Contemporary jewellery as Aamilatun Jameelah: a creative response to the complexities of a South African Islamic-feminist identity

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dc.contributor.advisorVan der Wal, Ernst Ruurden_ZA
dc.contributor.advisorTerreblanche, Carineen_ZA
dc.contributor.authorKhan, Mariambibien_ZA
dc.contributor.otherStellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts.en_ZA
dc.date.accessioned2024-03-05T11:29:50Z
dc.date.accessioned2024-04-26T09:49:28Z
dc.date.available2024-03-05T11:29:50Z
dc.date.available2024-04-26T09:49:28Z
dc.date.issued2024-03
dc.descriptionThesis MA (VA)--Stellenbosch University, 2024. en_ZA
dc.description.abstractENGLISH ABSTRACT: One word comes to mind to summarise my experiences and encounters as a Muslim woman: ‘paradox’. This term explains what I consider to be the misrepresentation of my identity as a Muslim woman, while it also refers to the fact that I am a contemporary jewellery artist in a community where many do not understand my practice. In my practical body of work and accompanying thesis, I explore my Islamic feminist identity. My study aims to use Islamic feminist theory to challenge certain Islamic perceptions and doctrine through critical engagement with gender inequality and the lingering influence of patriarchy on Islamic communities. I also see this study as a vehicle for the creative reinterpretation and affirmation of Islamic faith and spirituality. My contemporary jewellery practice which I describe as Aamilatun Jameelah (beautiful worker), is how I make sense of my thoughts and grapple with my understanding of self. I also use my practice to create visibility around the embodiment of traditions, specifically those about Muslim women. I am interested in understanding how tangible objects can foster creative dialogue between self and society in a context where the feeling of belonging and the impact of inherited Islamic traditions play a crucial role. I am specifically interested in the role that visual representation and artistic practice can play in facilitating diverse perspectives on Muslim women’s experiences and complex identities. In my artistic practice, I use textiles, cotton and metal to reference my South African Indian heritage and the generations of skills passed down in embroidery, sewing, crocheting and knitting. In response to my own experience, I turn to creative jewellery practice to situate my work within a South African Islamic feminist context and to use familiar mediums such as paper, porcelain and needlework to represent the complex life stories of Muslim women.en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: Een woord kom by my op wat my ervaring as ’n Moslem-vrou opsom: ‘paradoks’. Hierdie term verduidelik wat ek beskou as die wanvoorstelling van my identiteit as ‘n Moslem-vrou, terwyl dit ook verwys na die feit dat ek ‘n kontemporêre juwelierskunstenaar is in ‘n gemeenskap waar baie nie my praktyk verstaan nie. In my praktiese werk en gepaardgaande tesis ondersoek ek my Islamitiese feministiese identiteit. My studie het ten doel om Islamitiese feministiese teorie te gebruik om sekere persepsies en leerstellings uit te daag. Ek poog om dit te doen deur my kritiese betrokkenheid by gender-ongelykheid en die voortslepende invloed van patriargie op Islamitiese gemeenskappe uit te wys. Ek sien hierdie studie ook as ‘n poging tot kreatiewe herinterpretasie en ‘n bevestiging van Islamitiese geloof en spiritualiteit. Ek maak sin van my gedagtes en pluis my begrip van self uit deur middel van my kontemporêre juwelierspraktyk, wat ek beskryf as “Aamilatun Jameelah” (beeldskone werker). Ek gebruik ook my praktyk om die beliggaming van tradisies sigbaar te maak, spesifiek dié wat invloed het op Moslem-vroue. Ek stel daarin belang om te verstaan hoe tasbare voorwerpe kreatiewe dialoog tussen die self en die samelewing kan aanwakker in ‘n konteks waarbinne die gevoel van behoort en die impak van oorgeërfde Islamitiese tradisies ‘n deurslaggewende rol speel. Ek stel spesifiek belang in die rol wat visuele voorstelling en kunsbeoefening kan speel om uiteenlopende perspektiewe op Moslem-vroue se ervarings en identiteite te fasiliteer. In my artistieke praktyk gebruik ek tekstiel, katoen en metaal in verwysing na my Suid-Afrikaanse Indiese erfenis, sowel as na vaardighede wat oor verskeie generasies heen oorgedra is in borduurwerk, naaldwerk, hekel en brei. In antwoord op my eie ervaring, wend ek my tot kreatiewe juwelierspraktyk om my werk binne ‘n Suid-Afrikaanse Islamitiese feministiese konteks te plaas en om bekende mediums, soos papier, porselein en naaldwerk, te gebruik om die komplekse lewensverhale van Moslem-vroue uit te beeld.af_ZA
dc.description.versionMastersen_ZA
dc.format.extentxiii, 152 pages : illustrations
dc.identifier.urihttps://scholar.sun.ac.za/handle/10019.1/130224
dc.language.isoen
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.rights.holderStellenbosch Universityen_ZA
dc.subject.lcshArt, Modern -- 21st century -- South Africaen_ZA
dc.subject.lcshJewelry -- 21st century -- South Africaen_ZA
dc.subject.lcshAamilatun Jameelah -- Exhibitionsen_ZA
dc.subject.lcshArts -- Therapeutic useen_ZSA
dc.subject.lcshGroup identity -- Muslims -- South Africaen_ZA
dc.subject.lcshFeminism -- Religious aspects -- Islam -- South Africaen_ZA
dc.subject.nameUCTD
dc.subject.otherChewing gum comedyen_ZA
dc.subject.otherNanette comedyen_ZA
dc.titleContemporary jewellery as Aamilatun Jameelah: a creative response to the complexities of a South African Islamic-feminist identityen_ZA
dc.typeThesisen_ZA
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