This paper reflects on the challenges of cultural identity in an increasingly globalised society. As the
individual questions their identity within a surge of globalisation, and with it a dominant Western
viewpoint, so visual studies of imagined visual identities emerge. In an attempt to understand the
implications of emerging cultural identities that question Western dominance, the work of the
following visual artists working in the medium of photography are considered, namely Cristina
de Middel, specifically her work The Afronauts; Andrew Putter, specifically his work African
Hospitality; and Sarah Keogh, specifically her work Multi-culturally Modernised. In order to address
globalisation and cross-cultural appropriation or multiculturalism, the paper firstly reflects on the
understanding of cultural identity and cultural integration. It secondly reflects on an understanding
of the visual as a form of cultural identity and discusses examples of appropriation of culture within
imagery displaying a cross-cultural visual communication context. These visual communicators
predominantly use photography within a context that does not afford the Western perspective prime
position. The significance of the study lies in the fact that the visual message being communicated
has the ability to reflect on both political and cultural ideologies giving advantage to a non-Western
perspective
In hierdie navorsing word die uitdagings van kulturele identiteit in ʼn toenemende globale samelewing
gereflekteer. Soos die individu sy eie identiteit bevraagteken binne die opwelling van globalisering
vanuit n oorheersende westerlike oogpunt, so verrys die visuele ondersoek na denkbeeldige visuele
identiteite. In ʼn poging om die gevolgtrekking van ineengesmelte kuturele identiteite wat Westerse
dominasie bevraagteken te verstaan, word die volgende visuele medelers wat in die medium van
fotografie werk, naamlik Cristina de Middel se Afronauts, Andrew Putter se African Hospitality
en Sarah Keogh se Multi-culturally Modernised, in ag geneem. Om sodoende globalisering en die
toe-eiening van ʼn kruis kulturele of veelsoortige kultuur aan te spreek, beoog die navorsing eerstens
om kulturele identiteite en kulturele integrasie te begryp. Tweedens word die begrip van die visuele
as ʼn vorm van kulturele identiteit bepeins en bespreek dit die toe-eiening van kultuur wat kruis
kulturele visuele kommunikasie uitbeeld. Hierdie visuele medelers gebruik oorwegend fotografie
binne die konteks wat nie die Westerse perspektief as aanvangspunt aandui nie. Die belang van die
studie lê in die feit dat die visuele boodskap wat uitgebeeld word die vermoë het om beide politieke
en kulturele ideologieë te weerspieël wat nie ʼn Westerse uitgangspunt bevoordeel nie.
