Abstract

Hear the unheard voices of visual art: what is the story?

Highlights

  • A narrative perception, as presented in narrative therapy, postmodernism and social construct, provides the theoretical framework for this article.The theoretical framework of the narrative prompted the narrative metaphor and discourses developed, as proposed by Coram Deo’s pastoral narrative therapy course.4Michael White (1948-2008), family therapist and psychotherapist, is known as the founder of narrative therapy, cultural anthropology and non-structuralist psychology (White 2007)

  • The debate1 in contemporary visual art exhibitions focuses on the art-making process

  • The researcher proposes the use of the narrative as a starting point to identify and develop a personal theme/concept in “tracing an untold history” of “unheard voices”, to add content to art-making, and to guide art students to trace their “history and meaning of a unique outcome” and rewrite their own alternative stories

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Summary

Introduction

A narrative perception, as presented in narrative therapy, postmodernism and social construct, provides the theoretical framework for this article.The theoretical framework of the narrative prompted the narrative metaphor and discourses developed, as proposed by Coram Deo’s pastoral narrative therapy course.4Michael White (1948-2008), family therapist and psychotherapist, is known as the founder of narrative therapy, cultural anthropology and non-structuralist psychology (White 2007). The art-making process of contemporary visual art is mostly determined by a theme and concept. The artwork is either a poor representation/ illustration of the concept and theme, or the art-making process is debatable. A narrative perception/approach singles out specific themes to apply to an art-making process and to the underlying content of an artwork which are worth researching. This article can potentially impact on the way in which art facilitators guide art students to develop alternative and positive concepts as part of the artmaking process. The researcher proposes the use of the narrative as a starting point to identify and develop a personal theme/concept in “tracing an untold history” of “unheard voices”, to add content to art-making, and to guide art students to trace their “history and meaning of a unique outcome” and rewrite their own alternative stories

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