annual report 2024 Faculty of Art, Design and Architecture
1 Introduction from the Executive Dean annual report 2024 Faculty of Art, Design and Architecture “At FADA, creativity is not only nurtured—it is shared, challenged, and celebrated, making the Faculty a vital force in shaping South Africa’s cultural landscape and driving innovation in the creative industries.” Dear Stakeholders, It gives me great pleasure to introduce the 2024 Annual Report of the Faculty of Art, Design and Architecture (FADA) at the University of Johannesburg. With a vibrant presence across three campuses – APB, APK and JBS – FADA continues to build on its proud legacy of excellence in teaching, research and creative practice. Our Faculty is home to nine academic departments offering a range of innovative degree and diploma programmes: Architecture, the Graduate School of Architecture (GSA), Fashion Design, Graphic Design, Industrial Design, Interior Design, Jewellery Design and Manufacture, Multimedia, and Visual Art. These departments are supported by state-of-the-art facilities, including customised studios, computer laboratories, workshops, a fabrication laboratory (Fab Lab), and centrally located shared spaces such as the FADA Gallery, library, auditorium, and Design Café on the APB campus. In addition to our academic offerings, FADA houses UJ Arts and Culture – encompassing the UJ Arts Centre and the UJ Art Gallery – as well as two important research centres: the Visual Identities in Art and Design (VIAD) Research Centre, led by Professor Leora Farber, and the NRF SARChI Chair in South African Art History and Visual Culture, directed by Professor Brenda Schmahmann. In 2024, the Faculty consolidated and expanded on strategic initiatives introduced in recent years. Guided by the vision of UJ’s Strategy 2035 and shaped by our three core strategies to enhance research productivity, strengthen teaching and learning and deepen community engagement, FADA not only achieved its performance targets but also remained agile in responding to the evolving needs of the University and the creative industries. As Executive Dean, I am proud of the resilience, innovation and commitment demonstrated by our staff and students throughout the year. This report reflects the collective achievements of a dynamic Faculty committed to shaping the future of art, design and architecture in South Africa and beyond. Professor Federico Freschi Executive Dean: Faculty of Art, Design and Architecture
2 Introduction from the Vice-Dean Teaching & Learning “At FADA, student-centred teaching isn’t just a philosophy – it’s the heart of how we teach, learn, and grow together.” The year 2024 marked a pivotal moment for the Faculty of Art, Design and Architecture (FADA) in re-establishing a clear, shared vision for teaching and learning. Since the lapse of our previous Teaching and Learning Strategy in 2019, the Faculty has undergone substantial transformation – most notably in response to the shifts brought about by the Covid-19 pandemic. These changes required us to adapt rapidly, experimenting with diverse teaching modes and rethinking our pedagogical approaches. Emerging from this period, it became evident that we needed to capture the lessons learned and embed them into a forwardlooking, student-centred strategy. One that not only acknowledges the evolving needs of our students but also considers the broader ecosystem of people and processes that support their success. Student success is a complex and systemic issue – one that requires a holistic approach. In 2024, FADA initiated the development of a new Teaching and Learning Strategy, grounded in an in-depth review of both institutional processes and individual programme and module design. This strategy seeks to ensure that interventions are targeted, contextually relevant, and sustainable across the Faculty. The new strategy is underpinned by the ‘Five P’s’ framework: People, Place, Policies, Programme Structure and Process. It considers both the institutional perspective (UJ – FADA – academic staff) and the student journey (input – support – outcome), focusing primarily on undergraduate qualifications, while also accounting for postgraduate teaching where relevant. The foundation of this strategy lies in transformative teaching practices that are inclusive, decolonial, and Afrocentric – practices that reflect our commitment to nurturing the kinds of graduates who will shape the future of South Africa’s creative and cultural industries. A key moment in the development of the strategy was the Faculty Conversation held in December 2023. Staff from across departments engaged in meaningful dialogue around five central themes: Collaboration, conversation and shared practice; humanising our teaching environment; learning with and from one another; reconnecting with students and cultivating a positive student culture; creating spaces where students can truly flourish Teaching and learning is the core of our academic identity at FADA, and this strategy is a Faculty-led effort to reinforce our values, improve our practices, and strengthen our community of teaching and learning. Our shared goal is clear: to ensure that every student’s journey is one of belonging, purpose and growth—and that we as educators remain responsive, reflective and committed to leading beyond expertise. Professor Desiree Smal Vice-Dean Teaching and Learning
3 Introduction from the Vice-Dean Research & Internationalisation “At FADA, research is a collaborative endeavour – locally grounded and globally connected – driving meaningful, sustainable creativity that shapes our communities and the world beyond.” The year 2024 marked a significant milestone for the Faculty of Art, Design and Architecture (FADA) with the appointment of its first fulltime Vice-Dean: Research and Internationalisation. This strategic role has enabled the Faculty to drive a more focused, coordinated approach to enhancing research productivity, deepening international engagement, and supporting postgraduate success. At the heart of this renewed focus is the Faculty’s Research Strategy, which seeks to cultivate a sustainable and meaningful research culture grounded in the values of critical thinking, creativity, communication, and collaboration. Central to this strategy is the ‘3Ps’ framework for research productivity: – One project in the pipeline, – One in preparation, and – One in production. This dynamic model applies to both scholarly and creative research outputs and encourages a continuous cycle of activity, growth, and momentum across the Faculty. The 3Ps framework has been supported by a range of initiatives, including mentorship, writing retreats, targeted seminars, funding opportunities, and designated research champions to support academics at every stage of their research journey. FADA also made substantial strides in internationalisation in 2024. The Vice-Dean participated in the Vice-Chancellor’s delegation to the Pontificia Universidad Católica de Chile and later visited the National Institute of Design in India, strengthening Global South partnerships. Faculty members engaged with a range of international institutions through research collaborations, teaching exchanges, and virtual and physical mobility. Notably, 28 students and three staff members travelled to Zimbabwe through the Africa by Bus initiative, and the Faculty hosted inaugural lectures and talks by several distinguished international scholars and visiting professors. Postgraduate development remained a key priority. The Faculty implemented intentional measures to improve postgraduate progression and throughput. These efforts contributed to FADA exceeding its 2024 graduate output targets, despite ongoing sectorwide challenges. Continued efforts are underway to strengthen supervisory support, streamline administrative processes, and enhance the overall postgraduate experience. As we reflect on 2024, it is clear that this year laid strong foundations for the next phase of FADA’s research and international journey—one that is inclusive, collaborative, and future-facing. Professor Neshane Harvey Vice-Dean Research & Internationalisation
4 In 2024 FADA had a total of 105 permanent and full-time contract members of staff. This includes 65 academic staff, 39 administrative and support staff, and one executive. In total, 55,24% of Faculty staff were from designated groups and 8,57% were international. Faculty Management Committee is comprised of 27.8% designated staff and 70.2% nondesignated members, a demographic which needs attention in 2025. 50% are female of which 2 (11.1%) are International, and 7 (38.9%) are Black. In 2024 32% of permanent and full-time contract academic staff held doctoral degrees. One staff member declared a partial disability. Staff Development Many academic and support staff in FADA are engaged in ongoing training or study. Those who completed their doctoral studies include Ms Afua Wilcox (Senior Lecturer, Department of Architecture) who submitted her PhD in November 2024, Dr Reshma Maharajh (Senior Lecturer, Graphic Design), Dr Constance Kasiyamhuru (Assistant Lecturer, Design Our People “Driven by deep commitment and inspired by boundless creativity, FADA staff continue to lead with purpose – collaborating across disciplines, uplifting communities, and shaping the future of the creative and cultural industries both in South Africa and across the globe.” 0% 5% 10% 15% 20% 25% 30% 35% 40% African Coloured Indian International – Africa International – Other White Female Male TOTAL FADA Staff Demographics by Race & Gender 2024
5 Studies) and Dr Terence Fenn, Head of the Multimedia Department. Mr Katlego Madumo (Assistant Lecturer, Industrial Design) submitted his Master’s project in 2024 and will graduate Cum Laude in April 2025. Ms Nthabiseng Mabale (Lecturer, Multimedia) was awarded Thutuka Funding for her PhD studies and Ms Zanné de Meillon (Lecturer, Fashion Design) received the UCDG to support the completion of her PhD degree. Dr Irene Bronner (SARChI Research Centre in South African Art and Visual Culture) and Dr Ruth Sacks (Department of Visual Art) were promoted to Associate Professor. In 2024, the AAMP programme welcomed eight new staff members, bringing FADA’s total enrolment to 31 participants. Among them, 21 are currently at Level 1, while six have progressed to Level 2. Additionally, four staff members have reached Level 3. NRF-rated researchers In 2024 FADA had 11 NRF-rated researchers (16% of academic staff). Professor Brenda Schmahmann was successfully re-rated at B1 (from B2), while two staff members applied in 2024 and are currently awaiting their outcome. Current NRF rated researchers are: Prof Brenda Schmahmann, SARChI B1 Prof Irene Bronner, SARChI Y1 Prof David Paton, Visual Art C1 Prof Leora Farber, VIAD C1 Dr Sinead Barnabas, SARChI, Y2 Prof Kim Berman, Visual Art C2 Dr Philippa Hobbs, SARChI C2 Prof Alison Kearney, Visual Art C2 Alex Opper, Architecture C2 Prof Deirdre Pretorius, Graphic Design C2 Prof Karen von Veh, Visual Art C2 Recognition and awards Academic staff at FADA continued to be esteemed by their peers and industry as leaders in their respective fields, demonstrating professional competence, engagement, and impact beyond their roles of teaching and research. They actively contribute to the academic community, professional organizations, and the advancement of standards and practices within their professional fields. The faculty appointed two high-profile international scholars as Distinguished Visiting Professors in 2024: Professor Anthony Bogues, Director of the Center for the Study of Slavery and Justice at Brown University, and Professor Annie van den Oever, Professor of Film and Head of the Film Archive & Media Archaeology Lab at the University of Groningen. Prof Annie van den Oever Prof Anthony Bogues Associate Professor Neshane Harvey, former Head of Fashion Design, was appointed Vice-Dean: Research and Internationalisation. In December 2024 Professor Emerita Karen von Veh was elected as a Vice President of the International Association of Art Critics (AICA). Professor Kim Berman (Department of Visual Art) was awarded the prestigious NRF Public Engagement with Research Award, as well as third place for the 2024 Community Engagement Service Excellence Award for FADA African Reclaimers Project. Professor Brenda Schmahmann (SARChI Chair) received renewed NRF rating of B1. She also received a certificate from the University Research Office recognising her outstanding contribution to the University’s DHET-accredited outputs and graduation of postgraduate students. In addition, Professor Schmahmann became co-editor of the Taylor & Francis publication Public Art Dialogue Dr Melissa Gerber, a postdoctoral fellow in the SARChI Centre won the faculty’s postdoctoral excellence award and the Westrup Prize for 2024. Dr Landi Raubenehimer (Senior Lecturer in Design Studies) received an award from the Global Excellence and Stature 4.0 for Societal Impact (GES 4.0 SI) Catalytic Initiative: Impacting Society Positively, as well as being awarded a visiting scholar grant at the University of Cincinnati in 2024. Along with Mr Bongani Khoza from Multimedia, Dr Raubenheimer also received R135 000 from the URC and UJ Teaching Innovation Fund.
6 Mr Mahoati Lehloenya (Lecturer in Architecture) was awarded a grant to be part of two-year programme hosted by the British Academy of International Writing in Kenya and Zambia. Industrial Design Lecturer Ms Pia Findlay’s consultancy, Tandem Design House, was selected to participate in the Always Welcome Hut Competition, designing and making furniture from reclaimed wood. Additionally, Ms Findlay’s designs were shortlisted in the top ten entries for the Nando’s Hot Young Designers competition. Mr Thato Radebe (HOD Jewellery Design), was selected as a judge for both the 2024 Rand Refinery Silver mentorship programme and the 2024 Anglo American Anglo Plat Jewellery competition. The Jewellery department was also awarded R80 000 at the De Beers Shining Light Awards to recognise the significant role staff have played in nurturing student talent. Prof Khaya Mchunu (HOD Fashion Design) held an exhibition in Maseru, Lesotho entitled ‘The Martin Molefe Memory Project.’ This exhibition formed part of the bicentennial celebration of Lesotho’s founding. Several Interior Design staff hold leadership roles in professional organizations. Head of Department Ms. Ilse Prinsloo is a Board Member and Chair of the Educational Committee at IID. Assistant Lecturer Mr. Trevor Sibanda chairs Student Affairs, while Lecturer Ms. Emmerencia Deminey leads the Sustainability Forum. Senior Lecturer Ms. Amanda Breytenbach convenes the Heritage Committee at the Gauteng Institute for Architecture (GIFA). Prof Deirdre Pretorius, Department of Graphic Design, was invited to become a member of the African Journal of Creative Economy’s editorial board. She also collaborated on a funding bid for the Trans-Atlantic Platform (T-AP) Social Sciences and Humanities call on Democracy, Governance, and Trust (DGT). In July 2024, the project received the requested funding of R900,000 from the NRF. This project examines the graphic objects of street protests within global movements, critically exploring histories of creative dissent since the 1950s in Brazil, South Africa, and the UK. By analysing protests across the political spectrum, it investigates how visual communication shapes and reflects struggles for democracy. The project is rolling out in 2025. Mr Bongani Senne (Gallery Assistant, Arts & Culture) was awarded the Vice-Chancellor’s Distinguished Award for Outstanding Service beyond the Normal Call of Duty. UJ Gallery Curator Dr Dineke Orton received a joint KANNA award for an exhibition at the KKNK in Oudtshoorn as well as a KykNet Fiesta nomination. Art Collection Manager, Ms Rika Nortjé, received a joint Vryskut award for the Best Visual Art Exhibition at the Vrystaat Kunstefees. UJ Art Gallery received a South African Museum Association (SAMA) Publication Design Award for the ‘re/connect/ing’ Educational Supplement. Arts & Culture’s production Echoes of Heritage received four Fiestas nominations and two awards. Additionally, the productions 1001 Nights and Macabre each received two Naledi Theatre nominations. The production With-out Limits received the Best Artistic Design Award at the Free State Arts Festival.
7 Key Indicators | Teaching and Learning Headcount: 1570 UG enrolment: 1209 Module success rate: 88% Graduate output: 559 Gender profile: Female 52% UG, 61% PG Male 48% UG, 39% PG Race profile: 69% Black, 6% Coloured, 7% Indian, 17% White UG enrolment per programme: Diploma/Certificate 20%; Advanced Diploma/PGCE 4%; Degree 76% PG enrolment per programme: PG below Master’s 52%; Master’s 38%; Doctoral 10% Teaching and Learning “At FADA, we are committed to creating an inclusive, dynamic and student-centred learning environment, driven by cuttingedge facilities and industry-aligned programmes that empower students to thrive both academically and creatively, preparing them to meet the challenges of the future.” Enrolment and Student Profiles In 2024 FADA had a headcount enrolment of 1,570 students, of which 1,209 (77%) were undergraduate and 361 (23%) were postgraduate. Most students were Black African (69,4%), with 17.4% White, 7.5 % Indian and 5.7% Coloured. Female students were in the majority at 54% overall. Most students (71%) were enrolled in undergraduate degree programmes, with 15% in undergraduate diplomas and certificates and 3% in advanced diplomas. Thirty-eight per cent of postgraduate students were enrolled for master’s qualifications, with 52% in postgraduate below master’s and 10% for doctorates. UG and PG graduates Graduate numbers have improved by over 10% since 2023, with a total of 559 graduates, 58% of which were undergraduate and 42% postgraduate. UG 77% PG 23% Returning 62% First-time 32% UG 58% PG 42% UG student satisfaction: 88% PG student satisfaction: 89% Student access, student success and support for students The faculty’s average success rate improved to 88.4% in 2024, with the overall drop-out rate dropping to 11.3% from 2023’s rate of 14.2%. At 26.6% the total graduation rate for undergraduate programmes was over 1% higher than the 25.3% recorded in 2023. UJenius Although the number of FADA students with a high APS score (over 35) decreased by 8.2% from 2023, FADA maintained the level of 152 students from quintile 5 schools in 2024. In addition, 39 students were part of the UJenius club in 2024 (44 in total with the Orange Carpet students). Programmes FADA remains committed to advancing innovations in teaching and learning, ensuring the continual relevance, sustainability, and alignment of its programmes with industry expectations. All departments within FADA are purposefully driving a transformative, curriculum aligned with the University strategic goals and that embraces industry partnerships to provide real world work experience. A new focus area for the Department of Multimedia includes a three-year strategic plan for the redesign of the teaching curriculum in response to the implications of 5IR and to remain
8 relevant in educational content and skills. The curriculum now includes the fields of gaming, extended reality, and omni-channel content design to respond to emerging technologies such as AI and smart technologies as well as to systemic frameworks such as the UN SDGs. These skills are expected to become fundamental aspects of design curricula in the next decade and are especially critical for deploying emerging technologies sustainably. Interior Design’s commitment to collaborative learning strategies and partnerships, was demonstrated in a collaboration between Interior Design, Fashion Design and Fordsburg Primary School to redesign the library, fostering inclusivity and celebrating diversity. A second initiative between Interior Design and local industry contributes to the fulfilment of SDG targets related to sustainable cities and communities by developing solutions to revitalise public and retail spaces in the Braamfontein community. The graduate fashion show organised in partnership with UJ Arts and Culture took place at the Bunting Theatre. It was accompanied by a documentary film, funded by UJ’s Teaching Innovation Fund as a teaching and learning project. Drawing from the theory of authentic learning to create a contemporary fashion video, the project challenged students to apply digital fashion communication tools in representing the final fashion design collections of the third-year students. Each year, over 300 second-year students from FADA participate in the FADA Interdisciplinary Theatre Programme, providing opportunities for cross-disciplinary development, creative and critical thinking. In 2024, worked on a production of The Picture of Dorian Gray by Oscar Wilde adapted by Neil Bartlett. Supported by visiting guest lecturer Prof Vanessa Byrnes, Head of the School of Creative Industries at Unitec in Auckland, this immersive experience allows students to contribute to a theatrical production while gaining valuable insights and skills extending beyond their disciplines. In 2024, the Graphic Design department successfully completed its programme review for the period 2020 to 2023. With current awareness of the dangers of students relying on ChatGPT and other generative AI tools, the Design Studies (theory) team has developed an innovative ‘applied theory methodology’ in their teaching, as well as alternative assessment methods to mitigate this impact, with excellent results. The aim is to teach students how they can use generative AI to assist in the critical thinking and planning of their work, while making them aware of the limits and dangers of AI in research. Industry-linked Teaching and Learning The Department of Industrial Design continued its industrylinked projects, providing students with valuable experience and recognition in the competitive design field. Among these initiatives was AXOR, a prestigious international tap brand that hosts a competition for first-year students. Honours students participated in the international competitions Cumulus Green 2024 – Design Healthy Futures and Design Climate Change – BE Open. Second-year students engaged in the ARMSA industrylinked competition, run in collaboration with TUT and Open Window. These and other design-for-manufacture initiatives not only strengthen industry connections but also generate thirdstream income, creating further opportunities for students. The Department of Multimedia promoted real world experience, sustainable development goals and fostered transformation
9 through industry and collaboration in several projects. For example, their second-year students collaborated with public figures Berita Soul (Gugulethu Khumalo) and Nkayise Nqola, both of whom lead NGOs. This initiative enabled students to apply design thinking to real-world social challenges, enhancing their learning experience and industry connections. During the June recess, third-year Jewellery Design students participated in a work-integrated learning (WIL) project in collaboration with De Beers. The project focused on diamond familiarisation, cutting and polishing, and jewellery retail. As part of the experience, students were placed with various companies affiliated with De Beers, where they completed tasks related to these specialised areas. Teaching and Learning with 4IR FADA is committed to integrating Fourth Industrial Revolution (4IR) technologies into Teaching and Learning. Noteworthy initiatives in 2024 included the following: In the Department of Multimedia, a focus on emerging digital communication technologies (XR) includes augmented and virtual reality, blended space design, transmedia, and smart environments. This strategic emphasis aims to position the department as a leader in digital design education in South Africa. In the Graphic Design Department several postgraduate students engaged in research related to 4IR. Notable projects included exploring digital multimodal design for fraud prevention, UX/UI design for emotional flourishing in virtual reality and improving the user experience of personal weight management. Six students in the Honours programme focused on 4IR design solutions for their final projects, creating a range of innovative solutions including female health apps, reading for meaning applications for pre-and primary school children, a teaching app to combat cultural stereotyping and an app for GenZ users on unbiased news coverage and community building. Honours students from Multimedia embarked on a seven-week project in which they applied a projective research method to develop a series of design fiction scenarios suggesting how smart urban technologies associated with the 4IR could meet the needs of community of Westbury. Industrial Design year groups incorporated 4IR themes into various modules, covering topics like 3D Printing, 3D Scanning, Digital Manufacture, Projection Mapping, VR Sketching, and Sustainable Materials.
10 Student support In 2024 FADA implemented a range of student support initiatives, encompassing a comprehensive tutor network, regular student and Lecturer/HOD consultation sessions, and dedicated Departmental mentorship programmes including the FADA First-Year Success (FYS) Programme and the FADA Mentorship Programme. Each department has extensive methods of identifying At-Risk students and ensuring supportive interventions are put in place. The mentorship programme, under the guidance of Tamara Francis, FADA Marketer, was aligned in 2024 with the broader UJ Mentorship Programme, offering structured peer support throughout the academic year. As part of this programme several community engagement projects were introduced, including: – Sanitary Pad and Food Drive – Providing essential support to students facing hardship. – Games Day and Mentor Mixer – Encouraging social interaction and stress relief. – Motivational Board Initiative – A platform for students to share encouragement and inspiration, fostering resilience and positivity within the Faculty. – FADA Keep Your Campus Clean initiative – As part of FADA’s commitment to sustainability and campus pride, which not only contributed to maintaining a cleaner campus but also fostered a sense of community and shared responsibility among students. A significant milestone in student engagement was the re-establishment of the FADA Student Forum. This initiative provided students with a structured platform to voice concerns, share ideas, and collaborate with faculty leadership on academic and social matters, strengthening student advocacy within FADA. The Faculty celebrated its top-performing students through events like the UJenius and Orange Carpet mixer, where students connected with peers, senior students, and FADA management in an informal setting. They also engaged with mentors, gaining valuable academic and career insights. Additionally, Ms. Francis organized the Dean’s Merit List event, recognizing the top student in each department. These initiatives reinforced FADA’s commitment to nurturing and rewarding student excellence and engagement. FYS
11 Student achievements FADA students achieved notable successes across various departments in 2024. Third-year diploma and degree students in the Landscape Elective in the Architecture Department won the Students Reinventing Cities Competition, beating 20 other participating local and international schools of planning and architecture. In Fashion, third-year students entered the SA Fashion Week competition. Ten UJ students made the top 20, the highest number of shortlisted students from all the national fashion schools that entered. Master’s student, Kgotsofalo Given Monyamate completed his participation in the AFI Fastrack Designer Development Programme that culminated in his winning the Creative Award for his new collection under his fashion brand Articles From Mars titled ‘Is’khothane Somhlaba.’ Dr Landi Raubenheimer’s third year Multimedia students excelled in their presentations in the COIL University of Cincinnati-run international seminar Art as a Catalyst for Global Understanding. Graphic Design had six finalists and five winners in the Pendoring and Loerie Awards. Notably, MA student Aaminah Darsot won the Silver Pendoring and Craft Gold awards, Honours student Philasande Masoga was a Silver Pendoring winner and Masters Alumna Wilna Combrink was a Gold Pendoring winner. Industrial Design students also received an impressive list of prizes. Top achievers included Morgan Potgieter, awarded first place in the ARMSA competition, while Tsebo Mokwena, Tshepiso Motau and Bongani Buthelezi (all honours students) won a trip to Baku to attend COP29 at the International BeOpen Design Climate Action Competition. All three top places in the Vermont Tool Competition went to FADA students, with Evan Smith taking first, Sabrina Jansen second, and Oarabile Mogotsi third prize. Similarly, Lethabo Maganyele, Nico van Blerk, and Luc Salzwedel took first, second and third places respectively at the SAPRO Awards in the category ‘Creative and Artisanal Solutions.’ Interior Design student Husnaa Kathrada was selected as a finalist in the prestigious PG Bison 1.618 student competition. Jewellery Design Second year student Mr Siyabonga Mkhonza was a finalist in the Digital Jewellery Week student competition and BA hons student, Mr David Ditlhako, had work featured in an article by the Art Jewellery Forum titled ‘Redefining culture and Identity.’ Five Visual Arts students were included in the top 100 of the SASOL New Signatures Competition.
12 UJ Arts & Culture “UJ Arts & Culture is a vital engine of interdisciplinary learning and creative growth in FADA and the broader university – fostering collaboration, enhancing employability and enriching student life through meaningful engagement with the arts.” UJ Arts & Culture’s extracurricular programme, offered to students from across the institution at no cost, includes UJ Choir, drama classes, a photography club, ballet, afro fusion and contemporary dance classes, poetry classes, workshops, and slam competitions. Arts Academy activities culminated in a week-long year-end showcase attended by family, friends, and the public. The Division offered 15 masterclasses and workshops, presented a student poetry production, arranged student performances for ten UJ events and undertook two student excursions. In addition to 18 performances at graduation ceremonies, UJ Choir presented 17 concerts attended by approximately 6 000 audience members and released three albums that were streamed 510 512 times during the year. UJ Arts Academy For the Arts Academy, 743 students submitted 1 407 sign-ups indicating an interest to participate in one or more of the Arts Academy opportunities and UJ Choir. Of the 1704 students who signed up, 608 students were invited to audition; 365 were selected and participated in activities and programmes. Of this number, 255 students qualified for cultural bursaries at the end of the year which is dependent on strict attendance and participation criteria. There was a slight decline in student participation around mid-year due to number of factors. These ranged from students leaving the institution, transport challenges, clashes in timetables and personal reasons that in some instances prevented students from continuing with the opportunities they had started. Following the registration and onboarding process in February and March, Arts Academy classes commenced in April and ran during the academic term until October. Arts Academy classes are presented by professionals who are highly skilled facilitators in their field. Student Report 2024
13 Drama classes facilitated by Jacqulyne Titus: In 2024, first-year students attended mid-week classes, while second- and thirdyear students participated in alternating weekend sessions. The primary focus for drama students was to develop their own production, guiding them through every stage—from initial concept to final performance. These efforts culminated in the presentation of their work at the annual showcase. Poetry classes facilitated by Richard “Quaz” Roodt: Weekly classes were held for both new and returning students, incorporating monthly slam competitions starting in the second semester. This journey culminated in a grand slam during the annual year-end showcase. The poetry curriculum emphasized contemporary South African themes, explored various forms and structures, and integrated performance techniques to enhance students’ creative expression. Contemporary Dance Classes facilitated by Fana Tshabalala: The dance course was offered in collaboration with the renowned Broken Borders Art Project, an internationally recognized organization founded and led by award-winning choreographers Fana Tshabalala and Thulani Chauke. The curriculum encompassed contemporary, African, and freestyle dance styles, with emphasis on cultivating a diverse movement vocabulary that draws from different eras and cultural influences. Adult Ballet facilitated by Ipeleng Merafe, Professor Catherine Botha, and Dr. Bailey Devon: Adult Ballet 1 and 2 were offered in partnership with Vole Ballet School, with a focus on choreography for the year-end showcase. Meanwhile, Professor Botha and Dr. Devon dedicated their efforts to refining technique and enhancing the dancers’ skills. Photography Club coordinated by Mbali Mchunu: The Photography Club aims to teach students fundamental photography skills, including the principles of photography, how to capture professional-quality images using a smartphone, and how to explore various themes through their creative vision. Sessions began in the second semester with a masterclass designed to equip students with essential photography techniques, culminating in a competition-exhibition where 12 images were selected from 145 submissions. Attendees of the poetry slam/photography exhibition had the chance to vote for their favourite image, and the photographer with the most votes received a Takealot Gift Voucher as a prize. Student Production ‘(R)evolution of Words’ is a dynamic and immersive poetry show designed to introduce students to the richness and diversity of poetry. This initiative celebrates the South African poetry canon while integrating contemporary voices that reflect and challenge the modern zeitgeist. The production bridges traditional and modern perspectives, offering a holistic exploration of poetic expression relevant to Grade 11 and 12 curricula while resonating with broader audiences. The production set out to inspire an appreciation for poetry among students and school learners, highlighting the relevance of poetry in contemporary discourse and provide an engaging educational experience by integrating performance with curricular content. The show’s visual components included shadow play using bodies, books as props, and musical instruments, analogue projection and instruments as furniture.
14 ‘(R)evolution of Words’ was performed by UJ Art Academy students Ally Roux, Nick Moyo, Ntakisi Shilubane, Hillary Nyikayaramba, Khanyisile Sibiya, Leah Mollink, Xolani Mbhele, and Tintswalo Masondo, with additional accompaniment by theatre and television professional Tina Redman. The production was performed at the Poetry Africa International Festival in Johannesburg and Durban, at the Albert Luthuli Art Centre in Durban, and during the UJ Arts Academy Showcase. Arts Academy Annual Showcase The Annual Arts Academy Showcase opened on the 15th of October at the Bunting Theatre on the Bunting Campus. The showcase was presented over four days, included four shows, two slam competitions, a semi-final and grand slam, and a photography exhibition. The Showcase opened with a sold-out dance production followed by two nights of drama, concluding with the poetry production and announcement of winners of the poetry slam and photography competitions: Adult Ballet Showcase: An appreciation for classical ballet in the landscape of a beautiful and diverse country, ‘Motherland Waltz’ explored the beauty of classical ballet while highlighting the percussive colour that Africanism has brought to ballet. Drama Showcase: The thematic approach for the first-year group was ‘This is Me’, and the title of the second-year production was ‘See the world through our eyes’. The third-year students presented ‘Whispers of Hope’, with the students exploring the many forms “hope” takes on. Dance Showcase: ‘Where we Belong’ celebrated the evolution of African indigenous movement and rhythm, and investigated how it had changed with time, and how modern society interprets it. Poetry Showcase: Written and performed by poets enrolled in the UJAC Poetry Programme, ‘Blacked-out’ sought to uncover hidden truths, through the artful act of redaction. Photography Club: ‘Remnants of Everyday Things’ took the audience on a journey into a world where the ordinary became extraordinary. This thematic approach challenged students to capture the subtle beauty, fleeting moments and overlooked details that surround us in our daily lives. Once-off open workshops and masterclasses The Dvision also offered an open series of once-off workshops for students who have an affinity for the arts but who are not currently in the Academy. These workshops were presented by creatives from various fields and institutions including seasoned researchers, artists, and professionals from South Africa and abroad. Workshops were attended by 474 students throughout the year. The 2024 Arts Appreciation Programme offered exclusive, no-cost access for UJ students, in addition to those in the Arts Academy, to a wide range of cultural events, including dance performances, theatre productions, and visual art exhibitions. A call for participants at the start of the year drew significant interest, with 499 dedicated students signing up and taking up 4 506 tickets to attend events. Collectively, attendance and participation in the Arts Academy, Arts Appreciation Programme and workshops for 2024 totals 1 338 students.
15 UJ Choir The first call for auditions attracted expression of interest from 301 students; 198 of these were invited to the next phase of in-person auditions; of this number 139 students completed the second phase, resulting in the selection of 62 new prospective choristers. Of the choristers from 2023, 54 remained in the Choir, bringing the preliminary Choir to 116 choristers. After two development camps that form part of the final audition process, the final number in UJ Choir 2024 was 82. In addition to performances at 18 graduation ceremonies, UJ Choir presented a robust concert programme in 2024 attended by approximately 6 000 audience members and marking the Choir’s 50th anniversary. Additionally, UJ Choir hosted Barnsley Youth Choir from England on 28 October at Bunting Theatre for a joint rehearsal and networking engagement. In 2024, UJ Choir also undertook four music recording sessions (three at the Fontainebleau Community Church, and one at UJ Arts Centre) and released three albums in 2024, Echoes of Heritage, The New Covenant, and The Bridge Builder. Student Excursions The (R)evolution of Words student cast of eight and one professional actor travelled to Durban for Poetry Africa, presented by UKZN on the 10th of October 2024. They performed twice on the 11th of October. The first performance was a community outreach initiative at Luthuli House for high school students, and the second performance was at Seabrooks Theatre for the general Poetry Africa International Festival audience. The production was well received with positive feedback for both performances. During the outreach project students interacted with high school learners from various schools in rural KZN; following their show they had a question-and-answer session with the learners and stayed to watch the shows presented by the learners at Luthuli House. In addition to the performances, the UJ students’ itinerary included watching various shows at the Festival, participating in slams with other poets, attending several facilitated discussions, and networking at the Festival. Conclusion Beyond contributing to student life in a myriad ways, the Division of UJ Arts & Culture makes further contributions. The annual FADA Interdisciplinary Theatre Programme challenges second-year students from across the Faculty of Art Design, and Architecture (FADA) to design and build models for elements of a play that the Division produces with a professional cast. The 2024 programme involved 325 students who were divided into 21 groups comprising students from different departments, facilitating the transfer of interdisciplinary knowledge and skills. The Division also contributes to the employability of current students and alumni, and in 2024 a total of 37 interns were hosted by 14 external professional arts and culture organisations as well as by other departments and divisions of UJ. The Art Centre’s Front of House team also contributes to employability, with 42 UJ students working as cashiers and ushers at the Centre during events.
16 Research & Innovation Footprint and Impact Output For the 2024 reporting year, the DHET approved 53 publication units from the faculty’s 2022 submission. In addition, 26 creative research projects were submitted for accreditation. Textual outputs have remained relatively stable, with 54 units approved in 2023 and 53 in 2024. In contrast, creative research project submissions have shown consistent growth, rising from just two in 2019 to a remarkable 26 (unaudited) in 2024. This upward trend reflects sustained and expanding engagement in creative research over the years. Postdoctoral Research Fellows Over the past three years, FADA has steadily expanded and stabilised its intake of Postdoctoral Research Fellows (PDRFs). In 2021, the faculty hosted just two PDRFs, both located within research centres. This number doubled in 2022, with four fellows based in research centres. By 2023, the total rose to eight, reflecting growth not only in the research centres, which hosted six fellows, but also in departments, which welcomed their first two PDRFs. This pattern was maintained in 2024, with six fellows in research centres and two in departments, signalling a consistent and balanced approach to supporting early-career researchers across the faculty. FADA Research Centres FADA has two research centres, Visual Identities in Art & Design (VIAD), headed by Prof Leora Farber, and the SARChI Chair in South African Art and Visual Culture, headed by Prof Brenda Schmahmann. 33 53 61 54 54 53 2019 2020 2021 2022 2023 2024 FADA Textual Output Units 2019-24 2 9 11 15 17 26 2019 2020 2021 2022 2023 2024 FADA Creative Output Research Output Submission 2019-24 VIAD Visual Identities in Art & Design In 2024, the Visual Identities in Art and Design (VIAD) Research Centre underwent a dynamic transformation, marking a significant moment in its evolution. Responding to shifts in global and local research landscapes, VIAD revised its strategic direction, restructuring its programmes and expanding its conceptual scope. This process resulted in the emergence of two parallel research streams: RADICAL | OTHERS (R|O) and Bioart + Design Africa (BA+DA). While distinct in theme and focus, both strands are unified by a commitment to decolonial politics and practice. R|O builds on VIAD’s previous focus on African and African-Diasporic art and theory, while BA+DA
17 breaks new ground as the first structured African-based research strand combining bioart and design through a decolonial lens. 2024 focused heavily on consolidating and growing BA+DA, which quickly gained traction through strategic partnerships, public programmes, and research outputs. These developments were supported by a rebranding of the two strands, and the redesign of VIAD’s website, set to launch in March 2025. Considerable effort went into establishing BA+DA’s identity, positioning it as a global leader in the field, with its Africanised and decolonial approach distinguishing it from dominant Euro-American models. Exhibitions such as Imminent and Eminent Ecologies became key public engagement tools, supported by artist talks, panel discussions, publications, and a growing media presence. VIAD’s research output was substantial, comprising books, journal articles, book chapters, conference presentations, and an estimated eighteen creative works. This productivity was supported by a strong academic community that included staff, associates, visiting professors, and artists-in-residence. One PhD student graduated, and three others continued their studies. Across both research strands, VIAD remained anchored in transformative practice, challenging systems of othering and environmental injustice through creative and scholarly work. A major focus of the year was the cultivation of new partnerships. Internally, BA+DA collaborated with several UJ departments and centres, including the Water and Health Research Centre, the Centre for Environmental Intelligence, and Industrial Design. Externally, VIAD worked with a broad network of local and international institutions, including the Centre for the Study of Slavery and Justice (Brown University), the Africa Institute (UAE), Stellenbosch University, Wits, the DESIS network, and Zone2Source (Netherlands). Projects such as *Fluid Boundaries* brought together scientists, artists, and Indigenous knowledge practitioners from Switzerland, Brazil, and South Africa, forming a transdisciplinary alliance that exemplifies VIAD’s collaborative ethos. Community engagement also flourished. Initiatives like Thank You Hillbrow, Floating Bodies, and Come Dine with Us integrated Indigenous knowledge, biotechnology, and sustainability into everyday urban practices. These projects not only addressed local challenges around food security, health, and water sanitation but also served as models for globally relevant, community-rooted design thinking. VIAD’s commitment to transformation was evident throughout—whether in the conceptual framing of exhibitions or in the make-up of its research teams, which reflected a diverse and inclusive demographic. VIAD’s work aligned closely with South Africa’s national priorities and several UN Sustainable Development Goals, particularly those focused on health, education, water and sanitation, innovation, and sustainable production. BA+DA’s work on ecological materials, biomedical ecologies, and food systems responded to these frameworks with specificity and nuance, offering African-centred alternatives to dominant global narratives. The centre’s impact extended into the academic, cultural, and public domains. BA+DA continued to develop its academic programme, engaged alumni, and drew increasing interest from funders. While some external funding proposals were unsuccessful, VIAD secured significant support, including a R2.7 million grant from Pro Helvetia and further contributions from the Netherlands Creative Industries Fund and various internal UJ sources. These funds supported exhibitions, collaborative projects, and the engagement of distinguished visiting scholars. Looking ahead, VIAD has laid out a clear vision for growth over the next five years. The plan includes expanding its team, increasing postgraduate supervision, hosting international residencies, producing highlevel creative and scholarly outputs, and developing a national consortium of art–science practitioners. With its integrated research, cultural programming, and community-based practices, VIAD continues to model how interdisciplinary and decolonial creative practice can foster meaningful social, environmental, and epistemic transformation. In sum, 2024 was a year of strategic expansion, intellectual renewal, and creative innovation. VIAD’s repositioning through the R|O and BA+DA strands has allowed it to reassert its relevance and leadership as a research centre that is deeply rooted in African contexts while actively shaping global conversations at the intersections of art, design, science, and social justice.
18 SARChI Chair in South African Art and Visual Culture In 2024, the SARChI Chair in South African Art and Visual Culture continued to consolidate its position as a hub for research and postgraduate supervision in the visual arts. Under the leadership of Professor Brenda Schmahmann, the Chair maintained a dynamic programme of scholarly work, capacity development, and public engagement. The team supporting this work included Associate Professor Irene Bronner and administrator Neelofir Nagdee, alongside a cohort of postdoctoral research fellows: Dr Melissa Gerber, Dr Everjoy Magwegwe, Dr Theo Sonnkeus (until April), Dr Elain Sullivan (until July), and Dr Hazel Cuthbertson, who joined in November. The year was marked by numerous accolades. Irene Bronner was promoted to Associate Professor, while Brenda Schmahmann received an NRF B1 rating and a certificate recognising her outstanding contribution to UJ’s accredited research outputs and postgraduate graduations for the 2021 and 2022 academic years. Melissa Gerber won the Faculty of Art, Design and Architecture’s Postdoctoral Excellence Award and the prestigious Westrup Prize for an article published in 2023. Professor Schmahmann also began a three-year term as co-editor of *Public Art Dialogue*, a journal published by Taylor & Francis. The Chair’s teaching and supervision portfolio was strong, with Dr Hazel Cuthbertson graduating with a PhD early in the year and doctoral candidates Ayobola Kekere-Ekun and Sinthemba Twalo submitting their theses in October. Three master’s students – Lira van Staden, Tlotlo Sereisho, and Lerato Maisela – completed their studies. A key highlight was the international conference “Creating a Disturbance: Interventions to Historical Monuments and Statues,” hosted by the Chair in November. With 26 presentations, the event will yield two special journal issues in 2025 – one in Public Art Dialogue and the other in De Arte. The previous year’s conference on public art also led to a book, accepted for publication by Routledge and scheduled to appear by the end of 2024. The year also featured important collaborative initiatives. Professor Schmahmann worked with Visiting Associate Professor Staffan Löfving on a workshop and discussion event for the South Africa–Sweden University Forum (SASUF) in May, and with Emeritus Professor Karen von Veh to cohost a research panel on gender and human-centredness at the ACASA Triennial in Chicago in August. In addition, work continued on a special issue of Critical Arts focusing on indigeneity and visual sovereignty, emerging from a 2023 conference co-organised by Löfving and research associate Paul Weinberg. Co-edited by Löfving, Shanade Barnabas, and Schmahmann, most articles were published online in late 2024, with the print edition set for 2025. Community engagement remained central to the Chair’s activities. In May, the team hosted an exhibition and seminar on the work of South African artist Gerard T. Benghu, curated by Juliette Leeb-du Toit and enabled by Irene Bronner. In August, an exhibition of work by Christine Dixie was held, followed by a seminar, after which Dixie generously donated two series from the exhibition to the University. The SARChI Chair in South African Art and Visual Culture, University of Johannesburg invites you to The book launch of Gerard T. Bhengu Edited by Juliette Leeb-Du Toit (Auckland Park: Staging Post, 2022) Accompanied by the opening of Gerard Tshelenkosi Bhengu (1900 -1990): his temporality and intellect An exhibition of paintings curated by Juliette Leeb-du Toit Thursday 23 May 2024 | 17:30 for 18:00 At the Gallery of the SARChI Chair in South African Art and Visual Culture, University of Johannesburg, 33 Twickenham Avenue, Auckland Park. The project will be introduced by contributing author Anitra Nettleton, Professor Emerita at the University of the Witwatersrand. There will be an in-person walkabout by the exhibition curator Friday 24 May | 16:00 – 17:00 There will be a hybrid seminar by the editor and contributing authors Monday 27 May 2024 | 09:00 – 10:30 Portrait of a married smiling woman (c.1970) Watercolour on paper 360x265mm Signed br Gerard Bhengu Coll: Cerny Collection DISCLAIMER: The University of Johannesburg encourages academic debate and discussion that are conducted in a manner that upholds respectful interaction, safety of all involved, and freedom of association as enshrined in the law, the Constitution, and within the boundaries of the University policies. The views expressed during events are expressed in a personal capacity and do not necessarily reflect the views of the University of Johannesburg. All events taking place in this venue may be photographed and video recorded for marketing, social media and media purposes. By attending this event, you grant the University of Johannesburg permission to use and publish any recorded material. The SARChI Chair in South African Art and Visual Culture, University of Johannesburg, invites you to a guest seminar The Virtual Memorial: Temporality and Sociality in a Bosnian Image Archive by Staffan Löfving Associate Professor, Department of Language, Literature and Intercultural Studies, Karlstad University and Visiting Associate Professor, SARChI Chair in South African Art and Visual Culture, University of Johannesburg. In this seminar, anthropologist Staffan Löfving will address the memory work of 30-year-old war photographs disseminated online. His account will focus on how they resist temporal containment and their unexpected social agency offline. DATE Friday 22 November 2024 TIME 2 – 3.30 pm followed by refreshments. The seminar will be in hybrid form. Please contact Neelofir Nagdee nnagdee@uj.ac.za for a link if you plan to attend online. Soraja Zagić and Tijana Kolaković, four and five years old, in Hrasno, Sarajevo, on September 10, 1994. Photo: Staffan Löfving Christine Dixie DisOrder – Trade-Off V (2020) DISCLAIMER: The University of Johannesburg encourages academic debate and discussion that are conducted in a manner that upholds respectful interaction, safety of all involved, and freedom of association as enshrined in the law, the Constitution, and within the boundaries of the University policies. The views expressed during events are expressed in a personal capacity and do not necessarily reflect the views of the University of Johannesburg. All events taking place in this venue may be photographed and video recorded for marketing, social media and media purposes. By attending this event, you grant the University of Johannesburg permission to use and publish any recorded material. The SARChI Chair in South African Art and Visual Culture University of Johannesburg invites you to Trade-Off an exhibition by Christine Dixie DATE Thursday 22 August 2024 / TIME 5.30 for 6.00 pm VENUE Gallery of the SARChI Chair in South African Art and Visual Culture, 33 Twickenham Avenue, Auckland Park, Johannesburg During the most stringent period of the lockdown in 2020, Christine Dixie produced DisOrder –Trade-Off, the first of a series of works engaging with the impact of COVID-19. The work, comprising nine prints, alludes to a media discourse about a necessary “trade-off” between, on the one hand, damage to the economy that would result from the lockdown and, on the other, dangers posed by the spread of infection if people were not kept apart from one another. However, “trade-off” also alludes to a complex relation of language to image. This conceptual idea is developed further in this exhibition through the showing of DisOrder – Trade-Off along with a recent artwork – one that is constituted froma written text in which Brenda Schmahmann engaged with DisOrder – Trade-Off and its meanings. DisOrder–Trade-Off features three key actors or protagonists – a princess, a plague doctor and a dog. The exhibition includes Blueprint for a Breathless World, a work in diaphanous fabric in which these three figures also appear. Acknowledgement: The text that Dixie uses is from a chapter Brenda Schmahmann authored for A Show of Hands: Crafting Concepts in Contemporary Art, edited by Ileana Parvu, Berlin: De Gruyter (in press). Thank you to Ileana Parvu and De Gruyter for approving its inclusion in Dixie’s artwork in advance of the book’s publication. Christine Dixie DisOrder – Trade-Off II (2020) DISCLAIMER: The University of Johannesburg encourages academic debate and discussion that are conducted in a manner that upholds respectful interaction, safety of all involved, and freedom of association as enshrined in the law, the Constitution, and within the boundaries of the University policies. The views expressed during events are expressed in a personal capacity and do not necessarily reflect the views of the University of Johannesburg. All events taking place in this venue may be photographed and video recorded for marketing, social media and media purposes. By attending this event, you grant the University of Johannesburg permission to use and publish any recorded material. The SARChI Chair in South African Art and Visual Culture University of Johannesburg invites you to a seminar by Christine Dixie responding to her exhibition Trade-Off DATE Monday 26 August 2024 TIME 3.00 to 4.00pm followed by refreshments VENUE Seminar Room of the SARChI Chair in South African Art and Visual Culture, 33 Twickenham Avenue, Auckland Park, Johannesburg VIRTUAL ATTENDANCE Please contact Neelofir Nagdee nnagdee@uj.ac.za for a link to the event. Derived from Velázquez’s Las Meninas, the princess, the plague doctor and the dog appear as central figures in the series of nine prints constituting The DisOrder – Trade-Off. They are also central to Blueprint for a Breathless World and appear in various guises in the video Blue Sequence. The seminar will look at how these three figures developed, overlapped, and materially shifted during the making of these works.
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