{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/11131"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/11131","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Jazz contacts : envisaging Basil Breakey's photographic remains beyond the archive","abstract":"South African jazz photography, both as a particular instance of visual history and as a local site for an international photographic genre is largely under-researched. In consequence, its iconic trajectory, with its interconnected sets of specific historical and cultural contexts, is still inaccessible to a larger viewership. One of the very few books of South African jazz photography, Beyond the Blues: Township Jazz in the ‘60s and ‘70s, with photographs by Basil Breakey, points to the fractured and traumatic history of South African jazz culture. Complementary to this exists a layered, undisciplinable ‘Konvolut’ of Breakey’s contact sheets and fragments. Forensic-quality digitisation and printing procedures open them up as a ‘superreality’ that contains multitudes of overlapping, inextricable traces social history beyond photographic genre conventions.","abstract_html":"South African jazz photography, both as a particular instance of visual history and as a local site for an international photographic genre is largely under-researched. In consequence, its iconic trajectory, with its interconnected sets of specific historical and cultural contexts, is still inaccessible to a larger viewership. One of the very few books of South African jazz photography, Beyond the Blues: Township Jazz in the ‘60s and ‘70s, with photographs by Basil Breakey, points to the fractured and traumatic history of South African jazz culture. Complementary to this exists a layered, undisciplinable ‘Konvolut’ of Breakey’s contact sheets and fragments. Forensic-quality digitisation and printing procedures open them up as a ‘superreality’ that contains multitudes of overlapping, inextricable traces social history beyond photographic genre conventions.","abstract_has_math":false,"creators":["Zimmer, Niklas"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Zaayman, Carine"],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012","date_published":"2012","updated_at":"2026-07-22T22:22:37Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/11131","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Zaayman, Carine"]},{"key":"dc:creator","label":"Author","values":["Zimmer, Niklas"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-01-03T05:41:41Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-01-03T05:41:41Z"]},{"key":"dc:date.issued","label":"Date","values":["2012"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MA"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/11131"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Includes bibliographical references."]},{"key":"dc:description.abstract","label":"Abstract","values":["South African jazz photography, both as a particular instance of visual history and as a local site for an international photographic genre is largely under-researched. In consequence, its iconic trajectory, with its interconnected sets of specific historical and cultural contexts, is still inaccessible to a larger viewership. One of the very few books of South African jazz photography, Beyond the Blues: Township Jazz in the ‘60s and ‘70s, with photographs by Basil Breakey, points to the fractured and traumatic history of South African jazz culture. Complementary to this exists a layered, undisciplinable ‘Konvolut’ of Breakey’s contact sheets and fragments. 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One of the very few books of South African jazz photography, Beyond the Blues: Township Jazz in the ‘60s and ‘70s, with photographs by Basil Breakey, points to the fractured and traumatic history of South African jazz culture. Complementary to this exists a layered, undisciplinable ‘Konvolut’ of Breakey’s contact sheets and fragments. Forensic-quality digitisation and printing procedures open them up as a ‘superreality’ that contains multitudes of overlapping, inextricable traces social history beyond photographic genre conventions."],"dc:identifier.uri":["http://hdl.handle.net/11427/11131"],"dc:language.iso":["eng"],"dc:publisher.department":["Michaelis School of Fine Art"],"dc:publisher.institution":["University of Cape Town"],"dc:title":["Jazz contacts : envisaging Basil Breakey's photographic remains beyond the archive"],"dc:type":["Master Thesis"],"dc:type.qualificationlevel":["Masters"],"dc:type.qualificationname":["MA"]},"updated_at":"2026-07-22T22:22:37Z"}