Abstract: In light of recent calls to decolonise curricula at South African universities there has been a renewed interest in what decolonisation might specifically imply for particular academic disciplines. Art history in South Africa has long struggled to move away from its settler colonial origins towards a more Afrocentric focus and its art world has frequently been criticised for being elitist and dominated by white practitioners. To this end, one of the primary questions that this dissertation seeks to answer is to what extent indigenous, African art and African epistemology has been included in South African art history and the institutions that support despite the discourse’s traces of colonialism. Through a discussion and analysis of South African art history this dissertation seeks to describe the changes in the discourse since the late twentieth-century in light of the entanglements of the national; the colonial and the decolonial. Such an analysis is provided through a discussion of the biases of art history as a discourse originating in Western Europe; the geographical location of museums and university departments; the character of South African art historical writing; the curatorial strategies used to display African art in South African museums and the specific nature of art history curricula as it is taught at South African universities. The dissertation that follows therefore aims to provide an overarching view of South African art history that takes into account a range of factors impacting its particular framing so that the question of decolonisation can be adequately addressed. The dissertation finds that South African art history has a specific, settler colonial character and that historical African art has been neglected in art historical discourse despite overt attempts to transform the nature of the discipline post-democracy. It is argued that this may be the result of a shift in focus towards contemporary practice in the twenty-first century and away from the historical as a result of a resistance to cultural or racial labels attributed to art due to the legacy of apartheid legislation. As such, I argue that South African art history may find a path towards decolonisation through a renewed focus on historical South African and African art that is perceived on its own terms.


Abstract: Fred D’Aguiar’s book-length poem, Bill of Rights (1998), imagines the life of a survivor of the November 18, 1978 mass suicide and killing that occurred in Jonestown, Guyana. Using a multi-voiced persona to reflect on both the traumatic events of Jonestown and the problematics of surviving trauma, the poem enacts a ritual performance of remembering and healing for both its poetic persona and audience: a ritual complicated by complexities and contingencies of not only representation, but of trauma itself. The poem’s persona, having escaped death at Jonestown, suffers from the compulsion to repetitively re-enact his experiences there. His repetitions, while aimed at psychic wholeness, only reproduce the original trauma, with the poem fracturing into multiple voices as an enactment of his dissolution. The tacit theory of reiterative performance that D’Aguiar’s poem advances, then, is one of failure rather than liberation: a bill of rights enumerated and desired, but unlived and, perhaps, unlivable. It is in this sense, of a foreclosing of conditions for the present coherence of the subject, that the poem describes an impossible futurity, where the conditions of its impossibility lie in the colonial conditions of Jonestown itself. The poem’s depiction of post-traumatic reconstruction as being necessarily partial is, in effect, an anti-poetics created and maintained by coloniality itself: language fails to remake a coherent subject of experience, and the only future is one where a wounded and unstable subject predominates.









Abstract: This study used life experience methods to gather the narratives of seven adult Indigenous transracial adoptees who have reclaimed their Indigenous identities after experiencing closed adoption during the late 1950s through to the early 1980s. Participants had been members of Aboriginal (First Nations, Metis, Inuit) communities at birth but were then raised outside their Indigenous nations in non-Indigenous families. Through analysis of their stories, I identified four themes that marked their trajectories to reclamation: Imposed fracture (prior to reclamation); Little anchors (beginning healing); Coming home (on being whole); Our sacred bundle (reconciling imposed fracture). Their stories of reconnecting to their Indigeneity, decolonizing and healing illustrate their shifts from hegemonic discourse spaces that characterized their lived experiences as “other” to spirit-based discourses that center Indigenous knowledge systems as valid, life affirming, and life changing. This dissertation contributes to the debate on state sanctioned removal of children and the impacts of loss of Indigenous identity in Canadian society. My findings indicate that cultural and spiritual teachings and practices, as well as, the knowledge of colonization and its impacts on Indigenous families, communities, and nations, all contributed to adoptees’ healing and ability to move forward in their lives. Key recommendations include: further exploration of the concept of cultural genocide in relation to settler-colonial relations in Canada; further examination of the intersection of counter-narratives, resistance discourse, and colonial violence; increased investigation of the connections between Indigenous knowledge systems, living spirit-based teachings and educative aspects of community wellness; and more research examining education beyond formal schooling, including the formative effects upon Indigenous youth of social values, public policy, and legal frameworks.