Electronic Theses and Dissertations (Masters)

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A Beginner’s Guide to Puzzle Design: Creating an applied guide for effective puzzle design in videogames
(University of the Witwatersrand, Johannesburg, 2023-06) Prinz, Erik; Flusk, Timothy; Reid, Kieran
While a vast collection of information exploring effective puzzle design exists, it is riddled with conflicting opinions and inconsistent formats, making it arduous to engage with. This research aims to curate this collection, organizing its knowledge into an applied guide for puzzle design in videogames. This will be accomplished through an amalgamation of design principles offered by selected works of oundational literature, and the insights contained within the design philosophies of three industry professionals (Jonathan Blow, Kim Swift, and Arvi ‘Hempuli’ Teikari). The synthesis of these two families of information will be aided by the simultaneous development of a puzzle platforming videogame. Through a process of iteration and playtesting, this game will be used to assess the value and accuracy of the developing guide. With careful consideration of useful structures present in the foundational literature, the plethora of existing information can be reformatted to be user-friendly and appliable by novel puzzle designers.
A Happier Life Through Sad Mode - Designing Automated Players for Single Player Games
(University of the Witwatersrand, Johannesburg, 2023-06) Chola, Saili; Reid, Kieran; Du Preez, Kirsten
Solo games are a keystone of tabletop board gaming for players and designers alike. While they are numerous and enjoyed by many members of the community, there is a noticeable lack of clarity and exploration of what principles make these games uniquely interactive and enjoyable experiences for players. This project responds to this inadequacy through the development of a playable game and a research report. The game demonstrates and tests the virtues of solo game play mechanics while the report expands and discusses the interpretable results and qualities of said solo game mechanics.
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.
A transpersonal approach to drama therapy techniques for embodied grief work with women who experience loss and distress from an abortion
(University of the Witwatersrand, Johannesburg, 2024) Brollo, Gillian Susan; Pankhurst, Margie
Abortion as a lived experience is not often explored in research or therapy, particularly when women are distressed as a result of an abortion. This research addresses the scarcity of such explorations through developing and testing a workshop model based on transpersonal drama therapy in order to examine how women who are distressed after an abortion express and manage their experience, and also how women can integrate an abortion into their life story in order to find healing. The two key questions are concerned with firstly, how embodied activities can bring unconscious feelings to the surface, and secondly how narrative can work to integrate a distressing experience into a life story so that its emotional impact is managed and the individual finds ways to move forward from the traumatic event. Chapter One is an introduction to the context, one in which women who experience a sense of loss or grief after an abortion find few places for support, healing and most importantly, for expressions of distress. The introduction touches briefly on the hyper-politicised nature of abortion as a phenomenon and how difficult it is to communicate nuance within such a polarised context. Chapter Two is a description of the theoretical framework of the transpersonal approach which also serves a literature review. The literature drawn on includes models of drama therapy, griefwork, embodied grief activities such as rituals, transpersonal philosophies which present a world where the material and the immaterial are connected and draws these theories together within an Afrocentric paradigm. Chapter Three describes the methodology and explains how the workshop was designed and its aims. Chapters Four and Five are concerned with how data was obtained and a data analysis and discussion flowing from that analysis. The final chapter looks at findings including a deep sense of relief and healing in being offered a space to explore their personal experiences of abortion, and in the affirmation iv provided by witnessing other women’s stories and telling of their own; and recommendations for future research such as trying the model with a rural cohort, and extending the process in combining individual and group work in order to dive deeper into individual stories.
A transpersonal approach to drama therapy techniques for embodied grief work with women who experience loss and distress from an abortion.
(University of the Witwatersrand, Johannesburg, 2024) Brollo, Gillian Susan; Pankhurst, Margie
Abortion as a lived experience is not often explored in research or therapy, particularly when women are distressed as a result of an abortion. This research addresses the scarcity of such explorations through developing and testing a workshop model based on transpersonal drama therapy in order to examine how women who are distressed after an abortion express and manage their experience, and also how women can integrate an abortion into their life story in order to find healing. The two key questions are concerned with firstly, how embodied activities can bring unconscious feelings to the surface, and secondly how narrative can work to integrate a distressing experience into a life story so that its emotional impact is managed and the individual finds ways to move forward from the traumatic event. Chapter One is an introduction to the context, one in which women who experience a sense of loss or grief after an abortion find few places for support, healing and most importantly, for expressions of distress. The introduction touches briefly on the hyper-politicised nature of abortion as a phenomenon and how difficult it is to communicate nuance within such a polarised context. Chapter Two is a description of the theoretical framework of the transpersonal approach which also serves a literature review. The literature drawn on includes models of drama therapy, griefwork, embodied grief activities such as rituals, transpersonal philosophies which present a world where the material and the immaterial are connected and draws these theories together within an Afrocentric paradigm. Chapter Three describes the methodology and explains how the workshop was designed and its aims. Chapters Four and Five are concerned with how data was obtained and a data analysis and discussion flowing from that analysis. The final chapter looks at findings including a deep sense of relief and healing in being offered a space to explore their personal experiences of abortion, and in the affirmation provided by witnessing other women’s stories and telling of their own; and recommendations for future research such as trying the model with a rural cohort, and extending the process in combining individual and group work in order to dive deeper into individual stories.
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.
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.
An Ecofeminist Reading of Hadestown: The Myth, The Muscial
(University of the Witwatersrand, Johannesburg, 2023-03) Vos, Abigail; Somma, Donato
Hadestown: The Myth, the Musical has merged two ancient love stories and has presented these stories within a world riddled with environmental damage. The four main characters (Orpheus, Eurydice, Persephone, and Hades) are influenced by the environment in various ways. Persephone acts as the goddess of the natural world and therefore is nature’s ambassador. Hades, the king of the Underworld, has become an industrial mogul and has inadvertently damaged the earth with his industrial kingdom. As a result, Eurydice is left to suffer these consequences and faces poverty and hunger because of the environmental imbalance that engulfs her. Orpheus, in response, attempts to write a song that will bring balance to the world once more. Our characters are situated within an environmentalist fable; therefore, the musical’s narrative centres around how these characters interact with the environment. The music of Hadestown has been carefully selected in an eclectic way. Jazz, folk, musical theatre, and opera have all had various influences on the musical world of the show. This influence is not simply limited to the score, but the histories of these genres bleed into the work. Folk and jazz both carry profound messages of struggle and protest with them, and therefore the use of these genres aids in the environmentalist activism presented in the musical. These genres and their social and geographical histories are layered into Hadestown. The musical allows for deep character analysis and textual analysis through the writing of Anaïs Mitchell. In this research, I will present an analysis of the lyrics of Hadestown to present the embedded themes of environmentalism, anti-capitalism, and anti-industrialism. My analysis will present how the pained Earth and Her inhabitants reflect the pain endured by the Global South, specifically by women. Impoverished women in third-world countries face most environmental consequences accompanying the Global North’s incessant need for more. This effect is portrayed in the lives of Eurydice and Persephone. An ecofeminist framework will be applied to the work as Persephone exhibits inherent ecofeminist traits. Hadestown presents its audience with a mirror of the world they live in and ask its audience what it will do about it.
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
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.
Bridging the Digital Divide: Afrocentric Approaches in the 2021 My Body My Space Online Arts Festival for Rural Emakhazeni, Mpumalanga
(University of the Witwatersrand, Johannesburg, 2023-08) Khathi, Nomfundo Linami; Ntombela, Nontobeko
The attempt at online arts festival for a rural community seems to be executed in ways that do not consider issues of digital dissemination in historically marginalised spaces. Those organising events requiring internet access in rural communities overlook that rural areas are not very ‘well’ developed. The study does not reject online arts festivals for historically marginalised areas but suggests that the approach taken should take into account rural issues related to resources. The hindrances with online access for rural communities have not been adequately addressed. The theory of Afrocentrism emphasises that Africans need to make Africa the centre of their own problems and solutions, by advocating that Africans need to locate themselves historically and culturally. They need to acknowledge their context and situation so that they can provide solutions aligned with their problems. The study notices a paradigm shift in South Africa, as the MBMS festival is now being held in the rural Emakhazeni community, moving away from the ‘traditionally known’ urban festival locations. This shift includes moving from an in-person MBMS festival to an online format in 2021, which has been affected by data and internet coverage issues in rural Emakhazeni. While the festival is accessible online by anyone, its original intention was to serve the Emakhazeni rural community. Through a predominantly qualitative research approach, primary and secondary data were examined, exploring the 2021 MBMS online arts festival hosted on WhatsApp for rural Emakhazeni. The stakeholders in this study include the organisers of the MBMS festival, the Department of Arts and Culture, the Emakhazeni community members, and the performers of the festival. I engage d with multiple sources, to explore how these paradigm shifts could be envisioned or executed differently with an Afrocentric perspective. Although the MBMS online festival is curated in a way that appears to respond to the modern discourses on accessibility and audience development, it simultaneously forgets that rural areas are not very well developed in many parts of South Africa. Through an exploration of the 2021MBMS festival, I unpack the way it established online accessibility and address the implications of this for the rural Emakhazeni. This research contributes to the investigation of what was silenced during the colonial and apartheid eras in South Africa, when many individuals were marginalised and denied access. Both practical steps and policy-oriented approaches are suggested by the study.
Catch and release: A Practice-based analysis using interviews from healthcare workers, to explore the impact on self-care, using 5 Drama Therapy core principles and practices.
(University of the Witwatersrand, Johannesburg, 2024) ADLAM, ANTONE; Thibedi, Linda (Mdena)
This is a Practice-based Research study analysing the impact of five core principles from Phil Jones’s nine core principles in drama therapy. Data was collected from interviews with healthcare workers within a private hospital in Johannesburg. This research aimed to find the most suitable core principle for each interviewee, in order for them to practice self-care in an explorative and creative manner. While the research identified the importance of drama therapy and the core processes used within the researcher's rehearsals and solo performance based on the answers from interviews with the healthcare workers, the researcher identified the unique approaches and impact drama therapy holds to practice self-care. The integration of the core principles (as named by Jones, 1996) are embodiment, play, dramatic projection, interactive audience and witnessing, as well as drama therapeutic empathy and distancing.
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
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.
Encountering apartheid publics: an essay film on Hendrik Verwoerd as public symbol 1958-1966 and implications for counter-publics today.
(University of the Witwatersrand, Johannesburg, 2023-11-10) Effendi, Karima; Louw, Lieza; Kenny, Bridget
The policies of separate development under Verwoerd created the material conditions for apartheid and capitalism to thrive, but it's the hypothesis of this project that the pomp and ceremony, the suit, his speeches and performative statecraft, created the affective conditions for his thinking to make its way from the past into our present-time. This is a discursive inquiry that draws on political theory, psychoanalysis, feminist theory and essayistic film theory to explore how the slipperiness of apartheid discourse makes it impossible to counter it on its own terms. Verwoerd symbolised a pernicious ‘covering over’ of irreconcilable ambiguities in apartheid discourse that was used to construct and stabilise whiteness against ‘other’ constitutive subject formations. The second part of the creative project is an essay film, Verwoerd’s Smile, that uses an ‘apartheid’ and colonial archive to attempt to show up its own discriminatory logic. The film’s failure in doing this has a productive value that is instructive for understanding how the cloak of invisibility that shrouds whiteness from being seen doing its work, also protects it from being dismantled. Understanding this has implications for radical projects concerned with undoing apartheid.
Entangled Intimacies: An Experimental Curatorial Project of Transdisciplinary Becoming-With
(University of the Witwatersrand, Johannesburg, 2023-08) Thomas, Rory Lee Stewart; Twalo, Sinethemba
Employing strategic modes of textual and curatorial “opacity” (Glissant 1997: 189), this project endeavours to consider how arts-based research methodologies may be uniquely positioned to explore the chaotic embodied implications of the so-called Anthropocene. This work of arts-based knowledge production and explorative enquiry is centred around an exhibition I have curated entitled Entangled Intimacies: art, more-than-human embodiment, and the climate catastrophe, which constitutes this project’s practical component. The exhibition is being held from 10 February to 6 May 2023 at the Goethe-Institut Johannesburg gallery and features newly commissioned artworks by local practitioners Tzung-Hui Lauren Lee, Io Makandal, and Natalie Paneng. This research report considers the ongoing process of curating this exhibition via a varied textual pathway that follows through a number of different considerations and references. These include an assessment of individual and collective grief, the potential of utilising curatorial opacity as a means of relating to the chaos of ecological degradation, and a discussion of a selection of previous curatorial projects from the last two decades which have engaged this reality through contemporary art. These projects include DON’T/PANIC (2011), Sex Ecologies (2021-2022), and the ongoing work of Johannesburg based not-for-profit arts organisation POOL (founded in 2015). The diverse, and at times perhaps disorientating, form of this research report is a curatorial and written reflection on the chaotic implications of more-than-human embodiment in the Anthropocene. This is conceived as an actualisation of curator Stefanie Hessler’s (2020: 249) assertion that “[t]he uneven, uncontainable climate crisis obligates curators to rethink ways of working. Exhibition making in times of ecological disaster … needs to differ from previous curatorial modes.” This project works to remain aware of the city of Johannesburg as its site of emergence while also engaging with the globally interconnected reality of the Anthropocene. It thus offers a propositional, mutable, and exploratory gesture towards what contemporary curatorial practice within this uncertain time and place marked by ecological violence may entail.
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.
Lil_ith- A love story for South Africa’s queer, misfit youth
(University of the Witwatersrand, Johannesburg, 2023-03) de Jager, Robin Claude; Wessels, Christopher
This project takes the form of an explorative filmic investigation into and reflection on the archetype of the queer misfit in South African cinema. The film and research take the standpoint of the South African misfit archetype being a post-queer-theory subject in relation to the country’s historical, socio-economic, sexual, traditional and technological landscape. I will compare the appearance of the queer misfit through the arrival of the neon and caustic characters of the New Queer Cinema movement of the 1990s to South Africa’s contemporary emergence of this archetype, positioning Queer Theory and the New Queer Cinema movement of the early as the primary emergence of a ‘true’ queer voice. I will engage with the influence of socio-economic, political and technological stimuli as well as the emergence of post-Queer Theory in the West and South Africa and its contribution to the evolution of the queer and misfit in post-colonial South African cinema. Through a practice-led, autoethnographic approach I combined these findings with core theoretical frameworks on post-modern sexuality by Queen and Schimel to inform and fuel the development of the film Lil_ith. The film stands as a creative execution expanding on the South African Misfit archetype in relation to the global history of Queer Misfit representation as well as its relationship with South Africa as a nation in the process of de-lonialisation within a digitised and globalised world.
Locality Shaping the Institution: Genesis Connection Youth Skills Multimedia, Riverlea, Johannesburg
(University of the Witwatersrand, Johannesburg, 2024) Pather, Jodie; Ntombela, Nontobeko; Khan, Sharlene
Following the rich history that community art centres have had in South Africa, this research questions how locality may ideologically shape community-based arts institutions and have a bearing on how they operate and what they have access to. Specifically, this study looks at the community-based arts organisation, Genesis Connection Youth Skills Multimedia (Genesis), in Riverlea, Johannesburg. This research report is carried out to ascertain the extent to which Genesis and the work that they do is influenced by their home community of Riverlea, and how this locality may affect or determine their curriculum, programming, and access to funding. Through episodic interviews, I explore the significance of locality to community-based art centres as is experienced directly by facilitators of different initiatives. The first chapter in this report deals with an overview of scholarship on community art centres; defining and contextualising them, including a historical overview of community art centres that have existed in Johannesburg. Locality, as a concept and its associated literature as related to community art centres is discussed and incorporates perspectives from facilitators working in the field. The second chapter presents a historical overview of the area of Riverlea and builds on the description from Chris Van Wyk’s autobiographical work Shirley, Goodness and Mercy (2004), as a way of complementing, enriching and humanising the academic perspectives on the area of Riverlea. These upfront chapters provide the context for the birth of Genesis, and the terrain that it operates in. Lastly, the third chapter looks at the funding landscape that has sustained community-based arts in South Africa, with specific attention paid to government-funded community-based arts centres, alongside a discussion of how Genesis is funded. The purpose of this is to establish an understanding of the accessibility of funds for arts organisations, what their unique challenges may be, as well as to highlight the sustainability of government-funded organisations in comparison to that of self funded organisations, such as Genesis

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