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Fourth South African Annual Qualitative Methods Conference:
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Keynote speakers:
Orlan (French performance artist)
September 3 and 4 1998
Conference announcement as it appeared in the German journal Soziale
Wirklichkeit (Social Reality) (no 1, 1998) Derek Hook and Martin
Terre'blanche
In drawing its theme from Foucault's methodological (and genealogical) injunction at the beginning of Discipline and Punish (1979), the Fourth Annual Qualitative Methods Conference is not hoping to station itself in the present and make enquiry into an "opaque" past. Its objective, by contrast, is to bring together work within various (and broadly understood) qualitative methodologies that have the capacity to uproot the commonplace understandings, normalities and subjectivities of present knowledge, lives and practices. Its primary focus, the goals of its overall objectives, lie strongly then in "the now", in historicising the present, in surfacing objects, structures and technologies, typically considered as lying outside of history. In this regard it is important that the conference recognises the legitimate and in fact
central role of art production and performance as means of enquiry, critical practice and knowledge-creation. This much is reflected in the choice of Orlan, French artist and art historian, as one of the conference's keynote speakers/participant. The fact that practices of art production and performance belong to a different epistemological and ontological order (ie the aesthetic) to that of typical social science praxis is in many ways the reason they are able to so throw critical light upon the objects of the latter's knowledge.
Further foundational to the conference theme and premise is the current political imperative posed by the immediate historical present of today's post-apartheid South Africa. The concern here, as recently in a conference on the South African Truth and Reconciliation Commission (From Truth to Transformation - The Road to Reconciliation, Johannesburg, April 1998), is of the increasing political complacency, especially amongst white South Africans, in terms of their participation within their country's current transition. The focus of this imperative is encapsulated by the title of the recent BBC documentary Apartheid Did Not Die. Clearly however, the objective of renewing a sense of political urgency is one of application beyond simply the South African context. To this end, the final session of the conference will attempt to consolidate all that has been presented across the two days by considering what methodological formulations, procedures (and combinations thereof) might best form the basis of sound political strategy in the future - both locally and globally.
Finally, there are a number of strategies internal to the conference that will be adopted to ensure its efficacy. Firstly, in terms of its objectives of securing for South Africa a spot on the international qualitative social science conference calendar, the convenor has embarked on an ambitious e-mail publicity campaign, so as to solicit greater international participation. Leading on from this however, the conference is still obviously determined to maintain its South African locus, and focus of enquiry. To this end the convenors have likewise embarked on a more expansive publicity campaign on the homefront, such that the most highly regarded of local academics and artists may be involved, and involved with a far larger and far more representational
student attendance at this year's conference. In this respect, and secondly, it is hoped that by pairing off foreign attendees with local, out-of-town participants with 'locals' that the conference will play a part in fostering collaborative efforts and understandings between groups from different locations and groundings, across different areas and expertise and knowledge both locally and globally. Thirdly, by assigning to more senior participants a
poster/presentation/ performance/art-piece to critique, it is hoped that the basics for an informal and productive mentoring relationship might be established, which would offer not only obvious educational value, but which may furthermore ultimately also open up opportunities for younger or historically disadvantaged participants.
Framing of exhibition
The multidisciplinary and open-ended nature of the conference is directly reflected in the curatorial process of, and selection of work for, the exhibition. The exhibition and conference are interdependent in that the work on show will ultimately provide a visual reflection of, response or reaction to the issues presented at the conference. These two arenas thus provide an interesting juxtaposition of visual/verbal/textual. The methods for sourcing work (calls for work were sent via fax and e-mail to over 80 institutions and individuals in the country, following the procedure for sourcing conference papers) are dynamic in themselves and form part of an attempt to break accepted, consecrated methods of research, curatorship and presentation, which
will be foregrounded in the general context of the conference.
The exhibition opens at 6pm on Thursday September 3 1998, Downstairs at
the Wits Theatre.
Artists appearing: Bitterkomix, Steven Cohen, Bradley Hammond, Mark Haywood, Heita!, Mark Hipper, Esmarie Meyer, Derek Revello, William Scarbrough, Tony Scullion, Storm van Rensburg, Jeremy Wafer, WASH and more.
If you have any questions, please contact:
Conference Programme (preliminary draft)
3 streams noted as:
Day 1: Thursday September 3 1998
08h00-09h30
09h30-09h45
09h45-10h15
10h20-10h50
10h55-11h15
11h15-11h35
11h35-11h50
11h50-12h10
12h10-12h40
12h44-13h10
13h10-14h10
14h15-14h45
14h50-15h10
15h10-15h30
15h35-16h05
16h05-17h00
18h00
Day 2: Friday September 4
09h15-10h00
10h00-10h30
10h35-11h05
11h10-11h30
11h30-11h50
11h50-12h00
12h00-12h20
12h20-12h40
12h40-13h05
13h05-14h00
14h00-15h30
15h35-16h05
16h10-17h10
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