Addressing Positionality Dissonances In Western Education Models of the ‘Post-colony’
Personal Positionality and Identity as Centres for Imaginative and Creative (Collective) Knowledge Production, and Learning as an Art Practice
This is a project that, through reference to both some experience with, and writings on alternative pedagogical strategies, hopes to make practical the theoretical aspects of fine art thinking. After becoming frustrated by my perception of fine art teaching during my undergraduate degree, as a result of it seeming to employ so few of the creative principles it teaches, I want to pose the question of whether we can understand learning processes that employ the creative process in their actual structure, as art practices themselves? The idea is that if our learning practices become creative practices, we begin to understand and break down the exclusivity and impermeability of fine art culture and discourse- a culture that largely excludes Black bodies, in a country where Black people are the majority. Through creating a reading, viewing, and art production group that operates according to the positionality of those in the space, I foresee an art practice whose natural trajectory will begin to depart from the gallery space, and in fact, abandon it as a reference point altogether. Framing these lines of alternative learning spaces for oppressed peoples as an ‘escape’ that exists within the institution, I am interested in whether other Black creative escapisms, primarily Afrofuturism (a Black diasporic movement) might situate itself in contemporary Cape Town and nationally.
Michaelis School of Fine Art
University of Cape Town
31 -37 Orange Street Gardens
8001 Cape Town