Saturday

Bachelor of Arts Honours in Design 2015 - The Purpose of Research

A personal narrative

“Greater in battle than the man who would conquer a thousand-thousand men, is he who would conquer just one —himself.” ― Siddhārtha Gautama Buddha
The journey of understanding myself as a man in the 21st century with the freedoms I and others take for granted, without attempting to understand those that have gone before and the sacrifices they have made is one of the greatest misfortunes. Coming from a generation where “mentorship” for lack of a better word does not exist and with most of the knowledge of gay history being written from a Eurocentic or American perspective. Being LGBT, there is no central repository of knowledge that one can call on to gain understanding of LGBT history that by enlarge has been outside of the heteronormative gaze. Being considered the deviant or fugitive as LGBT goes against the heteronorm and thus could not find acceptance. A full documented ancient history is therefore impossible. Queer theory is complicated to delineate, but its main concern is to combat against heteronormativity. Though homosexualism is widely accepted in society today there is still a lack of understanding.

Purpose statement
Welcome to Reon Davids precious metal weaving page.

The purpose of this research is to establish the relevance and current knowledge of past signs and symbols used during WWII to persecute homosexuals (1933-1945) in Nazi Germany, there is not only the pink triangle which was used as a sign to shame homosexuals. The intention is to claim other signs and symbols as cipher of pride much as the inverted pink triangle was claimed by the gay community. “For a gay ‘language’ to evolve, a community would normally need to be isolated from society for a lengthy period of time” (Cage 1999:22). The purpose here is not to establish a new language but to use symbols of the past in a new way of visual communication by the wearer of the jewellery to be created. Allowing the viewer insight into wearer’s possible preferences for example as displayed in figure 2.
Creating this range of jewellery that incorporates an assortment of symbols that speaks a language of its own, aimed at the gay market. While remaining mindful of the stigma attached to such symbols as in Figure 1 which is a table of coloured classification symbols for prisoners in concentration camps during WWII.

This is by no means a way to keep LGBT people closeted but finding another way of expression. Lomas, McNeill and Gray (cited by Steele 2013:23) states that, “…gay and lesbians have evolved not only coded clothing practises by which they might recognize others with a similar sexual orientation or interest, but also a nuanced vocabulary for reading dress.” Lomas, McNeill and Gray does not appear in the course list, only Steele. Jewellery with symbols subtly imbedded into them that only is understood by the wearer and others of their persuasion.





Figure 1
Table of colored classification symbols
for prisoners in concentration camps
during WWII
Figure 2
Showing how wearing pieces of jewellery and clothing strategically could carry meaning.
 ( Lord & Meyer 2013:27)






Stonewall in riots


http://www.gaystarnews.com/article/174443/#gs.YGEevDQ

Tuesday

Bachelor of Technology 2014 - The Purpose of Research

Welcome to the Reon David's: Precious Metal Weaving Page.



The purpose of this online research forum is to launch a South African brand by incorporating Zulu basket weaving techniques into jewellery, thereby creating a product that not only speaks to Zulu identity, but that could in future be identifiable to all South Africans. I also wish to generate a platform in the jewellery contexts for the African Renaissance often spoken of but not yet seen as it relates to the fields of design in jewellery. In conjunction with the branding of a jewellery range, I have researched identity of the Zulu people. According to Statistics South Africa the highest urban population is currently living in Gauteng Province, notwithstanding the corridor of Pietermaritzburg and Durban.

Wedding basket by Mary Sibaya


The search for identity had also brought home my own search as a person classified 'coloured' (meaning of mixed descent) in South Africa. It is interesting to note that my maternal family is aware of our German, English and Indian heritage but omits to comment on our black heritage. This is by no means an exception though, it is a norm in the mixed race community in my opinion. 
Great, great grandmother-maternal

German great grandmother-maternal
(Mother in law to my grandmother)
'Coloured' grandmother-maternal (from St Helena Island)

Great Uncle on his wedding day marrying
my Great Aunt. My mother is named after her as she was born 
3 months after this picture was taken.
                                                                        


My father is of Indian descent but because my grandfather lost his parents young I have no connection or images of the family. He also died while my father was a young child.



Friday

Btech 2014 Sources Consulted



Armadillo, Booker’s Blog home page. 2012. [o]. Available:
http://talltalestogo.wordpress.com/2012/09/16/the-blathering-idiot-and-the-pro-accordion-party-part-4-armadillo/
Accessed 06 March 2014

Benesh, CLE. 2012. Mary Lee Hu Working with wire. California: Ornament Magazine. [o] Available:
http://www.ornamentmagazine.com/backissues/backissue_35_3_mary-lee-hu
Accessed 06 March 2014

Butler, J. Rotberg, IR & Adams, J. 1978. The blacks homelands of South Africa: The political and economic development of Bophuthatswana and Kwa-Zulu. Berkeley: University of California Press.

Carton, B. Laband, J. & Sithole,J. 2009. Zulu identities - Being Zulu, Past and Present. London: C. Hurst & Co. (Publishers) Limited.

Dickenson, S. 2006. Ascot formal wear. United Kingdom: Royal Ascot Tickets. [o]. Available:
http://ascotticket.com/Ascot_Formal_Wear.htm
Accessed 15 May 2014

Hall, C. 1994. Gemstones. London: Dorling Kindersley Limited

Honest, BB. 2010. Let them look. Canada: Honest 2 Betsy. [o]. Available:
http://honest2betsy.blogspot.com/2010/11/let-them-look.html
Accessed 06 March 2014

IMperia, G. 2011. Kumihimo wire jewelry. New York: Random House.

Macrae, S. 2001. Designing and making jewellery. Wiltshire: The Crowood Press Limited

Magubane, P. 2002. African Renaissance. South Africa: Struik Publishers (Proprietary) Limited

Maimela, D. 2014. Born frees do not exist. South Africa: Mail and Gaurdian online network. [o]. Available:
http://www.thoughtleader.co.za/davidmaimela/2014/01/08/born-frees-do-not-exist/
Accessed on 20 February 2014

Manheim, J.2009. Sustainable jewellery. London: A&C Black Publishers Limited.

Mcniff, J. 2002. Action research for professional development. [o]. Available: http://www.jeanmcniff.com/ar-booklet.asp
Accessed 26 August 2014

Mertler, CA. 2014. Action Research improving schools and empowering educators. California: Sage Publications Incorporated

Miller, S. 2011. Wire art jewelry. China: Asia Pacific Offset Limited.

Millipede, Jungle Key home page. [Sa]. [o]. Available:
https://answersingenesis.org/archaeology/ancient-egypt/radiocarbon-dating-shortens-the-timeline-for-ancient-egypt/
Accessed 14 May 2014.

Nettleton, A.2010. Life in a Zulu Village: Craft and the Art of Modernity in South Africa.The Journal of Modern Craft 3(1). [o]. Available:
Accessed on the 20 February 2013

Olver, L.2002. The art of jewellery design. London: A&C Black (Publishers) Limited

Mills, GE. 2011. A guide for the teacher researcher. United States of America: Pearson

Statistics South Africa. 2014. Mid-year population estamites 2014. [o]. Available:
http://beta2.statssa.gov.za/publications/P0302/P03022014.pdf
Accessed 18 September 2014

Steyn, ME & Motshabi,KB. 1996. Cultural synergy in South Africa. South Africa: Knowledge Resources (Proprietary) Limited.

Untracht, O.1985. Jewelry Conceptsand Technology. New York: Banton Doubleday Dell Publishing Group Incorporated.

Zulu. [Sa]. [o]. Available:
http://www.sahistory.org.za/people-south-africa/zulu
Accessed 09 October 2014

Btech 2014 Action Research



Approaching the topic and process of manufacture using an action based research methodology which Geoffrey E. Mills (2011) book, A guide for the teacher researcher, defines as a methodical examination conducted for the function of gathering information. Utilising Bachman’s action research spiral figure 1 as frame of reference the exploration will delve into self as a component of the process. By means of action research one can anticipate to not only investigate identity as it relates to the first peoples creating and using the technique of weaving but also the identity of self, as an individual identified as “coloured” in South Africa. “Action research is an inquiry conducted by the self into the self”. (Mcniff. 2002:7) Mcniff’s theorem that the research methodology relates to a deeper inquiry into self asks the practitioner to acknowledge that one cannot be an outside observer or separated from the practice at hand, signifying that one’s identity is closely linked to one's production.

Btech 2014 Evaluation and Conclusion




The assessment of manufacture, design and drawing as it pertains to action research has been insightful and pushes the boundaries of self and self exploration as it relates to the study of the subject. Creating an atmosphere of constant reflection allows one to not only explores the options and solutions on the surface of thought but a deeper understanding arises that allows for more solutions to present itself. It is possible to take this form of reflection and not only apply it to the business of manufacture and work but to one’s personal life. McNiff theorem (see 1.4) rings true. One cannot exercise the action research methodology without understanding the effect it could possibly have on self.

The subject of identity and self is so intertwined and can also find benefit with the use of action research. Through this study one gets to the understanding that identity cannot be fixed and identifying with a certain group of people does not automatically make one part of the collective. Zulu people though responding to being Zulu still have their separate ethnicities and identities. The Zulu nation makes up 22% of the total population (Zulu 2006). This is a substantial number and one would be remiss not to tap into the income generating potential of such a large group by creating a brand that speaks to their identity.



Weaving is an amazing art and can so easily be assimilated into jewellery or stand alone as pieces of jewellery. The issues around time and time management is the greatest obstacle one faces when there is more to do than just weave. Though these are not issues one could resolve here. When one weaves it becomes almost calming due to the monotonous nature of the work, yet exciting as the outcome becomes clear. Weaving is all encompassing activity that one must commit to in order to achieve a satisfactory outcome.

Btech 2014 Artist Statement and Abstract




ARTIST STATEMENT

Reon Davids, exploration into the applications of Zulu basket weaving in this body of work, to create a range of jewellery with more Afrocentric appeal. The use of two specific basket weaving techniques, coiling/wrapping and knotting was employed with varied results that created a dialog between past history and present perceptions of identity. In the examination of identity and while manufacturing jewellery having applied an Action based research approach which allowed for a deeper understanding of self for the artist. As someone classified as coloured in the old and new South Africa because of a varied and mixed heritage. Thereby creating an identifiable South African jewellery brand.



ABSTRACT

This study investigates the role of identity and its relation to the Zulu nation in a post-apartheid South African setting. It examines relevant parts of the history of the Zulu people and how the group came to be recognized as a united nation. The study concentrates on Zulu basket weaving which has developed from purely functional and ceremonial objects to internationally sought after art works. By employing specific weaving techniques and incorporating it into a distinguished South African jewellery brand, the project aims to create pieces that are appealing to a broad South African market. While still speaking to Zulu identity.

Btech 2014 Dean: The Pin




I designed a tie pin for Prof. F. Freschi, Dean of Faculty. The Dean offered a financial contribution to the B.Tech tour to Craotia in May 2014. Creating an exclusive piece was my idea that motivated this process. The unique carved Victorian jet piece was the inspiration accented with a 0.01ct diamond. “Jet is organic in origin…black or dark brown…colour…” (Hall 1994:140) The metal employed in the production of the piece was (925) sterling silver. The piece was hand manufactured.

Figure 20

The choice of a stick pin figure 20 as opposed to a flat bar pin which is familiar to most people today, was a choice based on its distinctiveness as it is rarely worn today. It is an item of men’s jewellery associated with formal men’s wear. The more traditional adaptation is an uncomplicated white pearl, customarily worn with a morning suit. One does not have to adhere to the so strict rules of morning wear, day wear and evening wear as it applies to British aristocracy. This piece is placed directly under the knot in ones tie to keep the knot in place.

In this type of jewellery, is often worn at formal events like Royal Ascot in the United Kingdom. “Men are required to wear a morning suit, national dress or uniform-brown shoes are banned and top hats are the order of the day for Ascot formal wear”. (Dickenson 2006:1)

Figure 20.1
Figure 20.1, the use of the Rhinoceros CAD program to create this piece would have been ideal. However, in terms of time constraints, from growing the piece on Rhino to the casting process would have taken more time than the few hours it took to make the piece by hand. Rhinoceros CAD, as a designing and growing program, would have been an ideal solution and tool for the tie pin. But the associated time constraints, forced me to manufacture the piece at the bench.