Socio-political and cultural identity in the visual arts in Namibia: A study of transitional and post-independent Namibian visual arts, focusing on John Muafangejo, Joseph Madisia and Ndasuunye Shikongeni
| dc.contributor.author | Mtota, Ervast | |
| dc.date.accessioned | 2015-11-25T07:24:39Z | |
| dc.date.available | 2015-11-25T07:24:39Z | |
| dc.date.issued | 2015 | |
| dc.description | A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Visual Arts | en_US |
| dc.description.abstract | The purpose of this study was to make a critical and in-depth analysis of the cultural identity and the socio-cultural statements of transitional and post-independent indigenous Namibian visual art. It aims to investigate how transitional and post-independent indigenous Namibian visual art is different from visual art developed during the colonial period, by focusing on issues of cultural identity and socio-political statements. For this purpose, three indigenous Namibian visual artists were discussed, namely; John Muafangejo, Joseph Madisia and Ndasuunye „Papa‟ Shikongeni. This is because the three artists are presumed to have produced art that embodies Namibian cultural identity and social commentary. The study used a review of literature, interviews with key participants, observation and interpretation of artworks as methods of collecting data. Artworks were also interpreted according to their metaphoric and symbolic expressions. The study found that transitional and post-independence indigenous Namibian visual artists have shifted from the Eurocentric influences of Namibian artists prevalent during the colonial period. Transitional and post-independence indigenous Namibian visual artists use their cultural backgrounds, traditional practices, fantasies, beliefs, socio-political environment and immediate surroundings as their sources of inspiration. In contrast, many Namibian artists during the colonial period used Eurocentric art training influences, the wildlife and landscapes as their sources of inspiration. The study therefore shows that Namibian visual art from the colonial period does not reflect Namibian peoples‟ historical and cultural identities and their aspirations for the future. | en_US |
| dc.identifier.citation | Mtota, E. (2015). Socio-political and cultural identity in the visual arts in Namibia: A study of transitional and post-independent Namibian visual arts, focusing on John Muafangejo, Joseph Madisia and Ndasuunye Shikongeni. University of Namibia, Windhoek. | en_US |
| dc.identifier.uri | http://hdl.handle.net/11070/1598 | |
| dc.language.iso | en | en_US |
| dc.publisher | University of Namibia | en_US |
| dc.subject | Visual arts | en_US |
| dc.subject | Namibia | en_US |
| dc.subject | Cultural identity | en_US |
| dc.subject.lcsh | Arts, Namibian | |
| dc.subject.lcsh | Artists, Namibia | |
| dc.subject.lcsh | Art and society, Namibia | |
| dc.subject.lcsh | Art and state, Namibia | |
| dc.title | Socio-political and cultural identity in the visual arts in Namibia: A study of transitional and post-independent Namibian visual arts, focusing on John Muafangejo, Joseph Madisia and Ndasuunye Shikongeni | en_US |
| dc.type | Thesis | en_US |