Electronic Theses and Dissertations (Masters)
Permanent URI for this collectionhttps://hdl.handle.net/10539/37948
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Item The Awakening: Makudlalwe. A study on how play awakens the inner child in black Indigenous African adults(University of the Witwatersrand, Johannesburg, 2024) Ncanana, Nomfundo InnocentiaOur inner child speaks to the stories of ourselves that we carry around either knowingly or unknowingly. These stories may come in many forms and this research aimed to awaken these early experiences through the method of play. Neuro-dramatic play is a frame of play in Drama Therapy that was used to frame the activity choices. The method of guided play was used as a container to carry out the neuro-dramatic play techniques. These methods also set a frame for understanding how the inner child can be awakened. A way to activate these memories is through using our bodies as a vessel that allows the flow of experience to take place. This is why play is an important element of this research as it assists us in traveling to and navigating that space in time, using our bodies. The colonized African child growing up under post-colonial times may have the experience and memory of being deprived of play due to colonial factors that include Apartheid, land displacement, and but not limited to slave labour. These colonial factors were introduced to hinder the black mind from remembering and consciously being aware of who they are. The system continues to serve those who are oppressors as play factors have not been clearly defined in the African context. This study investigates how the use of play in the context of Drama Therapy, can be used to awaken the inner child of the black Indigenous African adult.Item Composition and Decomposition: On Thornton Dial’s Aesthetics(University of the Witwatersrand, Johannesburg, 2024) Siyothula, Nomalanga; Andrew, DavidIn this study I explore how Composition and Decomposition: On Thornton Dial’s Aesthetics can be theorised and understood within black studies but based on three selected assemblages in his art practice. The study will engage in three forms of Dial’s aesthetics: The aesthetics of the black social life, the aesthetics of ruins and disposability and the aesthetics of revitalisation and care. It is in this form that Dial’s work will be meditated upon. It will do so by centering Composition and Decomposition as the analytical tools. It is a study that will engage in the protocols of black aesthetics, making and unmaking for there to be generativity. So, for this to come into being it is important to understand Dial as a figure in order to arrive at new ways of decolonising black aesthetics.Item Re-imagining African Storytelling Conventions within the Cinematic Virtual Reality Medium(University of the Witwatersrand, Johannesburg, 2024) Langa, Nkateko Nicole; Dladla, TiisetsoIn an advancing technological world, it is far-reaching to engage with the implications of the codes and conventions (re)produced by creative practitioners because of the indefinite possibilities accessible to them. Over the recent years, Virtual Reality (VR) in a cinematic context has orientated itself as a contemporary film practice enabling user agency through its immersive and interactive properties. This dissertation through an Afrocentric framework critically explores the representation and consumption of African culture(s) and strengthening existing cultural experiences through the VR medium. It remains rooted in indigenous knowledge systems and knowledge production located as Afrocentric beyond the African continent. This study manifests as a creative output, a VR documentary titled, AFRICA 360. Moreover, this research addresses the representation of culturally rooted storytelling through a case study of the Tsonga ethnic group and its portrayal within VR. The study of the Tsonga people in South Africa is essential as they are a minority group that is underrepresented, stereotyped and marginalized. It further explores existing African storytelling conventions and how they can be re-imagined in the future. Insight offered from interviews with African VR experts invites a discourse around African VR cinema and innovative storytelling. Additionally, the study examines the representation of African women in VR cinema through a techno-feminist perspective seeking to understand the mutual inclusivity of technology, gender and women. The impact of the historical and contemporary portrayals of VaTsonga women is analysed in relation to its culturally representative influence on empowering African VR narratives. 11 This study uncovers that Cinematic Virtual Reality (CVR) particularly in an African context may be strategically employed for the purpose of although not exhaustive knowledge re- discovery, cultural and heritage preservation, accessing African environments and to deconstruct long standing stereotypes and inaccurate representations to promote gender equality and social inclusion. Cultural representation brings to life aspects of culture that may be fading or misunderstood, allowing them to be experienced by a new generation and preserved for the future. Contemporary representations of culture offer diversified portrayals that resonate with audiences because of their creative adaptations which foster a renewed sense of pride and identity. And lastly, interviews with VR experts reveal how African CVR conventions are presently being re-imagined, drawing from select film texts. Re-imagined practices include: producing local content which caters for global audiences through ‘glocalization’, developing narratives which claim to be radically compassionate rather than empathetic, and exploring storylines inspired by African mythology and history. This study advocates for the possibility for the development of an identifiable and distinct African VR cinematic experience. It will assist in the formulation of a progressive cinematic language and grammar for the making of authentic and decolonised African VR story.Item The usability of cross-device controllers(University of the Witwatersrand, Johannesburg, 2024) Nkosi, Nhlanhla LuckyMany digital platforms require a controlling device for people to interact with them. Examples include TVs with remotes, gaming consoles with controllers and computers with a keyboard. The systems are tightly coupled with their interfacing devices (controller). This coupling leads to unnecessary toxic electronic waste, increases the entry cost to use the digital platforms and often excludes people with niche accessibility needs. This research proposes the first step in assessing the feasibility of decoupling core platforms and controllers by investigating the impact that reusing controllers across different applications, for which they are not intentionally designed, would have on the User Experience. The mixed-method study uses McNamara and Kirakowski's 2006 theoretical framework of understanding Human-Computer Interaction (HCI) to assess research participants’ experience of using three different controllers to interact with two digital products. The study found no significant degradation on the HCI when participants used different controllers. Instead, the results proved that non-conventional controllers enhanced some elements of the participants’ experiences, such as effectiveness. The findings highlight the subjective nature of HCI and, by extension, the need for industry-wide standardisation of interfacing between controllers and platforms to drive innovation in the controller space, which will ultimately lead to better HCI.Item Ndim Lo, Masidlale: A critical exploration of the importance of culture and diversity in South African Drama Therapy spaces(University of the Witwatersrand, Johannesburg, 2024) Mkhize, MawandeThe Anglo-Saxon word “plega” is the concept of playing which means battle, fight, game, or sport (Weiskopf, 1982). In most cases play is believed to have a biological, cultural, and psychological function that is seen as essential to the development of a person from a young age (Cohen, 1987). The founder of psychoanalysis known as Freud describes play as having an important role in the emotional development in people, development that is seen to take place from their early years of life and throughout their lifespan (Johnson, Christie, & Yawkey, 1987). Johnson (1987) states that in relation to Freud's view that suggests that play has its place that takes place mainly in childhood and is abandoned in adulthood, in the name of one being too old for playing. Evidence shows that playfulness in both children as well as adults plays a role in personality characteristics essentially for mental health, imagination, and creativity (Johnson, et al, 1987). Research has shown (Cohen, 1987) that play is not just activities done for fun, but rather there is more to it, it goes as far as having influence on the growth and development of those who choose to partake in the process of play. People play in different ways, in most cases the environment(s) that they grew up in expose them to the way that they are familiar with or may prefer to engage. For instance, for the Black Indigenous community, indigenous games to many may seem more preferable than other methods of play because of their familiarity. According to Burnett and Hollander (2004) indigenous games are viewed as being recreational and characterized by organized play that follows a certain structure and works in accordance with the rules that those involved agreed on that reflect a socio-cultural dimension of reasoning and behaviour. The term indigenous has a strong connection to cultural and historical context (Burnett & Hollander, 2004: 11). Playing indigenous games has an influence on developing positive character traits from an early age by reinforcing African values such as cooperation, communication, strategy, and problem-solving abilities. In South Africa, there are various people with varying beliefs and cultures, these differences are part of what makes the country unique (Gibson, 2003). I believe that none of these matters more than others, and they are all part of what makes it special. People's stories are affected by these differences (Gibson, 2003), these stories can be told based on how they were raised and 6 | M . M k h i z e how they have experienced life. This study explores the various ways in which Black indigenous people engage with play, and ways in which it can be implemented in South African Drama Therapy spaces. Understanding the various forms and ranges of client experiences is very important in order to develop effective therapeutic skills (Elliot, 2008), this process can also help therapists improve their understanding of their clients.Item Exploring the relevance of Garrett's elements of UX design in contemporary design practices through a local Fifa (EA) esports mobile app prototype(University of the Witwatersrand, Johannesburg, 2024) Mjindi, MathewUser Experience (UX) design is a constantly evolving field. This factor requires designers to continually review UX frameworks and assess whether they still meet the demands of advances in technology and user needs. The study focuses on one of the prominent foundational UX frameworks (Garrett’s framework) for its user-centred approach and comprehensive structure of the UX design process. It aims to investigate the relevance of Garrett’s framework, which is described in his 2011 book ‘The Elements of UX: User Centered Design, for the Web and Beyond’. The study also applies Garrett’s framework in the development of a local FIFA (EA) eSports mobile app prototype. The research problem focuses on meeting contemporary user needs while addressing the challenge of integrating UX theory with practical design implementation. The objective of the research is to examine areas where Garrett’s framework is still effective or may be limited, including identifying potential improvements. This is carried out in the context of contemporary design practices to address the needs and expectations of today’s users. The study applies a mixed method approach to establish a comprehensive investigation of Garrett’s framework, with both quantitative and qualitative research. The sampling techniques applied were purposive and convenience sampling, within the premises of a private college in Johannesburg. Data were collected through interviews with academic practitioners and an online survey completed by a sample group of ‘Gen Z’ eSports enthusiasts. The online survey prompted participants to evaluate the FIFA (EA) eSports mobile app before responding to the survey questions rating their experience with the prototype. The study concludes that Garrett’s framework is still a relevant and effective tool for a structured foundation for UX design. It does, however, need enhancements to meet contemporary UX practices and user needs. The study recommends integrating methodologies and approaches such as Lean UX, Agile UX, data analytics, responsive design, and emotional design to offer more comprehensive strategies.Item Seeking joy – Between Secrecy and Silence in a white Afrikaner Home(University of the Witwatersrand, Johannesburg, 2024) Greyling, Marcia Elizabeth; Goliath, Gabrielle; Christopher, NatashaThis mapping practice reveals how biomythography, theoretical enquiry and making can reveal a complex narrative of Afrikaner whiteness and its relationship to silence and secrecy. Themes of secrets and silences indicate the discomfort of witnessing discrimination and by virtue of speaking out, facing rejection and alienation along with those you defended. The image of the unhappy queer child speaking out at the dinner table against the “in group” is employed as visual metaphor. Self-portraiture finds expression in self-writing, performance and transgressive acts representing the tools acquired in my search for a self-affirming identity. My practice is an intentional repetition symbolising therapeutic disclosures; often repeated through voicing in order to work through trauma. A confessional divulges itself, both hidden yet exposed. A haunting insidiousness manifesting as what is not disclosed relates to concealment, protecting family secrets and the silencing repercussions of truth seeking and fearless speech. Opening up a conversation, this writing does not desire to suggest answers about changing whiteness as bad habit. Rather, I bring what is lurking in the background of white actions to the family table for an open disclosure. I am the source of the family’s dis-ease as I reveal a difficult, painful and uncomfortable conversation in which we must face our whiteness. In this explorative manner I keep open the force of this critical engagement and invite participation in this reparative work. I examine how we are stuck in the bad habit of whiteness as a study of self. Through this self-determined act, may I find joy.Item Composing Speech: Investigation and Application of Musical Expression Embedded in Spoken Language(University of the Witwatersrand, Johannesburg, 2024) Du Plessis, Marc; Harris, Cameron; Crossley, JonathanThis dissertation explores the musical potential of emotive expression in cut-up speech sounds. Cut-up is a twentieth-century technique with roots in Dadaism in which one cuts “pre-existing material into radical juxtapositions” (BBC, 2015), made popular in literature by William Burroughs in the 1950s and 60s. Speech is used primarily to communicate information relating to the world around us, but it operates sonically. Therefore, it has inherent parameters that can be manipulated to inform how information is received. The ability to manipulate the inherent sonic parameters of speech is one way in which it can be emotively coded. Sung vocals with lyrical content in music differ from speech in that the roles of information communication and the manipulation of the sonic parameters are reversed. Where speech relies on the manipulation of sonic parameters to augment or diminish the information being conveyed, sung vocals that utilise lyrical content rely on the semantic content to augment or diminish the sonic characteristics of the voice. Sung vocals could therefore be thought of as sonic utterances that are semantically coded. These inherent parameters are shared by music as it also operates in the sonic realm. The researcher used electronic music production techniques to isolate the shared parameters between music and speech (pitch, rhythm, timbre, and dynamics), and composed expressive, accessible, and engaging musical works based on these parameters. Digital music technology has the capacity to explore the limitations of sonic expression, due to its capacity to manipulate recorded sound waves. Therefore, it equipped the researcher with the necessary tools to manipulate cut-up speech sounds with compositional intent. The objective of this research was to compose musical works that drew from popular music styles, with an aesthetic focus on rich, timbrally expressive vocal material created from recordings of speech, to understand the expressive capabilities of the chosen raw material (speech sounds). The methodological procedure was to record speech from various sources, edit (cut-up) the phrases to create brief clips that were divorced from semantic signification, present the edited clips to an audience, and analyse their responses. The researcher used the insights from this analytical process to inform the use of the same speech sounds in the compositional practice. The researcher presented 26 examples (brief composed cut-ups of speech sounds) to 45 participants in a survey group and eight South African music industry professionals in one-on-one interviews. The responses yielded qualitative data that was analysed using thematic coding, followed by statistical analysis using Spearman’s rank v correlation (1904). The results provided vague answers to the primary research questions, but ultimately supplied the researcher with various qualitative interpretations of how the speech sounds expressed meaning in a cut-up context. This informed the researcher’s creative practice in the musical application of cut-up speech. Although the interpretation of the qualitative data did not result in definitive answers to the research questions, the aim of this research to explore the musical application of emotive expression in speech was achieved. The understanding that a listener experiences music in an inter-subjective and inter-contextual manner, combined with the expressive nature of the raw materials, liberated the researcher to compose expressive music without the need to know each listener’s subjective experience of expression.Item Explicit and Implicit Cultural Policies: A Critical Analysis of the Role and Impact of Cultural Policies that Govern the Television Sector in Botswana(University of the Witwatersrand, Johannesburg, 2024) Selolwane, Marang; Chatikobo, Munyaradzi3 Abstract The cultural policy landscape in Botswana is characterized by considerable ambiguity, with far-reaching implications for both the television sector and the broader media environment. Deploying the lenses of implicit and explicit cultural policies, stakeholder management, and intergovernmental relations, the study critically examines the role of policy in propelling Botswana's television sector forward. This paper establishes that the television industry in Botswana faces obstacles due to a convoluted regulatory framework and insufficient cooperation among stakeholders, leading to governance issues and impeding industry advancement. It highlights deficiencies in policy implementation and calls for enhanced collaboration between government departments and broadcasting entities to tackle governance challenges and foster sectoral expansion. The research addressed both theoretical and practical gaps in television regulation in Botswana, advocating for the establishment of a more cohesive and coordinated policy framework to facilitate sustainable growth within the sector. The central argument made in the paper is that the television sector in Botswana is shaped more by implicit cultural policies than explicit cultural policies, and therefore effective coordination and management of stakeholders driving both implicit and explicit cultural policies need to be located in both the Ministry of Youth, Gender, Sport, and Culture and the Ministry for State President to strike an equilibrium of interests and influence.Item Protecting Independent Local Contemporary Fashion: An exploration of policies that shaped the South African fashion industry and approaches to protect local independent South African contemporary fashion as cultural heritage(University of the Witwatersrand, Johannesburg, 2024) Atkinson, Kendall Lee; Desando, MarcusLocal independent South African contemporary fashion designers face a challenging market when entering the South African fashion industry to sell their products. Local independent contemporary designers are forced to compete with the overwhelmingly popular international fast fashion brands that populate malls nationwide with little to no support. This has created challenging and convoluted entry points for local independent contemporary designers and continuous challenges to stay in the market. Independent local contemporary fashion designers offer something different than chain stores: a specific creative and cultural design perspective. People are naturally influenced by their environments and identity; therefore, local independent contemporary fashion designers instinctively design from their cultural perspective. We are losing aspects of cultural identity and history by not supporting or protecting local independent contemporary fashion designers’ businesses. This paper investigates the challenges both the designers and consumers face in the industry and different methods of protecting local independent South African contemporary fashion designers to preserve their art and support the local fashion sector. The research methodology used was hermeneutical phenomenology, and my experience as a consumer of the South African fashion industry was not omitted due to the study method. Five interviews were conducted, three individuals participated in photovoice, and 84 participants were surveyed. The results show evidence of the innate interconnection of culture and cultural heritage with South African contemporary designers and the challenges that the designers face due to policy decisions by the South African government. In order to protect local contemporary fashion designers to allow them the opportunity for success, fashion should be declared as a cultural heritage by the South African government.