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Attwell Mamvuto D. Phil 2013 1 .Pdf VISUAL EXPRESSION AMONG CONTEMPORARY ARTISTS: IMPLICATIONS FOR ART EDUCATION BY ATTWELL MAMVUTO A THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF TEACHER EDUCATION FACULTY OF EDUCATION UNIVERSITY OF ZIMBABWE 2013 i Dedication To my family and uncle Davies who have always been a source of inspiration. ii Acknowledgements I would like to extend my sincere appreciation to all contemporary artists, Chikonzero Chazunguza (Chiko), David Chinyama, Charles Kamangwana, Doris Kampira and Chenjerai Mutasa, who granted me the chance to interview and observe them as they worked in their ateliers, and provided artworks for analyses. It was through an analysis of their practice that I gained valuable insights into contemporary visual practice in Zimbabwe. Their co-operation and contribution is greatly appreciated. I am also grateful to colleges and art lecturers, schools and art teachers for the provision of documents for analyses as well as interviews and discussions. The documents were insightful and informative as they contained the much needed data on the implementation of art curricula at various levels of education. Thank you for the valuable information and candid views that made my understanding of current art education in Zimbabwe more informed. Great thanks go to Mr and Mrs Chawatama for the efficient and reliable audio tape recorder that was used in the study. It made the transcription process an easier task than I thought as all the interviews were clear and audible. I am greatly indebted to my supervisors: Dr Natsa, Professor Zindi and Dr Matiure, for their invaluable guidance throughout the entire study. They went through the draft documents and examined their coherence and helped shape the overall structure of the thesis. Last but by no means least I would like to thank my family, friends and colleagues for their moral support. Thank you so much to you all. iii Abstract Zimbabwean art, particularly stone sculpture, has an international acclaim. While contemporary stone sculpture ideally emerged in the 1950s with the advent of Frank Mc Ewen, it has reached many European and Asian countries as well as the Americas. Since then Zimbabwean art has evolved taking other dimensions and new art genres have subsequently emerged. This study sought to interrogate visual expression among Zimbabwean contemporary artists with the aim of proposing curricula reforms in art education reflective of such contemporary practice. The study used a hermeneutic ethnographic design to collect data from purposively sampled artists, art lecturers and art teachers. Contemporary artists were interviewed and observed as they worked in their ateliers. The observations made were complemented by analyses of some of their artworks that epitomised contemporary practice. Focus group discussions were held with art lecturers to ascertain the status and infusion of contemporary art in college curricula. Data on infusion of contemporary art were also sought from secondary school art teachers and analysis of curricula documents at primary, secondary and college levels. Contemporary Zimbabwean art was found to be significantly Westernised through syncretism. Influence was noted in artistic approaches, sources of inspiration, iconography and the use of non-indigenous media. The artists have adopted installations and performances that were not traditionally in the realm of African art. iv Formal art training and attendance at workshops, seminars and symposiums influenced some of the artists to incorporate modern Western ways of perceiving visual expression. Some artists produced art with bicultural aesthetics as they used Western approaches to explore Zimbabwean political, social, historical and economic issues. It emerged that art lecturers and teachers were not quite conversant with contemporary Zimbabwean art but satisfactorily informed about Western art and its traditions. Furthermore, it was narrowly conceptualised as stone sculpture practised by the first generation of sculptors such as Joramu Mariga, and art education in early mission schools. Resultantly, they taught more Western art. Effective teaching of contemporary art was marred by shortage of literature particularly by local writers, limited financial and material resources, negative attitudes by some art lecturers and students, inadequate contact time between lecturers and students, as well as limited knowledge by practitioners about contemporary art, among others. Implications drawn from the study that impinge on curricula innovations at primary and secondary school levels and college level include the following: increasing interaction between contemporary artists, schools and colleges; reviewing college and school curricula to align it with contemporary practice; provision of more literature, particularly by local writers on contemporary art and its practice; reflecting more contemporary art in studio practice; and the need for a critical apprehension of the notion of contemporary art in Zimbabwe by art lecturers and teachers. v Table of Contents Dedication ii Acknowledgements iii Abstract iv List of Tables xii Abbreviations and Acronyms xiii Chapter One: The Scope of the Study Introduction 1 Background to the Study 2 Motivation 7 Theoretical Framework 9 Statement of the Problem 12 Purpose of the Study 14 Research Questions 15 Delimitation of the Study 16 Limitations of the Study 17 Definition of terms 17 Summary 19 vi Chapter Two: Review of Related Literature Introduction 22 Theories Defining Contemporary African Art 23 Contemporary African Art 27 The Evolution of African Art 30 Trends in Contemporary Zimbabwean Art 32 Categories of Contemporary African Art 36 Influences on Contemporary African Art 38 Art Education in Zimbabwe 43 The Current Status of Art Education in Zimbabwe 44 Colonial Policies on Practical Subjects 47 Indigenising the Art Curricula: Pre and Post Independence Initiatives 49 Contemporary Art in Primary and Secondary School Art Curricula 53 Contemporary Art in Tertiary Art Education 56 Regional School of Art and Design 61 Informal Art Education 62 Summary 63 Chapter Three: Research Design and Methodology Introduction 65 Research Paradigm: Ethnography 66 Selection of the Study Site (Harare) 67 Purposeful Snowball Sampling of Artists 69 vii Purposive Sampling of Teachers’ Colleges and Schools 70 Gaining Access 71 Data Collection Methods and Procedures 72 Interviews 75 In-depth Interviews with Contemporary Artists 75 Interviews with Secondary School Art Teachers 76 Focus Group Discussions 77 Document Analysis 79 Analysis of Artists’ Visual Forms 79 Analysis of Art Curricula Documents 80 Participant Observation 81 Data Collection: The Roadmap 83 Ethical Considerations 95 Establishing Trustworthiness and Credibility 97 Prolonged Study at the Sites (Studios) 97 Triangulation 97 Member Checking 98 Thick Descriptions 98 The Researcher as an Instrument 99 Summary 101 Chapter Four: Contemporary Visual Practice in Zimbabwe Introduction 102 viii Self Imaging, Communication and Visualisation 102 Multi-disciplinary Approach to Visual Representation 110 Visual Media and Semiotic Representation 123 Hermeneutic Social Commentary 136 Art and Multicultural Expression 143 Visual Media, Techniques and Object Representation 149 Summary 157 Chapter Five: Contemporary Art in Teachers’ Colleges Introduction 158 Curricula Documents from Riverton Teachers’ College 158 Curricula Documents from Kingsdale Teachers’ College 162 Curricula Documents from Mapango Teachers’ College 167 Lecturers’ Views on the Teaching of Contemporary Art 172 Western Oriented Art Curricula Mapping 172 Resource Needs Marring Scaling up Contemporary Art in the Curriculum 185 Impediments to Implementation of Contemporary Art Programmes 191 Curricula Relevance: An Eclectic Pedagogical Framework 200 Art Curricula Review Framework 206 Multi-Value Systems Towards Art as a Subject in Colleges 212 Consolidated Ideas on Teaching of Contemporary Art in Colleges 217 Summary 225 ix Chapter Six: Contemporary Art in Primary and Secondary Schools Introduction 227 The Primary School Art Syllabus, Grades 1-7 227 The Introductory CDU Art and Craft Booklet 228 The Ordinary Level Art Syllabus (6015) 229 The Advanced Level Art Syllabus (9191) 231 Teachers’ Views on Teaching and Learning of Contemporary Art 233 Multi-Conceptual Views about Contemporary Art 233 Multi-Activity Approach to Integration of Contemporary Art 237 Teaching Contemporary Art in Secondary Schools: Impeding Constraints 242 The Art Curriculum: Its Relevance to Zimbabwe 246 Teachers’ General Views about Contemporary Art 251 Summary of Views from Secondary School Art Teachers 253 Summary 257 Chapter Seven: Conclusions and Implications for Art Education Introduction 259 Discussion of Findings 259 Factors Influencing Visual Expression Among Contemporary Artists 259 Paradigmatic of Symbolisation, Image Making and Iconography Among Artists 263 The Nature of Artistic Knowing and Visual Expression 265 Relevance of the Art Curricula and Syllabi to Society 266 Curricula Reforms Reflective of Contemporary Visual Expression 269 x General Conclusions 272 Implications for Art Education 273 Increasing Interaction Among Schools, Colleges and Contemporary Artists 275 The Need to Review School and College Curricula 275 The Need for More Literature by Local Writers on Contemporary Art 277 Reflecting Contemporary Art in Studio Practice in Schools and Colleges 278 The Need for Critical Apprehension of the Notion of Contemporary Art 279 General Summary
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