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The Vice-Chancellor and Principal of the University of the Free State, Prof Francis Petersen, is pleased to invite you to the launch of the Artists in Residency Programme. This event marks the exciting start of a new initiative at the university.
We are honored to have Mike van Graan, a distinguished independent artist and playwright, as our inaugural artist and playwright in residence. Van Graan boasts an impressive career, having authored 36 plays and contributing significantly to the cultural landscape. His expertise extends beyond playwriting, encompassing cultural policy, artist network development (both locally and across Africa), and advocacy work. Notably, he held leadership positions within esteemed organisations such as Arterial Network, the African Arts Institute, and the STAND Foundation. Van Graan's dedication to cultural activism and artistic creation is widely recognised.
Please join us for this momentous occasion:
Date: Thursday 27 June 2024
Time: 15:00-17:00 (followed by a cocktail reception)
Venue: Scaena Theatre, UFS Bloemfontein Campus
For further information, contact Alicia Pienaar at pienaaran1@ufs.ac.za.
Programme highlights include:
- Staged Reading: An excerpt from Return of the Ancestors, a play that pays homage to the satirical South African political play, Woza Albert, explores themes of democracy and sacrifice through the return of figures such as Steve Biko and Neil Aggett.
- Closed Premiere: The Good White, set against the backdrop of the 2015/16 student protests in South Africa, delves into contemporary issues such as race, social justice, and the complexities of human relationships.
Dying of consumption: Studying ‘othering’ and resistance in pop culture
2014-10-31
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The Centre for Africa Studies (CAS) at the UFS – under the project leadership of Prof Heidi Hudson (CAS Director) – conceptualised an interdisciplinary research project on representations of otherness and resistance.
This is in collaboration with UFS departments such as the Odeion School of Music, the Department of Drama and Theatre Arts, the Department of Fine Arts, the Jonathan Edwards Centre Africa and the Department of Afrikaans and Dutch, German and French.
In this project, Dr Stephanie Cawood from CAS leads a sub-project on the dynamics of pop culture and consumerism. Her research unpacks and critiques pop culture representations of othering and resistance by engaging with the othering rhetoric of conspicuous consumption as well as the subversive rhetoric or culture jamming at play in various South African youth subcultures.
Consumerism has become the institutional system in which we live our daily lives. Pop culture is the result when multinational corporations take aspects of culture and turn it into commodities with high market value. In pop culture and its manifestation, consumption, marketers and savvy advertising executives have realised long ago that othering and resistance are powerful tools to artificially create empty spaces in people’s lives that can only be filled through consuming.
“The scary thing is in my opinion that everyone has become a market segment, including very young children,” says Dr Cawood.
In his 1934 book, The Theory of the Leisure Class (TLC), Thorstein Veblen coined the term conspicuous consumption to describe the conduct of the nouveau riche. He contended that when people manage to meet their basic human requirements, any additional accumulation of wealth will no longer relate to function, but will be spent on ostentatious displays of conspicuous consumption or waste. Conspicuous consumption has evolved into invidious consumption where consumption is a mark of one’s superior social status and particularly aimed at provoking envy. The whole point is unashamed one-upmanship.
“Think of the izikhotane or skothane cultural phenomenon where young people engage in ritualised and ostentatious consumerist waste for social prestige. This is an excellent example of invidious consumption.
“Instead of striving to become good citizens, we have become good consumers and none are more vulnerable than our youth irrespective of cultural and ethnic differences”.