cultures
-1930's mostly black location (sekoto's time)
-1955-1960: apartheid government demolished the neighborhood and relocated residents to Soweto
- since then slum with vibrant cultures produced gangsters, writers, intellectuals, artists, jazz musicians |
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-Yellow Houses. A street in Sophia town (1940) is romantic view of urban slum.
-bold colors and vibrant play of patterns
-Sekoto worked with white artists, artwork such as yellow houses represented the experience of black people in the city in a positive light to white people.
-the only black artist who's work was featured in formal art institutions until 1970's. Yellow houses was the only painting he made that went into galleries |
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-informal training and restrictvness of the government led to repetitive, sentimental, self-regarding, and limited set of styles among black artists
-artists lived in townships that had few amenities (such as sophiatown)
-township art=black art
-generic, cubisitic distortions of figures or naturalistic renditions of black life |
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| a space for interactions between black and white artists that were not permitted in the larger society under apartheid. |
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| Modernism (Black and white art of 1940s) |
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Definition
-cultural crossing in formal, pictorial and experiential terms: a self-conscious break with the past as an ongoing search for novel forms of expression and by the experimentation with nontraditional media.
-white art of 1940's looked to local cultures as a means to indigenize their engagement with modernist ideas borrowed from Europe, as well as to validate there own position as a dominant minority in a colonial setting.
-Black art of 1940's was created in setting that was more multiracial, multicultural, internationally inclined and curious than the rest of South Africa. Used naturalism to idealize urban setting of educated South Africans
-required balance between not enough and too much western knowledge |
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| Political images in South African Art |
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Definition
-didn't appear until 1970's and became common in 1980's
- Reproducing nelson mandelas face would've been treason
-Few examples were done by students in classrooms are hard to recognize because they don't say "protest" or "apartheid" on them |
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| Alan Paton-"A Drink the Passage" |
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Definition
-Short story published in 1961
-artist Simelane wins award for his sculpture because the contest committee neglected to write "whites only"
-Afrikaner van Rensburg is so moved that he attempts to befriend the artist
-The two men only connect over piece of art
-illustrates the grey area: art would become intermediary between black and whites |
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-Subjects of artwork had animal proxies that were streched and torn beyond normal recognition
-merging and trading of places between animals and humans, victims and abusers.
-Symbolized condition of colonized people, their own status as "animals", as instrumentalized beasts of burden and fungible objects of labor in the economy of colonial masters. |
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| Black Consciousness Movement |
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-philosophy promoted by ratical intellectuals on black university campuses durin 60's and 70's
-Led by Steve Biko: cofounder of South African Students' Organization (only open to non-whites, felt that mixed-race orgs sidelined black voices and activists needed space to examine their own situation)
-struggle against defeatism and psychological oppression within the black community. Aimed to counter emotional negativity with hope, pride and self-determination.
-sought to renew self-worth and combat racism |
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Artist who was moved by the death of Steve Biko (in prison 1977)
-Chicken series: pencil and ink drawings that dissected and made zoomorphic the tragedy of torture, murder and confinement.
-images weren't heroic, rather encoded the tragedy that befell black school children
-sacrifice of animals : lifeblood of animal spills on the earth nourishing the ancestors dwelling in the soil
-Strenghtens bond between community of living and deceased.
-Chickens were most common sacrifice in urban centers and symbolized black man in Legae's artwork. You can torture, kill and crucify a chicken, but there will always be another one |
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| Elegy by Stopforth (1981) |
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Definition
-multi media on paper on wood panel, depicted Steve biko and his wounds.
-monument against brutality and injustice more than lamentation of death (image on pg 62 text) |
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| Butcher Boys-Jane Alexander (1986) |
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Definition
-three half human figures sitting on a bench (pg64 text) sealed mouths, sexes concealed, appear to be waiting
-one is leaning back anxiously, one is leaning in aggressively, and the third is cross-legged looking bored (third is most frightful: personifies complacency that condones inhumane acts)
-represent the three graces of apartheid, the sinister, inhuman and amoral nature of society as a whole |
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-Black women are bearers of tradition and the next generation. Traded for cattle, breadwinners in homelands, abused when working, critical elements of underpinning the South African Economy.
-animals were symbols of men's wealth/symbols of materialsm in traditional world; representations of the objects of sacrifice that bind communities; and visualizations of personal totems or spirit doubles that influence fate of women. |
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| Animals in white art vs black art |
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-Stopforth and Alexander (white artists) :removed from the worst violence of the struggle. For them, the bloody conflict between men revealed the animal side of human beings. (beastly)
-Black artists: knew the dangers firsthand and viewed brutality in terms of animal sacrifice or the ancestral protective roles of animals. For legae and sebidi animal sacrifice was a sign of the way forward |
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-Artist who, out of exile, focused on black consciousness art and later realist art that protested apartheid
-Rememberme/i am going/time calls me: is a crayon drawing of a man who's back is covered in circles with a red slash in the middle, in a crowd of smudges represents all of the men and women who had disappeared into police custody for speaking out against the apartheid.
- He argued that accountable art would rise from the oppressed communities in south africa and would reflect their interests. (should be antiapartheid) Was disturbed by art of negation (township art) that focused on self-pity.
-artist was "cultural worker"
-Was killed in his home in 1985 when South African commandos raided houses in Gaborone in effort to eliminate ANC cadres and prevent grenade attacks, as well as end Medu Art Ensemble |
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Definition
Formed in 1977, consisted of artists and exiles many who fled townships and aligned with the nonracialist principles of the ANC.
-mission was to create art that was relevant to antiapartheid struggle
-used culture as weapon against apartheid |
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| Culture and Resistance Festival in Gaborone |
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Definition
-organized by Medu in 1982 to promote a culture of "commitment" toward a future democratic South Africa
-purpose was to examine and propose suggestions for the role of art in the struggle.
-suggested term "cultural worker" as alternative to "artist"
-artists, musicians, writers and actors gathered for a week of talks, art exhibitions, and performances |
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| Cultural role during States of Emergency |
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Definition
-groups such as churches and arts organizations became channels for laundering anti apartheid money into the country from overseas
-became a platform and a cover for more direct political actions |
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• 1940s – “See us in a different light” – The illustrations of the lives of cosmopolitan educated Africans in an urban setting, in sympathetic terms, and in a roughly naturalistic manner, in order to express their right to access to the city, to advanced education, and to modernity at large.
• 1950s & 60s – “Finding a voice” – Paintings are not overtly political, many still in the style of the 40s
• Late 1960s-70s – “Humans as tortured/sacrificed animal” – precursor to the Black Consciousness movement and response to police violence
• 1980s – “Overt politics” – art must be political to be worthwhile. Also a time for experimentation with abstract art which conflicted with the ideals above but was political in its own way.
• 1990s– “Reflection and Iconoclasm” - a reflection on apartheid and evoking the healing that would be needed if the “new” South Africa were to survive its long history of brutality. |
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| Hippos, Casspirs and Buffers |
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Armored Personnel Carriers that appear in popular imagry of protest art from 1970's-1990's
- frightening when they first appeared, police sent them to put down unrest surrounding riots, but residents felt that they disturbed peace
-Police and soldiers terrorized residents of black townships
-Children turned Hippos into toys to counter the violence with a delicate game of competition, identification and displacement also for money and entertainment |
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| Mello-Yello, nylon, kewela-kewela |
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Popular nickname given to APC's that's common in parlance and freedom songs.
-mello-yello: canary colored police car
-kewela: climb up or ride
-Nylons: police lorries
*Names mocked the police force for herding black people like cattle. |
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| black schools were shut down, children who were caught between the militants and the police were known as heroic |
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| -symbolized the internally straightforward political message "the state is occupying black townships and using excessive force." |
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