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Hall's work provides the intellectual tools to understand how meaning is socially constructed, Lefebvre's concept of "lived space" offers a complementary framework for understanding how such meanings are lived out in spatial contexts. Both theorists underscore the importance of social practices, power dynamics, and the role of the subject in shaping either meaning or space.
Both Hall and Lefebvre focus on the idea that reality is socially constructed. For Hall, meaning is shaped by social and cultural factors through representational systems like language (Hall, 1997). Lefebvre's concept of "lived space" also delves into how everyday human experiences and interactions shape our understanding and use of space (Lefebvre, 1974).
In Lefebvre's notion of "lived space," the emphasis is on how individuals experience and interpret space in their daily lives, incorporating their values, social relations, and histories (Lefebvre, 1974). This aligns well with Hall's idea that interpretation is essential to the process of meaning-making (Hall, 1997, p. 33).
Both Hall and Lefebvre explore the role of the subject in creating meaning or experiencing space. Hall particularly focuses on how meaning is related to the construction of identity (Hall, 1997, p. 4). Similarly, Lefebvre's "lived space" is a realm where individual identities are formed and expressed through spatial practices (Lefebvre, 1974).
Both theorists recognize that power relations are critical in shaping either the lived experience of space or the construction of meaning. Hall discusses how power dynamics influence which meanings are circulated and accepted (Hall, 1997, p. 26-27). Lefebvre also talks about how power structures can dominate spaces, affecting how they are lived and experienced (Lefebvre, 1974).
Hall’s emphasis on language as a system of signs that produces meaning (Hall, 1997, p. 18) has a spatial counterpart in Lefebvre's "lived space," where signs and symbols within the space contribute to its experience and interpretation (Lefebvre, 1974).
Lefebvre’s "lived space" is not a static concept but is constantly shaped and reshaped by human actions (Lefebvre, 1974). Hall similarly posits that meaning is not fixed but is produced at different sites and circulated in multiple ways (Hall, 1997, p. 3).
The body becomes an artistic medium, materializing ideas and communicating with the observer. The body's portrayal becomes an intricate process through which artists speak to others.
There's a conflict in how one's body is perceived by oneself and by others. Mastering this dual perception involves considering the complex negotiation of one's place in the world.
Perception and Self-Image
Artists may see themselves not just as creators but as tools in the hands of a higher power. There is a profound spiritual relationship in artistic creation.
Artists as Instruments
The African body is complex. It is described as multiple - a multitude of skin colours and ethnicities. The African body is African only when it is declared as such.
Representation of the African Body
While focusing on personal stories, this part also highlights the shared meanings that groups of people attach to spaces, showing that space can tell both personal and communal stories.
Shared Understanding
PERCEPTON OF THE SELF
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