Download this publication - PULP - University of Pretoria

More documents

Recommendations

Info

Following my support for Van Marle’s earlier stated criticism against the use of legal concepts in issues of this kind at the beginning of this part, I would argue that it is more the implicit and unspoken opposition to or avoidance of controversial and provocative ideas that is the problem and not a direct digression from the (instrumental and technical) principles of freedom of expression and artistic creativity. Diane Victor’s freedom of expression is thus not under threat. What is in question is the result of that expression. Those who objected to the etchings in the Faculty chose to employ the claim of ‘lack of consultation’ in order to hide their innate preference for the sweet, blissful and comfortable life which was disturbed by the etchings. This is carried through in these words by Chris Hani, which although intended for white South Africans during Apartheid as Van Marle 28 mentions, may serve as a universal description of how society is becoming: Their life is good. They go to their cinemas, they go to their braaivleis, they go to their five-star hotels. That’s why they are supporting the system. It guarantees a happy life for them, a sweet life. Part of our campaign is to prevent that sweet life. 29 Whatever viewpoint we hold on freedom of expression, we must also view freedom of expression (in art, speech, or films) from a different angle – a ‘value’ and ‘impact’ angle. As the penetration of new ideas into society; the honest portrayals of the horrors which visit upon the poor and vulnerable; the depiction of hope and a better future; and of radically different approaches to problems endemic in post-Apartheid South Africa. The kind of (freedom of) expression that Victor’s etchings exemplifies is one with the potential for a paradigm shift and a venturing off into the wilderness wanderings of new reflections and a more nuanced critique of the human condition. 4 The University as open space A University is probably the prime example of an open space for dialogue and innovation or what Van Marle calls a ‘heterogenous public space’. 30 Heyns points out elsewhere that ‘in a very real sense, universities can be agents of 28 29 Van Marle (n 3 above) 26. W Kentridge Breakfast in the antechamber (1986) cited in Van Marle (n 3 above) 26. 30 Van Marle (n 8 above) 628. 15
16 development’. 31 The University of Pretoria (and all other universities for that matter) has the greatest commitment and perhaps even obligation to lead the notion of the academic project. This, even as a first year student, I understand to be characterised by continuous learning, exposure to new ideas and to new ways of thinking and being, individual philosophy (as opposed to indoctrination), challenging old schools of thought, openness, and expression. Refusal to display or hostility towards provocative art is a form of tunnel vision and ignorance uncharacteristic of a democratic-public university space. Another issue that stands in this framework is the fact that students are an essential part of a University space. It is naturally quite puzzling that in the course of the (disingenuous) debate on procedures not being followed, there was never an attempt to solicit the views, opinion and perspective of the law students at the time. Why were the feelings and interpretations of students towards the etchings also not considered and defended? Any basic conception of university democracy would support the view that students in the faculty should have been part of the debate. After all, it was the current Dean who mentioned that where there is no consultation, ‘there is no sense of ownership’. 32 Despite these complaints about how the discussions were conducted, some comfort can be gained from the opportunity it gives us to stress three important issues: (i) Firstly, the faculty should be wary of underestimating and undermining its own students. I suspect that the students were not involved in the process because of an overwhelming perception in faculty that students couldn’t possibly understand the complexity of the debate and raise any new points which weren’t already mentioned or thought of by the legal academics, human rights experts and philosophers in the Faculty. (ii) Secondly, the need to give students a real (and not a pretentious and ‘inspeeches’ only) sense of ownership in the Faculty. Faculty staff must use their expertise to help students generate their own ideas, engage in their own debates and be an active part of the life of their faculty. Students, in this way, are not just seen as clients of the Faculty in the sense that a teaching service is being rendered to them but they are also regarded as stakeholders. 31 Heyns ;Transformation and the Faculty of Law of the University of Pretoria’ in Visser & Heyns (eds) Transformation and the Faculty of Law, University of Pretoria (2007) 20-21. 32 Heyns (n 3 above) 5.
Page 1 and 2: DISASTERS OF PEACE: PART 2 2011
Page 3 and 4: ‘Made to measure’ by Diane Vict
Page 6 and 7: The politics of horror art, freedom
Page 8 and 9: art on their behalf’ 6 while Van
Page 10 and 11: 2.2 How do we categorise art? The d
Page 12 and 13: this kind of innocence, of superfic
Page 14 and 15: we want to advocate in the Law Facu
Page 18 and 19: (iii) Thirdly, the University — w
Page 20 and 21: Returning to my earlier point about
Page 22: ... Open and transparent — ironic
Page 25 and 26: 24 Shying away from the images is s
Page 27 and 28: 26 inclined to. 6 Simply put, sex s
Page 29 and 30: 28 exhibit the violent nature of su
Page 31 and 32: 30 I have already pointed out the a
Page 33 and 34: 32 The Damaso artwork demonstrates
Page 35 and 36: 34 basis’. 27 Public response tha
Page 38 and 39: Untitled Christof Heyns Faculty of
Page 40 and 41: At the main exhibition hall a publi

Download this publication - PULP - University of Pretoria

Create successful ePaper yourself

Delete template?

Save as template?