Faculty of Humanities (ETDs)
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Item Memory, Trauma and Narrative in Yvonne Vera’s The Stone Virgins and Delia Jarrett-Macauley’s Moses, Citizen &Me(University of the Witwatersrand, Johannesburg, 2024) Mtongana, Lutho Siphe; Musila, Grace A.The notion of memory is a core fabric of identity and navigating human life both at individual level and collective levels. Therefore, when everyday life is disrupted by traumatic events such as wartime conflict, individual and shared memory becomes highly contested, especially when subaltern voices compete with dominant narratives. This thesis explores the role and power of memory in narrating trauma and violence in Yvonne Vera’s The Stone Virgins (2002) and Delia Jarrett-Macauley’s Moses, Citizen & Me (2005). By depicting how memory is at the centre of both texts, the study interrogates the ways in which the authors use memory as a narrative device to mediate healing, reconciliation and reintegration, or as a weapon of silencing survivors of traumatic wartime experiences. Using Sigmund Freud’s argument that trauma manifests both at the moment of distressing event and at the moment of recall of that event, the thesis interrogates the ways in which Vera and Jarrett-Macauley narrate trauma by cross mapping the representation of the Gukurahundi civil war in Zimbabwe and the decade-long civil war in Sierra Leone to the national politics of the respective countries. I argue that while the authors’ approaches to historical conflict differ — with Jarrett-Macauley utilising an expatriate narrator who takes on the role of mediation while Vera draws on history, art and landscape — both authors are concerned with inventing alternative routes to stitching together forms of multidirectional memory.Item An Exploration of Life and Career Narratives of Black Senior Managers: The Storied Habitus of Career Navigation(University of the Witwatersrand, Johannesburg, 2023) Ramodibe, Refiloe; Canham, HugoThis research located black senior managers within a temporal frame that links them with their families, communities, childhoods, socio-political and economic histories. This location shed new light since it illuminated their lives and careers in new ways that are grounded in history and context. It enabled an understanding of black senior managers as bearing histories that they bring along with them into the workplace. To explore the stories of these senior managers, I conducted in-depth narrative interviews with twenty black men and black women who occupy senior positions within the financial services sector. Accessing these histories through the genre of narrative assisted in showcasing what is enabled by storying one’s life, therefore creating circuits of meaning-making that connect seemingly disparate sites of the personal, historical, social and workplace. At its core then, this project was about storying the early lives of black senior managers by locating them as mostly working class, caught up in the struggles against apartheid for democratisation, as benefiting from the opportunities enabled by the transition to democracy, as entering the white and masculine corporate workplace of the financial services sector, and as reaching and navigating seniority in their organisations. The participant’s narratives were read through the lenses of narrative theory, habitus, the black feminist theory of intersectionality, and critical race theory. The basic assumption of habitus is that the way one acts and behaves is influenced by where one comes from and one’s dispositions, including contextually salient identity categories, such as race, class, and gender. The basis of these theories is the assumption that there might be a difference in how people of varying class backgrounds and black men and women narrate their stories of mobility. The stories told by participants highlighted the role of the senior managers’ habitus in shaping their identities and trajectories. Childhood experiences and parental influences were found to have shaped their later behaviours in navigating their career journeys. Access to mentors and sponsors early on in their careers was found to have provided the senior managers with the capital that allowed them to progress to more senior roles. Refuting the existing narrative that black people move between organisations excessively, senior managers’ tenure illustrated that they stayed in their organisations for longer periods than industry norms. Notwithstanding their tenure, their stories suggest that unaccommodating cultures and unconscious bias remain prevalent in the financial services sector. Organisations that had more black people in senior roles were found to drive the transformation agenda iv more intentionally. The black senior managers understood their role as that of influencing the cultures of their organisations while also paying it forward by driving the transformation agenda. In the process of sharing their life and career stories, the black senior managers articulated their experiences and understanding of themselves, others, and the world. Therefore, not only did the personal narratives enlighten us about the participants’ personal and working lives, but they illuminated how their identities as black senior managers working within the financial services sector were shaped over time. A prominent finding from the study was that while the black senior managers shared similar experiences related to race, their experiences differed in terms of their family backgrounds and schooling experiences in their childhood. Black people’s experiences may be common in certain aspects and different in others. This necessitates the importance of exploring heterogeneity in organisational studies. This study contributes to organisational studies, gender and critical race studies, history and social theory.Item Landscape, Rock Art Recording, Narrative: A Biography of The Harald Pager Archive(University of the Witwatersrand, Johannesburg, 2019) Moodley, Lemishka; Wintjes, JustineIn the early days of the discipline of archaeology, the archaeologist Sir Charles Thomas Newton stated, in a lecture at Oxford University in June 1880, that “the subject-matter of Archaeology is threefold – the Oral, the Written and the Monumental” (Newton 1880, p.3–7). By ‘oral’, he meant expressions of spoken language as a form of patterned communication passed down from the past, which he considered to be as significant as written texts and traces of the built environment. Newton’s statement also resonates with ongoing attempts to make sense of the fragmentary remains of the past by including living sources with links to those remains, often referred to as ‘oral traditions’. I argue that the domain of ‘oral’ could be extended in the contemporary context to refer to the realm of the ‘spoken word’. The spoken word is mobilised in the telling of personal histories of researchers engaged in making sense of the past, consistent with a move towards the study of the production of archaeological knowledge, and the broader context of the history of science. The past, and the investigation of that past, can be easily lost or erased with time, unless it is documented in some form. For as long as I can remember, I’ve had a keen interest in knowing about the world that preceded me. So naturally, movies like Raiders of the Lost Ark (1981), The Mummy (1999), Lara Croft: Tomb Raider (2001), 10 000 BC (2008), The Prince of Egypt (1998), Brother Bear (2003) and many others, fascinated and triggered my overactive imagination. These points of inspiration even prompted many crazy shenanigans and adventures that took place in my back yard. Needless to say, my mother was never impressed because her garden was in constant danger of being destroyed through micro-excavations (as I had to find the treasure I buried the previous evening!). However, it was a Pixar animated film — The Croods (2013) — that recently re-ignited my interest in deeper human history. Despite its status as a relatively mainstream commercial animated film, The Croods sparked my curiosity to find ways to visit the past and bring yesterday’s stories into our lives today. After their cave collapses, the first Crood family has to undertake a journey to find a new home. The father, provider and leader of his pack, recounts multiple stories that urge and caution his children to follow the rules described on the cave wall and to not try anything “new”, or generally be curious for that matter. He sees newness as dangerous, with potentially serious repercussions like death. He prefers for them to dwell in the “safe” compounds of the cave in which they live. He develops “cautionary” narratives through visual means by drawing pictures on the cave walls using pigment and dirt he scoops off the ground. The animated film highlights the ways in which a pictorial expression in the form of rock markings could be enlivened in its original context of performance and story-telling, and, also, the ways in which history is forged through personal experience. The film also prompted me to reconsider the academic realm in which rock art is primarily situated in southern Africa, which is archaeology, and the possible perspectives that other disciplines could bring to bear on these materials, such as art history. My understanding of the reasons why rock art (and its copies) can and should also be considered and studied as an art form, ultimately stems from my own experience in art education. The rock art works made by the San people are encoded with “the history and culture of a society” that is “thousands of years old” and “a testament of the displaced ancient African culture and the San presence in the world” (Solomon 2005). By studying these traces as artworks, researchers, historians and archaeologists are reminded to look at the visual features, but also beyond the physical aspects of the work. They begin to consider the processes that contributed to its making, and the various interpretations and meanings that the work had in its context of production, as well as in its subsequent readings. An examination of the process of knowledge production not only draws attention to the development of artmaking and the manner in which different materials were used to create artworks, but also demonstrates the precarious nature of the meaning of rupestrian imagery. An example of this instability of meaning is evidenced by a body of oral histories relevant to the San context, starting with Joseph Orpen’s documentation (1874) of a mountain Bushman called Qing’s account of the meaning behind particular rock art panels. Thereafter, in 1911, Wilhelm Bleek and Lucy Lloyd produced Specimens of Bushmen Folklore, a book of 87 recorded legends, myths and other traditional stories of the |Xam Bushmen in their now-extinct language (Solomon 2005). These resources integrated the “spoken word” with Bushman ethnographic research and laid the foundation for how we read and write about the art today, and they also provide numerous different ways into the question of interpretation. I have utilised my previous first-hand experience as an intern at the Origins Centre, where Simone Opperman and myself worked under the guidance of Steven Sack and Lara Mallen. In working towards the exhibition titled, The Origins of Walter Battiss: “Another Curious Palimpsest”, we worked closely with the Rock Art Research Institute (RARI), and my interest in rock art and its archive grew immensely. Here, I learned of the Harald Pager archive, which is physically located at RARI. After speaking to my supervisor, Dr Justine Wintjes, and listening to the way in which she briefly recounted the story of Harald Pager, who was an active rock art recorder and researcher during the 1960s and 1970s, I wanted to learn more about the man who seemingly died for his craft. Wintjes mentioned that Pager recorded San rock art in the Drakensberg area along with his wife for many years. The Pagers relied heavily on their personal resources in order to keep the recording and documentation process going, and ended up incurring financial debt. Harald Pager was passionate about archaeology and sought to understand the rock paintings he discovered in his travels across the region, which also included what was then South West Africa (now Namibia). In one of the conversations held in the course of my Masters research, Neil Lee explained that Pager dwelled for months on end in a shelter in order to finish the copies of rock paintings he sought to record. Pager’s adamance and determination, and even his belief that he could change his metabolism, apparently led to ill health while recording rock art in the Brandberg in 1985. He died a short time later in Windhoek (Neil Lee 2018, pers. comm.). 7 Given the scale and meticulousness of Pager’s archive, and in light of the conversations I had about him, it seemed strange that his work and story are engaged with so seldom within academia. Nevertheless, Pager’s vast archive lives on in the storerooms of RARI, and now also in the digital world. His recordings were recently digitised during the course of the South African Rock Art Digital Archive (SARADA) project, which sought to scan and make more accessible the content related to southern African rock art at RARI and other institutional and private archives. With the rapid rate at which technology is developing and progressing, physical archives are being turned into digital databases, while also being supplemented by newly created digital materials. However, like all archives, digital archives are not ‘permanent’. They have their own kind of media-specific fragility. The digital archive also has the potential to become obsolete and demonstrates a different kind of limited lifespan. Although digital files are also not physically present in the same way that a physical copy or photograph is, and “lose” a particular kind of materiality and stability, they gain a virtual presence and potentially greater accessibility. As with the ‘original’ archive of rock art that exists in the landscape, the traditional paper archive and the digital archive represent different kinds of longevity and fragility, and have a complex relationship with each other. While being subject to changes and deteriorations of various kinds, the archive is important as a record of archaeological materials in the landscape, but is also a site where knowledge is produced, and the practice of science is conducted. Thus, I set out to devise a project that would address some of these interests and problems, to find connections between the present and the past, and to focus on ‘process’ across the rock art archive in the broad sense of the term. I also wanted my project to address absences and silences within the archive, embedded within the documents and copies as well as the rock art itself. I approached the archive as a layered domain that extends beyond the strictly ‘documentary’ archive, and adopted a ‘personal histories’ approach as a way of forging connections across that archive. I explain this working strategy in more detail in the ‘Methodology’ section below, but first I explore some of the conceptual elements that frame the project.Item Pandemic parenting: Stories of ordinary experiences in an extraordinary time(University of the Witwatersrand, Johannesburg, 2023-07) Yarde-Leavett, Claire Emma; Haynes-Rolando, HayleyThe study sought to give voice to parents of children who display ADHD traits including hyperactivity, impulsivity and inattentiveness during the covid-19 pandemic. The aim was to explore their experiences of parenting during this unprecedented time in history. Qualitative data were gathered through narrative interviews from ten parents (seven mothers and three fathers) from middle-class backgrounds, living in Johannesburg. Photo elicitation was used as a tool to gather parents’ stories and reflections of their pandemic parenting experiences in a creative, self-directed manner. The qualitative data were analysed using a reflexive thematic analysis that generated four key themes: (1) Adjusting to an upside-down world; (2) Experiences of wearing too many hats; (3) Parents’ (re)views of how their children’s ADHD traits affected their learning at home; (4) Covid, a mixed bag of losses and treasures. A social constructionist lens for data analysis allowed for the exploration of how the covid-19 pandemic disrupted discourses and systems that shape parents’ embodied experiences. Possibilities for new understandings of parents and as well as their children who display ADHD traits were considered. The findings can help to deepen our understanding of middle-class family life, challenge gendered relations, reconsider children's play and learning, transform schooling practices, foster meaningful parent-teacher interactions, encourage community-building, and prompt a re-evaluation of our understanding of "disorderly" children and their unique learning needs. By embracing these insights, we can pave the way for more inclusive and effective approaches to supporting families and children in navigating the complexities of education and well-being in times of crisis.