Electronic Theses and Dissertations (Masters)

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Man-The-Shaman is it the Whole Story? A Feminist Perspective on the San Rock Art of Southern Africa
(University of the Witwatersrand, Johannesburg, 1995-06) Stevenson, Judith S.
Ethnographic accounts show that both shamanic and gender rituals play a critical role in San culture. Although 30% of the women and 50% of the men become shamans, the literature investigating San rock art frequently defines 'Man-the-Shaman' and minimizes the feasibility of female depictions of this important social role. Prior rock art research has tended to separate shamanic and gender processes to the impoverishment of both. This dissertation investigates the symbolic connections between these two social spheres, and argues that they are inseparable. Through this examination of gender and shamanic roles in San society this dissertation argues that metaphors reflect these two social spheres. It also argues that metaphors are a way of life which are expressed both in reality and non-reality. With these points in mind, it investigates the role of men and women as related to San rock art through social roles.
Barriers to protection: gender-related persecution and asylum in South Africa
(2009-10-12T12:24:42Z) Middleton, Julie
In 1998, South Africa became the first country to explicitly state within its refugee law that gender related persecution is a binding basis for asylum, further distinguishing South Africa as a state with outstanding legal commitments to gender equality. Creating further visibility within the law, however, is only one step in the process. How the law is implemented determines its real worth and effectiveness. This study assesses the manner in which asylum decisions are made, particularly in cases of gendered harm, questioning readily accepted and essentialised notions of women and gender. It looks at how the South African asylum system defines legitimate refugees, and the interplay of fluid interpretations of gender, culture, violence and the political within these constructions. Through interviews with officials and asylum seekers, the study identifies trends in the refugee system, and interrogates the reliance on narrow understandings of the political and personal, as well as the nature of conflict and culture.
Writing history through the hammer: an analysis of knowledge production through the South African auction houses
(2021) Maharaj, Arisha
This research will be examining the South African fine art auction houses, which make up the local secondary art market. There is currently very limited research on the local secondary market and the existing studies are largely done from a quantitative perspective on the economic value of art. This has created a knowledge gap for a qualitative study. The aim of this research is to locate the position of the art historical knowledge produced through the art auctions and motivate the placement of this historical knowledge in the larger landscape, as it comes from the bias perspective of a business. Through secondary research and an in-depth study into the functions and objectives of the local auction houses, the ways in which art historical knowledge is produced will be determined and its placement in the larger historical landscape will be argued. Drawing on the concepts of discourse, representation, cultural capital and power and knowledge from theorists Stuart Hall and Pierre Bourdieu, this will provide the theoretical framework for the research.
A visual-temporal excavation of Schaapplaats rock shelter: unearthing a trace fossil
(2021) Yorke, Naudia
In this research report, I set out to provide information about Schaapplaats rock shelter through a multi-sensory, ekphrastic approach as set out by the artist William Kentridge1 to guide the process of looking. As such this project presents an experience of space and time compressed within a single landscape. The research foregrounds the different ways of looking and different ways of perceiving the elements in the landscape. Schaapplaats is a farm located in the eastern Free State. A rock shelter at Schaapplaats which I examine contains a number of objects and traces that relate to various moments in time. The site is an event-loaded spatial nexus which I unpack, closely examining each object to expose the complex layering of objects and traces of events over time. My aim in examining the site in this way is to interrogate the variety of elements in the rock shelter to understand the complicated nature of time and the reading of it in objects. My methodology involves the slow process of describing and pulling-apart the objects, fieldwork that is primarily comprised of being in the space, and visually constructing and reconstructing the space and the elements within it – with a particular focus on the trace fossil (a dinosaur footprint) present in the space. The result is a reflective paper that considers meanings that could be drawn from a singular item, in conjunction with a number of other items within a space that is complex in its variety of traces and temporally layered.
Analysing the player's involvement in video game character animation
(University of the Witwatersrand, Johannesburg, 2021) Ponde, Rugare; Whitcher, Ray
This dissertation investigates the impact of animation on player interest in an existing video game character. There is high demand and expectation regarding character animation quality, yet understanding and achieving this standard is complex and challenging. The quality of a character’s animation is often derived from its direct appeal to the audience and how its representation informs their impression. However, there is a gap in the literature where there is little on how style representation plays a role in character perception and identification in video games. A practice-led approach was used to understand the relationship between player involvement and the player-character's appeal. The process involved the creation of an animation reel to demonstrate how a popular video game character's acceptance can change based on a player's perception of style in the character's animation. I used Link from the video game Super Smash Brothers Ultimate (Nintendo, 2018). The reel was presented to adults between 18 and 35 to review the animations. Using the process of creative exegesis, the theories and concepts about character appeal, animation design, and player involvement were combined to analyse and critique the contributing factors that inform the perception of the creative work. The results from this study indicate that a change in movement style impacted the perception of Link and the participant's demonstrated interest to play him. This study confirms that style representations are an important design consideration to improve a character’s appeal. This topic may benefit the art and technique of character design and how to improve on it.
Beneath the violence: a performance as a research inquiry into the use of performance as a rite of passage to better understand black masculinity
(2021) Johnson, Jermain
The purpose of this Performance as Research project was to gain a better understanding of black masculinity in urban Johannesburg, and the underlying different narratives of young black men in contemporary South Africa. This Performance as Research project made use of Applied Theatre techniques, Drama Therapy techniques and auto-ethnography as methods of inquiry to facilitate data collection and the creation of performances. It also included, specifically, autobiographical work, Invisible Theatre, and Self-Revelatory performance. The research locates itself within the Creative Research framework, as the dialogue on black masculinity was largely articulated through a creative process (a series of applied drama social inquiries) and a performance (pre, during and post). The researcher made use of movement as the medium to argue for the use of performance as a rite of passage to potentially transform held narratives on black masculinity, and to question the extent of the transformation
SHE LINES: The Duel/Duet of Eros and Thanatos in The Act of Drawing Desire: as an expanded Drawing practice
(University of the Witwatersrand, Johannesburg, 2021) Pam-Grant, Sue; Christopher, Natasha
SHE LINES The Duel/Duet of Eros & Thanatos in the Act of Drawing Desire as an expanded drawing practice. In my self-reflexive act of ‘Seeking Susan’, through the explorative act of Drawing Desire, I am drawing in my ‘She Lines’ through the act of (un)packing the Russian Cupping Doll as artistic process-as-practice. This performative disquisition is a self-reflexive, transdisciplinary exploration of Desire, Identity, Loss and Line as it presents through the psychoanalytic ‘Acting-Out’ process in the creative impulse of my expanded drawing practice. Through the act of both ‘Drawing out Psyche’ and ‘Drawing in Psyche’, the creative research interrogates the activating/acting role Eros and Thanatos play in my creative practice. What does the Duel/Duet of Eros and Thanatos look like in the Artist’s ‘Every Love Story’? Women’s imaginary is inexhaustible (Cixous 1976:877) I am reimagining the ‘drawn line’ as it traverses across disciplines and spaces, beyond the recognized traditional and conventional stroke, brush, pencil on paper or canvas. This creative research is an analysis of my transdisciplinary art-making ‘process-aspractice/practice-as-process’. It takes shape and form as a performative proposition: Conversations in Constellations /Constellations in Conversation Through my praxis and practice of mapping, tracking and unpacking, this ‘performance on paper’ analytically examines how, in positioning transdisciplinary process-as-practice in the space of the (in)between, new ‘She Lines’ emerge through ‘Drawing Beyond the Line’ in the performative Act of Drawing Desire.
A practice based inquiry into materiality, minimalism, fantasy and actuality in animated documentary
(University of the Witwatersrand, Johannesburg, 2022) Pater, Dominik Łukasz
This thesis is part of a creative practice PhD that explores the creative possibilities of using animation as a documentary medium through the making of a half-hour animated documentary, titled Polonia, that takes as its subject a historical narrative focusing on the emigration of two Polish families from Poland in the early 1980s, set within the context of broader geopolitical events of that time. This written thesis contextualizes the making of the film by outlining a brief history of animated documentary and through a discussion of the key theoretical concepts that inform the discourse around this subgenre of documentary filmmaking. The thesis provides the historical context for the film’s narrative, outlines its production processes and unpacks its creative choices and iconography. The final part of the thesis discusses key theoretical insights that have emerged from the creative process and how they point towards a ways in which animation can be conceptualised as a legitimate documentary medium. The concept of constructedness as a means of self-reflexivity is identified as the key factor that grants animation this legitimacy. This leads to a discussion of the film as a spatial construct, resulting from the dual process of reconstruction and construction, and comprising both archival and cinematic spaces, as well as the liminal space that exists between fantasy and actuality. There is also a discussion of the film’s performance in and of animation, identifying the avatar as a distinct category of animated character that is granted documentary legitimacy, substance and interiority through its relationship to a real-world referent. Finally, the role of sound is addressed, as relating to the film’s self-reflexive constructedness.
Rediscovering forgotten IsiXhosa women writers: the visibility of Letitia Kakaza and Victoria Swaartbooi in the history of IsiXhosa written literature
(University of the Witwatersrand, Johannesburg, 2022) Salayi, Tembakazi
The benefit of the study is that it will give insight into a period in our country that failed to recognize women in isiXhosa written literature. This is also the period Letitia Kakaza and Victoria Swaartbooi made history by being part of the first black women to publish a novel in isiXhosa. We are also able to explore a country where missionaries took control by manipulating black men and women to convert to Christianity. It is during these times that the Lovedale Press was produced and isiXhosa literature was developed. The history of isiXhosa written literature has largely concentrated on men's contributions to its development, with little mention of women's contributions. As a result, women were silenced and erased from public records. This thesis aims to make visible the identities of Kakaza and Swaartbooi by providing their biographical information and background information of the different institutions that they were part of. The study explores how both writers interrogate language, identity, womanism, and education in their writing. As part of the study, a film has been created that explores the themes that are discussed in the paper. This thesis and the accompanying film project, Ndokulandela, reimagine the histories and experiences of black women writers. By speaking back to narratives that erased women’s voices, this re-imagining sought to correct the lens that only maintained one view of the history of isiXhosa literature. The thesis also raises questions on how biographical films depict women's experiences. The film incorporates both the past and present by including letters and manuscripts by both Kakaza and Swaartbooi as well as the current isiXhosa women writer's experiences. The study will also trace the literature written by the women and an analysis will be conducted of their work. Based on the analysis of the three novels, Intyantyambo Yomzi (1913), UTandiwe wakwa Gcaleka (1914) and UMandisa (1975), the thesis examines the themes that Kakaza and Swaartbooi discussed as well as the political context of the early twentieth century. These books irradiate how both women viewed a woman’s life during the time as well as the idea of womanism.
Causal analysis between unedited and edited translation text: Biko’s non-fiction prose
(University of the Witwatersrand, Johannesburg, 2022) Gumede, Thokozani
A research report submitted in fulfilment of the requirements for the degree of Master of Arts Degree in Translation Studies from the Department of Translation and Interpreting Studies, University of the Witwatersrand, Johannesburg. 2022
Hoop It Up, Loop It Back, Repeat: A Decade of Memory and Interconnectivity at a Johannesburg Basketball Court
(University of the Witwatersrand, Johannesburg, 2022) Cunningham, Alexandra Dolores; Goliath, Gabrielle; Kreutzfeldt, Dorothee
This research and artwork reflects on my memories of a decade at a public basketball half-court in the Johannesburg inner city. The court has become a home to myself and our larger community: its quotidian, repetitive, cyclical nature has allowed us to form a network and family. In exploring the ways in which our community has intertwined, I also explore the cuts and ruptures that occur. Using loops, hoops and the rhythmic nature of each day, my artwork reflects our communal desire for interconnectivity at the court, which forms a foundational netting. The repetition reflects my experience of family and positionality across dissimilarities, while also resonating with the rhythm of hip hop music: ever present at the court. Through conversations with other court community members, I explore these relationships and memories. In my artmaking, I use crocheted textile, pattern and imagery to reflect our experiences: something strong, durable and able to conduct a sense of warmth and comfort, yet also fragile and easy to unravel.
Black Writings: The Modal Mixtape Sampling and Remixing the Ethos of South African Poor Theatre with the Film Medium
(University of the Witwatersrand, Johannesburg, 2022-03) Sono, Sipho Alex; Jansen van Veuren, Mocke
Let’s imagine I’m standing in a record store aisle, with all these nostalgic “records” of film and theatre that I’m too young and perhaps too black to be drawn to, but still somehow feel connected to. Not only that, but I can’t shake the feeling that these records have informed me as a South African and could form new work in a strong way. I'm trying to make a “song”, a cohesive language for my practice as a filmmaker, with an underpinning interest, ethos and an understanding of South African Poor Theatre. In my hand I have a Grotowski “record”, called Towards Poor Theatre (1976), that is the main sample for my track. I’m also “digging through crates”, looking at the Theatre of the Oppressed by Augasto Boal (1974) and other theories of theatre in film, to mix together to make the song. I’ve been listening to tracks by Athol Fugard and Barney Simon, as sources of inspiration. As Pharrell Williams describes chords as “coordinates pointing us to emotion” (2019) , I have begun to think that maybe plays such Woza Albert (1971) and Sizwe Banzi is Dead (1972 ) and their recordings for BBC (1982 and 1983) can serve as chords and indicators to the direction for my filmic practice. Although you might not find a section entitled “methodology” in this paper, what you will find is that it is underpinned by practice based research methodologies, in the interest of Walter Mignolo’s epistemology disobedience. In this paper, I employ DJ Lyneé Denise’s concept of The DJ Scholarship (2013) as a research methodology, which sees the paralleling between the roles of the research to those of a DJ, borrowing ideas and recontextualising them . I sample theatre concepts, ideas and theories to mix and remix them and eventually form my own knowledge around my filmic practice. This notion of deejaying also exists in the research question itself, as it seeks to attempt a blending of two artistic disciplines. It is further carried in the way I approach film and storytelling, through the editing process, cutting, scratching, loop and rewinding for further indentation. This research further makes use of auto-ethnographic methods for meaning making and epistemic disobedience. These methods are employed through personal anecdotes and reflexivity as additive interrogators and informers to the research exploration. This research project also makes use of the personal, in the research film as a means to explore therapeutic processes for film as well as an exploration of the personal as a political enquiry. Auto-Ethnography functions in the crux of this research, it is an inquiry of the self, as a black “born free” South African and my relationship with Poor and Protest Theatre as an inherited artistic voice. As I stand in the middle of this record-store of theoretical frameworks and literature, I am also analysing the “records” which pick and sample. I am studying them and thinking about what they represent and what they indicate about me and the ethos of my filmmaking practice in a traumatised, post-apartheid South Africa . So let’s get to mixing.
The Efficacy of Community Music Education Programmes Towards Youth Development and Audience Development: A Case of Buskaid Soweto String Project
(University of the Witwatersrand, Johannesburg, 2022-03) Thango, Simangaliso Siyathemba; Desando, Marcus Tebogo
The increasing number of community music education projects in South Africa has risen in the last two decades. Due to the sheer rising interest in the positive outcomes of these projects, previously underprivileged areas now have access to music education and a diverse range of musical opportunities. This research report assesses the efficacy of community music education programmes of the Buskaid Soweto String Project towards youth and audience development. The report used the Buskaid Soweto String Project as a case study done through interviews. The results attained from qualitative research conducted, have shown that the training programme administered by the Buskaid Soweto String Project yields good and positive results toits students. In addition, the success of the music education programmes has a favourable effect on audience development. Data collected, revealed interesting themes relating to the efficacy of music education programmes by Buskaid. The most notable outcome and results isthe direction and incentive the project provides to its participants and other existing and forthcoming community music projects. This research results also facilitate and create new study and research prospects in the field of music education in previously disadvantaged communities.
Situating the Camera Club of Johannesburg in South African Histories of Photography 1960–1989
(University of the Witwatersrand, Johannesburg, 2022-05) Meyersfeld, Michael; Doherty, Christo
In this research report I present my dissertation together with a self-curated hard-cover book containing one hundred photographs. The two must be viewed as a single entity, with the dissertation providing the supporting evidence for the images selected. In this part of the research report, I discuss the Camera Club of Johannesburg (CCJ), focusing on the work produced by the black and white print section during the 1960s, 1970s and 1980s. Given the progressive outlook of the leadership of the CCJ, work produced during these three decades was rarely seen at other South African clubs. The general apathy of the South African art world towards photography, combined with a sceptical view of camera club photography, resulted in these works being largely ignored. At a time when South African photography was mainly predicated on press and documentary photography, a relatively small group of dedicated photographers were aspiring to produce art with the camera. A selection of these works is shown in an accompanying hard-cover book containing 100 images curated by the author. To situate cameras clubs in the history of photography, I discuss three dominant movements: the Pictorialists, the Photo-Secessionists, and Group f/64. These movements emanated from dissenting voices within camera clubs, with Group f/64 being an example of like-minded photographers opposed to any form of manipulated photography. To highlight the difference between most South African clubs and the CCJ, I discuss the Johannesburg Photographic Society (JPS), the oldest and largest club in Johannesburg, and the Chinese Camera Club of South Africa (CCCSA), formed due to the exclusionary policies of apartheid. Both these clubs remained largely committed to Pictorialism. Both have ceased to exist. By way of contrast, I discuss three overseas clubs, each of which became highly successful by operating outside the prevailing club system to keep their work contemporary. These are the Photo Club Riga, Foto-Cine Clube Bandeirante and the Lexington Camera Club. I argue that the CCJ operated at a different level from most other clubs in South Africa, that the work produced was progressive, and where the keywords of the founding statement of the CCJ – “where originality was not stifled by conventional judging” – were prophetic.
Challenging the Representation of Masculinity & Themes Pertaining to Rape Culture in Film & Televisual Media
(University of the Witwatersrand, Johannesburg, 2022-06) Gondo, Jackson Onai; Heatlie, Damon; Dladla, Tiisetso
This dissertation raises questions around the representation of masculinity and in turn the notion of ‘toxic masculinity’ in film and televisual media, and will result in a project in the form of a screenplay and animated scene that subverts these representations and makes the audience, through viewing the film, question their relationship to toxic masculinity and ‘rape culture.’ The dissertation looks at the narrative and visual conventions pertaining to masculinity that have existed throughout the history of film and television and how they still manifest themselves today. It looks at attempts to subvert these conventions and where these attempts failed. It also looks at literary scholars who have theorized these notions of masculinity and how those ideas have indeed manifested throughout film and television.
Africanfuturism, placing Africa in the future: an analysis of Pumzi (2009) and Afronauts (2014)
(University of the Witwatersrand, Johannesburg, 2023) Shirinde, Karabelo
Taking into consideration Africa’s long historical relationship with colonialism, alienation and currently neo-colonialism, ‘africanfuturism’ a sub-genre of science fiction and the focus of this study, brings forward the necessity of rooting African science fiction films in the continent of Africa, created by Black people of African descent and ensuring that narratives are driven by the histories, daily social-political and cultural experiences of the people within the continent. Therefore, this study aimed to investigate how the African science fiction films Pumzi (2009) directed by Wanuri Kahiu, and Afronauts (2014) directed by Nuotama Frances Bodumo portray africanfuturism. This study used a developed africanfuturist framework inspired by the description of africanfuturism by author Nnedi Okorafor (2019) and Masego Mashigo (2018). The chosen case study films were analysed according to africanfuturist components, namely: iconography, ideology, geopolitical and socio-cultural background, semiotics and symbolism, and the filmmaker’s profile to determine the extent to which they portray africanfuturism. Further research objectives of this study included the discussion on how Western science fiction films present colonial conventions and the difference between afrofuturism and africanfuturism within the literature review. With the application of the developed africanfuturist framework, this study concludes that both Pumzi (2009) and Afronauts (2014) successfully portray africanfuturism in the capacity of their geological settings, ideological viewpoints, socio-economic and political representations and local cultural symbolisms within the continent. Finally, both films present a nuanced understanding and portrayal of science and technology as it relates to the African continent, and further dismantles preconceived notions about the African continent as described by the West. These representations essentially redefine the relationship between Africa and the science fiction genre by clearly demonstrating, transforming and representing the continent within an imaginative and realist space, coupled with scientific, technological and globalist expressions.
Short Cut: A Feminist Reflection on the Postcolonial Uncanny
(University of the Witwatersrand, Johannesburg, 2023) MILLS, ANGELITA VIOLA; Sakota, Tanja
This research-led praxis Masters interrogates and explores Sigmund Freud’s psychoanalytic theory on the uncanny to realise a short film text, entitled Short Cut. Specific attributes of the uncanny are applied in the film’s attempt to produce a sensibility of the uncanny, in order to convey the anxiety and fear of femicide experienced by women in South Africa on a daily basis. The film is effectively created through the theoretical considerations of the research. Drawing on primary texts from Sigmund Freud, Homi Bhabha and Teresa De Lauretis, the research deliberates on how the uncanny is a critical register through which to articulate conditions of dread and horror shaping the lives of women navigating the spectre of femicide in South Africa. The uncanny is marshalled as an aesthetic-conceptual tool consciously and intentionally used by filmmakers and as an aesthetic and conceptual tool for filmmakers interested in exploring the experiences and traumas of postcolonial women. In so doing, it seeks to provide new possibilities, insights and expressions of representation on film, through the intersectional conceptual lenses of gender, postcolonial theory and psychoanalysis.
Re-curating Bophelong’s Architectural Archive
(University of the Witwatersrand, Johannesburg, 2023) Msutu, Bongisa; Valley, Greer
Re-curating Bophelong’s Architectural Archive is a study that explores the archiving of township (black) architecture, space and geography. The township, as a residential area originally and currently designed for the occupation of impoverished black people, has become a geography of appropriation, and an extension of radical self-care onto space – a spatial care. Bophelong, a township in the Vaal, is the subject of this study because its history – similar to the history of most South African townships - and lack of architectural archives present an opportunity for this exploration. This study provides a decolonial approach to archiving and curating black architecture, space and geography, considered ‘unarchivable’ by the traditional architectural archive that collects and curates in accordance with scientific empiricism. It is this colonial knowledge-producing tradition that renders township geographies epistemically worthless. Through qualitative re-search methods, this study provides and explores strategies of archiving and curating township architecture and space in such a way that it is politically and epistemically valuable to both its people and the architectural fraternity. It is the hope of this re-search that these strategies may lead to the valuing of such an archive, and to the interrogation of traditional architectural knowledge production and its politics of value.
The impact of childhood trauma on intimacy: A literature review exploring Drama Therapy techniques for intimacy recovery in adult relationships.
(University of the Witwatersrand, Johannesburg, 2023) Magee, Kathryn; Thibedi, Linda (Mdena)
This research paper explores how Drama Therapy techniques may be used for intimacy recovery in adult relationships in the context of childhood trauma. The immediate and long term consequences of childhood trauma are multifaceted and vary significantly. However, studies indicate that exposure to trauma during childhood adversely impacts brain development, which may disrupt other developmental processes as well as an individual’s capacity to form and maintain intimate relationships in adulthood. Intimacy is a vital element of relationships in that it provides a framework for communication and connection on various levels. Despite correlations between the two notions, research pertaining to the treatment of trauma with the intention of fostering intimacy is limited. Similarly, in the Drama Therapy field, there is little evidence indicating how the discipline could be adapted with the specific intention of fostering intimacy in relationships. Through an integrative literature review method, research pertaining to the impacts of childhood trauma, how childhood trauma influences intimacy, and predominant trauma treatment approaches and their effects, were explored. This informed an analysis of various Drama Therapy approaches, which may be useful in dealing with childhood trauma and fostering healthy relationships. From the literature examined, Drama Therapy may serve as a versatile tool for emotional regulation, narrative exploration, vulnerability and sharing, and transformation and empowerment, which all have the potential to foster intimacy in relationships
Wayfaring stone: Learning to think with stone, as vibrant matter, in the post-extractive urban terrains of the Witwatersrand ridgeline
(University of the Witwatersrand, Johannesburg, 2023-02) Stone-Johnson, Bridgitta; Le Roux, Hannah; Andrew, David
Johannesburg is a stony city that exists because of endless interplays between below and above. Johannesburg is a city of earth, rock, rubble and dust. It is a mining city in a state of post-extractive fragmentation. The fragmented wildness troubles all of its materiality. The smooth and inert bubble over exposes the decomposition created by what has been taken/extracted from it. As its infrastructure weathers and fragments, the city is often read as a wasteland or ruin, where human agency has failed to smooth over and rebuilt in ever increasingly short cycles. The local and global environmental implications of such material attitudes are threatening the long-term ability of the earth to sustain human and other life. The issues of the Anthropocene are as much material attitudes as they are issues of extraction, consumption and waste. Suppose shifting perspective: from imagining humans as separate from the terrain toward thinking of ourselves as an aggregation of matter, and stony matter as an independent actant, co-labouring in urban terrain formation. In that case, these weathering, fragmentation and aggregation processes can be viewed as vital agencies of stony matter. This shift in perspective would enable us to remain present within the extractive terrain. It enables us to think of the post-extractive urban terrain not as a ruin, but as a feral urban ecology growing and entangling vital stony agencies with other than human matter and human actions alike in the ongoing process of making the becoming-urban terrain. In many ways, Johannesburg exemplifies the 'Anthrop' in the current Anthropocene age. It is the triumph of culture over nature; testament to the planetary impact of material extraction. The consequences are exemplified in its urban terrain, dotted with urban archipelagos of residue that are toxic to the bodies that inhabit them. These islands span in scale from the small sites of waste dumping in urban parks and open mining lands, to the vast scale of scarification left by gold mining and industrial decay within the city. Unlike many cities, where such industrial ruination and extraction are far removed from the city, the location of the gold-bearing reef acts as the catalyst for the formation of the city. Sites of mining residue and industrial decay are situated in close proximity to the city centre and drove the romanticisation of the northern slopes as urban forest, and the use of southern slopes as wasteland. Besides its extractive material past, the city of Johannesburg is located within one of the oldest sections of the earth's crust, the Kaap-Vaal Craton. The central Witwatersrand ridgeline, which runs east-west within the centre of the city, has outcrops of some of the oldest rocks on earth and forms the continental watershed between the Indian and Atlantic oceans. Its extractive residues and material attitudes have significance within a broader discussion concerning city-making as human geo-writing, and its climatic impact is of interest within the Anthropocene. Despite its deep geological and mineral context, the city of Johannesburg has, within the post-apartheid spatial discourse, often been framed as if its geological and atmospheric terrain did not exist. The language used in writings about the city includes descriptors that frame Johannesburg as an immaterial city composed only of its human inhabitants, such as 'the transient city' 1, uitval-grond (remainder, non-place) 2 , the restless city 3 , necropolis and elusive metropolis 4 . These descriptors stem from a dualist material perspective of urban terrains and take a centrist humanist position suggesting that humans are the only agents for change in an inert material terrain. Spatial discourse applies philosophy to the built environment practices including built form and design in architecture, together with urban, town and regional planning, and urban design. Within the context of Johannesburg, through writing in the post-apartheid space, spatial discourse has become critically entangled with the social sciences. Within such spatial discourses, issues of urban terrains, extraction, degradation and materiality are often relegated to the margins, despite their impact on urban inhabitants and epoch-altering consequences for climate and future geological strata. Research risks becoming increasingly abstracted, and ungrounded in the living and active world in which the city's inhabitants move through and touch. In this work I respond to issues of surface, materiality and our human impact on urban terrains in the age of the Anthropocene, and question how spatial thinking contributes to issues of material denial and the degradation of urban terrains. Given Johannesburg's mining and deep geological context, I have chosen to work with the materiality of stone as a representative of human/material dualisms, which I see present here. Stony matters’ contribution to human societal formation is one of the most complex material alliances of the anthropocentric age, and connects momentary human actions to planet-altering effects produced by the complex web of alliances, traces, and matter flows facilitating modern city-making. In framing humans and stony matter as co-labours in terrain formation, I consider stony matter to be a trans-corporeal material, spanning in scale from granular to geological. The term trans-corporeal derives from feminist posthuman theory that says matter exists in multiple states and scales5 that span between bodies (collectivities) of human and other than human alike. Applied to the materiality of stone within this context, I considered stony matter to include the geological terrain as a biosphere. I imagine an urban, geological and ecological whole that includes wild stone in situ within 'urban archipelagos', which protrude into the city grid, filled with human-made, connective infrastructure, rubble and piles. I suggest that the stony matter present here collaborates as agglomerative agents in the formation of urban terrain. Furthermore, I consider weathering, rubbling and aggregating as agencies of stony matter that act in the ebbing and flowing process - rather than being static, or moving towards an ultimate ruinous end. I consider the process of weathering and gathering as relational processes for knowing stones' agency, accessible to the human temporal range through bodily encounters with the materials. I draw on the field of environmental humanities in this work, as it also incorporates feminist posthuman theory and new material theory. It emerges from a trans-disciplinary discussion that questions the human/matter and nature/culture duality implied within a cartesian understanding of matter. Creating a theoretical divide between living and non-living things. question this duality with their work on the posthuman. These collective theoretical positions critique the centrality of the human to act within the world and to forward a bio-centred egalitarianism that seeks to hold human and non-human social relationships as equally relevant in forming a response to issues of the Anthropocene. Posthuman studies propose a non-dualist understanding of the nature-culture binary and emphasise the self-organist forces of living matter. The defining features of Posthumanism take as their starting point, after Braidotti, that all matter is one (Monism), and that all matter is agentic and self-organising. The subject is not unitary but nomadic, and subjectivity includes relations with non-human others10. This implies that thinking is not the prerogative of humans alone, but includes non-human 'others', including stony matters subjectivity. I use the theory here to frame the relationship between humans, stony materials, and terrain. The focus is the nature and culture of stony materials as a vitalist material agent in city-making. I favour an understanding of stony matter as a social collective or social grouping, so framing city-making as a collective act of ongoing making between human and non-human actors. The idea of matter as a 'social agent' suggests that stone is capable of acting independently of humans. Stones may form alliances with other non-human entities or collectivities without human consent or intervention. Within this research, I pose the following questions: How can Johannesburg's urban terrains be considered post-extractive urban terrains? What are the vital agencies of stone in post-extractive urban terrains? How can creative practitioners learn about them through bodily entangled creative practice? How can stone agencies be used as a creative practice methodology to become co-labourers with the living matter as a tool for troubling anthropocentrism in extractive terrains? I explore these questions through an embodied creative practice approach to research, examining these questions within philosophy, literature and artistic practice. I use these questions to develop tools for thinking and practising with the stony matter as ways of relating that enable us to live well with other than human oddkin within post- extractive urban terrains. Furthermore, I explore possibilities for re-imagining posthuman ways of thinking about cities. The ultimate aim of the work is illustrated in the diagram below. In this research, I aim to thicken the conversation around the post-extractive terrain by thinking, acting and practising in stony ways. The work aims to aggregate multiple approaches to thinking through and with the stony matter found within the central Witwatersrand ridgeline, naturally occurring and human-made alike, along the path to understanding post-extractive urban terrains as vibrant and feral sites of becoming. As such, the work situates itself between histories and theories of architecture, urban and material practice, balanced against a creative practice project, which can be considered iterative.

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