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The Imaging of Sexuality and Violence in Nandipha Mntambo's Photographic Work the Rape of Europa

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The Imaging of Sexuality and Violence in Nandipha Mntambo's Photographic Work the Rape of Europa The Imaging of Sexuality and Violence in Nandipha Mntambo’s Photographic Work The Rape of Europa (2009) Gina Van Zyl de Oliveira 2013 1 Declaration I declare that this research is my own, unaided work. It is submitted in partial fulfilment for the degree of Masters of Fine Arts in Fine art at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree, part of degree or examination at this or any other university. ____________________________ ________ day of ______________ 2013 Gina Van Zyl de Oliveira 2 Table of Contents Introduction..................................................................................................................6 Chapter One ...............................................................................................................13 The Photograph: A Layered Text ................................................................................13 Mntambo’s The Rape of Europa..................................................................................14 Identifying Iconography...............................................................................................15 Semiotics and the Photograph......................................................................................17 The Politics of Photography: The Photograph in Africa .............................................17 Photographs as Texts ...................................................................................................20 Text one: Picasso’s Minotaur Kneeling Over Sleeping Girl (1933)............................21 Bovine as Motif............................................................................................................22 Text Two: Classical Western Mythology ....................................................................24 Myth, Metamorphosis and Identity..............................................................................24 Text Three: Painting the World Through the Eyes of the High Renaissance..............27 Greek Mythological Subjects and the High Renaissance ............................................27 Summary......................................................................................................................29 Chapter One Images.....................................................................................................31 Chapter Two...............................................................................................................34 The Rape Script............................................................................................................34 The Rape Script: A Metaphor for Power, Gender and Political Violence...................35 Metaphor......................................................................................................................35 The Rape Script............................................................................................................36 An Implied Gender Politics .........................................................................................39 3 The White Female Nude: A Metaphor for European Culture......................................41 Metaphor and the Black Body .....................................................................................42 Rape as a Metaphor for Colonization ..........................................................................46 Exhibiting Africa: The Anthropological Diorama in the Last Century .......................47 The Diorama ................................................................................................................48 Summary......................................................................................................................50 Chapter Two Images....................................................................................................52 Chapter Three ............................................................................................................55 The Gaze as a Site of Resistance .................................................................................55 The Gaze and Gender...................................................................................................56 Foucault, Sexuality and Power ....................................................................................60 Foucault on the Body, Power and Knowledge.............................................................61 Feminism, Power, Violence and Foucault ...................................................................65 Power and the Gaze: Internalising the Gaze................................................................68 The Gaze as a form of Active Resistance ....................................................................70 Summary......................................................................................................................73 Chapter Three Images..................................................................................................75 Chapter 4 ....................................................................................................................77 A Tacit Protest: The Room Series ...............................................................................77 The Relationship Between Mntambo’s Work and My Own .......................................78 The Imaging of Violence .............................................................................................79 Painting: The Process of Image Making......................................................................82 The Painted Line Between Horror and Humour..........................................................87 Personal Narratives of Violence ..................................................................................89 Dispersing the Gaze .....................................................................................................91 4 After the studio: The Creative Workshop – an Experiment in Process .......................94 Summary......................................................................................................................98 Chapter Four Images..................................................................................................100 Conclusion ................................................................................................................110 Bibliography .............................................................................................................115 5 Introduction I have always been keenly fond of dissecting and analyzing both visual and linguistic metaphors. From a young age I (like many in this country) have had the misfortune (or fortune as I would later perceive it) of having several negative sexual experiences. This was (is) not uncommon in marginalised areas similar to the ones I grew up in. Alcoholism, drug addiction, broken homes, petty crime, physical and sexual violence were/are rife in my neighbourhood and served as material for many mealtime stories and gossip. Intrigued by the myth as metaphor aspect central to Nandipha Mntambo’s The Rape of Europa photographic print, I began thinking about the fantasy element in the imagery combined with the implication of sexual violence that is alluded to in the title. Though the title referred to a sexually violent narrative, it struck me that the image itself might not actually be about the physical act of sexual violence. If I was right and this was the case then what exactly was the image referencing? It was this question that prompted my investigation and research into the imaging of sexuality and violence in this particular work, and subsequently, in my own practice. In this image, Mntambo photographs herself in a pose that references European (Spanish) artist Pablo Picasso’s etching Minotaur Kneeling Over Sleeping Girl (1933). Mntambo’s use of mock painterly effects, choice of subject matter and title are all allusions to paintings of the High Renaissance that make reference to ancient Greek mythology. Her use of these references acts as a metaphor for narratives of violence that link to historical and contemporary discourses around race and gender. Furthermore, the imaging of sexuality and violence in Mntambo’s work links narratives of sex and violence to historical relationships of power and the construction of a post-colonial identity. My initial engagement with texts, essays and exhibition catalogues that dealt with some of the themes evident in Mntambo’s work disclosed some significant incongruences, notably the absence of theoretical works on contemporary Black 6 Women Artists, especially in South Africa. Although many articles outlining Mntambo’s biographical history existed at the time (2010), I struggled to find any critical analysis of her work, particularly The Rape of Europa. Most of the articles focused on Mntambo’s identity, on her cultural background, her gender, race and education, only briefly acknowledging her appropriation of the Greek mythological narrative. My research begins to address the absence of analysis of Mntambo’s dialogue with mythology and art history, and the ambiguity that this dialogue presents. The controversy surrounding The Rape of Europa reception by the (then) Minister of Arts and Culture in 2009, Lulama (Lulu) Xingwana, gave the work a certain notoriety which, in my opinion, should have highlighted some of the complexities and paradoxes in the work but only succeeded in pinpointing the shortcomings of the Minister’s
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