Art Under Threat at the University of Cape Town
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True Confessions, End Papers and the Dakar Conference
Hermann Giliomee True Confessions, End Papers and Hermann Giliomee was Professor of the Dakar conference: A review of Political Studies at the University of Cape Town and is presently Professor the political arguments Extraordinary at the History Department, University of Stellenbosch. E-mail: [email protected] True Confessions, End Papers and the Dakar conference: A review of the political arguments As a social critic Breyten Breytenbach published two books of political commentary and political analysis during the mid-1980s without the opportunity of engaging with commentators at home. While True Confessions of an Albino Terrorist is part autobiography and part searing comment on prison life, End Papers is a more detached dissection of the major political and cultural issues confronting South Africa. Breytenbach was now one of the respected international voices on the political crisis in South Africa. The violent break-up of apartheid had changed Breytenbach’s social criticism. In the place of the earlier rejection and denunciation had come a willingness to engage and reason with his audience. The Dakar conference of 1987, which Breytenbach co-organised, offered an ideal opportunity for this. The conference was given wide publicity and was seen by some as the catalyst that broke the ice for the negotiations between the government and the ANC two and a half years later. Key words: Afrikaans literature, Dakar conference, National Party, African National Congress, South Africa, violence, negotiations. Introduction Shortly after being released from jail in 1982 Breyten Breytenbach published two non-fiction books, The True Confessions of an Albino Terrorist (1984) and End Papers (1986). -
South African Artists at the Constitutional Court of South Africa
UNIVERSITY OF CALIFORNIA Los Angeles Decoding Memories: South African Artists at the Constitutional Court of South Africa A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African Studies by Mary Ann Braubach 2017 © Copyright by Mary Ann Braubach 2017 ABSTRACT OF THESIS Decoding Memories: South African Artists at the Constitutional Court of South Africa by Mary Ann Braubach Master of Arts in African Studies University of California, Los Angeles, 2017 Professor William H. Worger, Chair This paper examines the decoding of the memory of apartheid and post apartheid years of South Africa’s recent history. And it contextualizes how the struggle influenced the visual arts. Also analyzed are the history of the Constitution and Constitutional Court of South Africa. It interrogates the formation of the Constitutional Court art collection. by Justices Albie Sachs and Yvonne Mokgoro for the yet-to-be-constructed Constitutional Court building in Johannesburg. Many donated artworks are responsive both to the anti- apartheid struggles and also to the new democracy. The essay also examines the underlying politic that now hangs in the Constitutional Court building. Select works, that function as signifiers of the new Constitution, are examined. I draw on interviews with South African artists, Court Justices and curators to investigate the role of memory, the archeology of the site, and the significance of the collection to the artists, the Justices, and citizens of South Africans twenty years post apartheid. -
Life & Times of Magda A: Telling a Story of Violence in South Africa
Life & Times of Magda A: Telling a Story of Violence in South Africa Author(s): Didier Fassin, Frédéric Le Marcis, and Todd Lethata Reviewed work(s): Source: Current Anthropology, Vol. 49, No. 2 (April 2008), pp. 225-246 Published by: The University of Chicago Press on behalf of Wenner-Gren Foundation for Anthropological Research Stable URL: http://www.jstor.org/stable/10.1086/526096 . Accessed: 08/06/2012 11:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Wenner-Gren Foundation for Anthropological Research are collaborating with JSTOR to digitize, preserve and extend access to Current Anthropology. http://www.jstor.org Current Anthropology Volume 49, Number 2, April 2008 225 Life & Times of Magda A Telling a Story of Violence in South Africa by Didier Fassin, Fre´de´ric Le Marcis, and Todd Lethata How to write about violence? Most recent anthropological works have dealt with this question in terms of either political economy, narratives, or performance. Using J. M. Coetzee’s Life & Times of Michael K as a pre-text, an ethnological inquiry into violence is proposed through the biography of a young South African woman. -
The Gordian Knot: Apartheid & the Unmaking of the Liberal World Order, 1960-1970
THE GORDIAN KNOT: APARTHEID & THE UNMAKING OF THE LIBERAL WORLD ORDER, 1960-1970 DISSERTATION Presented in Partial Fulfillment for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Ryan Irwin, B.A., M.A. History ***** The Ohio State University 2010 Dissertation Committee: Professor Peter Hahn Professor Robert McMahon Professor Kevin Boyle Professor Martha van Wyk © 2010 by Ryan Irwin All rights reserved. ABSTRACT This dissertation examines the apartheid debate from an international perspective. Positioned at the methodological intersection of intellectual and diplomatic history, it examines how, where, and why African nationalists, Afrikaner nationalists, and American liberals contested South Africa’s place in the global community in the 1960s. It uses this fight to explore the contradictions of international politics in the decade after second-wave decolonization. The apartheid debate was never at the center of global affairs in this period, but it rallied international opinions in ways that attached particular meanings to concepts of development, order, justice, and freedom. As such, the debate about South Africa provides a microcosm of the larger postcolonial moment, exposing the deep-seated differences between politicians and policymakers in the First and Third Worlds, as well as the paradoxical nature of change in the late twentieth century. This dissertation tells three interlocking stories. First, it charts the rise and fall of African nationalism. For a brief yet important moment in the early and mid-1960s, African nationalists felt genuinely that they could remake global norms in Africa’s image and abolish the ideology of white supremacy through U.N. -
Representations of African Bodies in the 1983 Contre
Visual Trauma: Representations of African Bodies in the 1983 Contre Apartheid Exhibition MA Thesis Department of English University of the Western Cape Name: Charlise Petersen Student Number: 3222728 Supervisor: Dr Hermann Wittenberg Due Date: 7th June 2018 PLAGIARISM DECLARATION 1. I hereby declare that I know what plagiarism entails, namely to use another’s work and to present it as my own without attributing the sources in the correct way. (Refer to University Calendar part 1 for definition) 2. I know that plagiarism is a punishable offence because it constitutes theft. 3. I understand the plagiarism policy of the Faculty of Arts of the University of the Western Cape. 4. I know what the consequences will be if I plagiarize in any of the assignments for my course. 5. I declare therefore that all work presented by me for every aspect of my course, will be my own, and where I have made use of another’s work, I will attribute the source in the correct way. Signature: ii http://etd.uwc.ac.za Acknowledgements I wish to extend my sincere gratitude to the following people whose valued assistance played a vital making my thesis a reality: Dr Hermann Wittenberg for his patience, passionate guidance, and his constant support as my supervisor, my family and friends for their faith in my abilities and their encouragement throughout my research journey, Dr Vanessa Brown for being an amazing mentor and constantly motivating me to succeed and the SSRC Mellon for enabling me to conduct research in the U.S in aid of my thesis. -
South Africa in the Global Imaginary: an Introduction
South Africa in the Global Imaginary: An Introduction Leon de Kock English, South Africa 1. The Elements in Play What I want to write about is the penetration, expansion, skir- mishing, coupling, mixing, separation, regrouping of peoples and cultures—the glorious bastardisation of men and women mutually shaped by sky and rain and wind and soil....Andeverywhereis exile; we tend to forget that now. The old ground disappears, ex- propriated by blood as new conflicting patterns emerge. Breyten Breytenbach, Dog Heart, Introductions to South African literary culture conceived as an entity have a peculiar trademark: They apologize for attempting to do the impossible 1 and then go ahead anyway. This gesture, ranging from rhetorical genu- flection to anxious self-examination to searing critique of others who have dared to undertake what should not be attempted lightly, reveals a signifi- cant fault line in the field of South African literary studies, although field is a problematic metaphor here, like almost every other metaphor one cares to use. Literary ‘‘fields’’—entities, groupings—require some reason other than the mere convenience of geography for their existence: they need mini- mal convergence in the domains of origin, language, culture, history, and nationalism (contested or not) to become, in some sense, cohesive and inter- referential. But in the South African case each of these domains fragments . See, for example, Gray (: ); Van Wyk Smith (: i–iii); Chapman (: xx); Wade (: –); and Jolly and Attridge (: ). Poetics Today : (Summer ). Copyright © by the Porter Institute for Poetics and Semiotics. Downloaded from http://read.dukeupress.edu/poetics-today/article-pdf/22/2/263/458140/22.2de_kock01.pdf by guest on 25 September 2021 264 Poetics Today 22:2 into heterogeneity the moment one looks more closely at the literary ob- jects at hand. -
Apartheid: History Through an Artistic Lens Sarah Latimer • St
Apartheid: History Through an Artistic Lens Sarah Latimer • St. Olaf College, MN, United States • June 4th - August 26th, 2018 • Cape Town, South Africa “Education is the most powerful weapon you can use to change the world.” - Nelson Mandela Goal: This project aims to educate 20-30 Hyde Park Primary music students on the history of apartheid through an artistic lens, showcase a gallery of their creative responses, and ultimately empower them to achieve lasting peace in their community. Background: Apartheid was a system of institutionalized racial segregation and discrimination that existed in South Africa between 1948 and 1991. The law classified four races – white, black, coloured, and Indian. The Group Areas Act of 1950 allocated living areas for each race, resulting in the forced removal of 3.5 million people from their homes over the course of 23 years. Non-whites were treated as subhuman and were often beaten and killed to secure white power. In one instance, the police opened fire on a peaceful high school student protest in Soweto; reports estimated 170 were killed. In the face of growing internal and international resistance and a failing economy, President F. W. de Klerk released anti-apartheid revolutionary Nelson Mandela from prison in 1990, and after much negotiation, officially ended apartheid. While much of the historical record emphasizes the violence of this era, the struggle against apartheid also sparked many profound and non-violent responses from artists like Miriam Makeba, Mongane Wally Serote, and Willie Bester. Encyclopedia articles provide basic facts and dates, but cannot convey the true depth of experiences held by apartheid victims and survivors. -
University of Cape Town (UCT) in Terms of the Non-Exclusive License Granted to UCT by the Author
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town "The Advancement of Art" Policy and Practice at the South African National Gallery 1940-1962 Qanita Lilla LLLQANOOI A dissertation submitted in fulfillment of the requirements for the award of the degree of Master of Arts in Art History UniversityFaculty of the of Humanities Cape Town University of Cape Town 2004 This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: 3 May 2004 Contents Abstract Acknowledgements ii List of Illustrations iii Introduction 1 Chapter One 11 The South African National Gallery: the establishment of a colonial museum 187 1- 1940 Chapter Two 26 Edward Roworth's Directorship: Art and rhetoric at the South African National Gallery 1940-1947 Chapter Three 49 Debate and Debacle at the South African National Gallery 1947 Chapter Four 77 Painting a nation: the emerging discourse of South African art in 1948 Chapter Five 101 Innovation and intervention at the South African National Gallery: John Paris' Directorship 1949-1962 Conclusion Town 121 Bibliography 125 Figures Cape 1-22 Appendices Appendix A: Letter from the South Africanof National Gallery denying access to archives Appendix B: List of works sold from the South African National Gallery, from the 1947 Stratford Report University Abstract This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. -
Sarah Baartman Sculpture Reignites Art Dialogue at UCT
27 September 2018 Sarah Baartman sculpture reignites art dialogue at UCT The University of Cape Town (UCT) is running an exhibition as part of an ongoing process and dialogue about the display of artworks at the university, with the intention of creating a more open and inclusive space. The Sarah Baartman sculpture by Willie Bester is being exhibited alongside a sound installation featuring a poem by Diana Ferrus, images and other artwork in an exhibition entitled Sarah ‘Saartjie’ Baartman, A Call to Respond which is being held at the Ritchie Gallery on the University of Cape Town’s (UCT) Hiddingh campus. The exhibition, which runs until October 4, is part of an ongoing process. It has also been designed as an expressive space and a place for thinking and reflecting. People are also free to write their own messages on a wall which forms part of the display. Dr Nomusa Makhubu, senior lecturer in art history at UCT’s Michaelis School of Fine Art, says: “Art is not just the beautiful things we put on walls and in various spaces, but they themselves are the intellectual discourse we are looking for. This sculpture has become a very significant catalyst for that intellectual discourse, about a number of things, but also focusing on the narrative of Sarah Baartman.” UCT acquired the sculpture in 2000. It was initially located in the engineering section of the Chancellor Oppenheimer Library on the upper campus. “It was not only an inappropriate location, but a difficult sculpture to engage with and deal with,” says Dr Makhubu. -
Apartheid Mythology and Symbolism. Desegregated and Re-Invented In
Apartheid Mythology and Symbolism. Desegregated and Re-Invented in the Service of Nation Building in the New South Africa : the Covenant and the Battle of Blood River/Ncome Anton Ehlers To cite this version: Anton Ehlers. Apartheid Mythology and Symbolism. Desegregated and Re-Invented in the Service of Nation Building in the New South Africa : the Covenant and the Battle of Blood River/Ncome. Alizés : Revue angliciste de La Réunion, Faculté des Lettres et Sciences humaines (Université de La Réunion), 2004, Founding Myths of the New South Africa / Les mythes fondateurs de la nouvelle Afrique du Sud, pp.173-197. hal-02344096 HAL Id: hal-02344096 https://hal.univ-reunion.fr/hal-02344096 Submitted on 3 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Apartheid Mythology and Symbolism. Desegregated and Re-Invented in the Service of Nation Building in the New South Africa: the Covenant and the Battle of Blood River/Ncome Anton EHLERS University of Stellenbosch INTRODUCTION Although the focus and emphasis changed over time, the Covenant, the Battle of Blood River/Ncome, its physical monu- mental manifestation and its annual commemoration on December 16 were key components in the mythological legitimisation of Afrikaner nationalism and its apartheid manifestation in the 20th century. -
Footprints on the Sands of Time;
FOOTPRINTS IN THE SANDS OF TIME CELEBRATING EVENTS AND HEROES OF THE STRUGGLE FOR FREEDOM AND DEMOCRACY IN SOUTH AFRICA 2 3 FOOTPRINTS LABOUR OF LOVE IN THE SANDS OF TIME Unveiling the Nkosi Albert Luthuli Legacy Project in August 2004, President Thabo Mbeki reminded us that: “... as part of the efforts to liberate ourselves from apartheid and colonialism, both physically and mentally, we have to engage in the process of telling the truth about the history of our country, so that all of our people, armed with this truth, can confidently face the challenges of this day and the next. ISBN 978-1-77018-205-9 “This labour of love, of telling the true story of South Africa and Africa, has to be intensified on © Department of Education 2007 all fronts, so that as Africans we are able to write, present and interpret our history, our conditions and All rights reserved. You may copy material life circumstances, according to our knowledge and from this publication for use in non-profit experience. education programmes if you acknowledge the source. For use in publication, please Courtesy Government Communication and Information System (GCIS) obtain the written permission of the President Thabo Mbeki “It is a challenge that confronts all Africans everywhere Department of Education. - on our continent and in the Diaspora - to define ourselves, not in the image of others, or according to the dictates and Enquiries fancies of people other than ourselves ...” Directorate: Race and Values, Department of Education, Room 223, President Mbeki goes on to quote from a favourite 123 Schoeman Street, Pretoria sub·lime adj 1. -
Sfiso Ka Mkame Suewilliamson Norman Catherine Sam
THEART Compiled by GRIZEè LL AZAR-LUXTON Sam Nhlengethwa and DALENA LE ROUX Sam Nhlengethwa wasborn on 9 January Librarian,Central Collection 1955 at PaynevilleTownship, Springs. He studied artthroughthe ELCArt and Craft rtcannotexist without society. Centre at Rorke'sDrift. Hisexperience also There can be no line separating includesthat of set designer. `A the artist from his community. The progressive effectof our societygives Pippa Skotnes riseto culturalgrowth. The artistmust seek The few tinygroups of San who stillexist new formsof changing hissociety for the todayinthe Kalahari Desertin Botswana better.' are avidly studied by anthropologists, and Profoundwordsdatingbackasfar as1987 have beenthe subjectof a number of docu- and containedin a letter to the editor by a mentary films. Buttothe Dutchfarmers of reader of a largely black-read newspaper, the eighteenth century the nomadic San, or The New Nation.Wordsthatembody Bushmen as they called them, were vermin much of what has transpired in the visual to be tracked down and ruthlessly extermi- and other formsof artduring the pastthree nated. decades. We take a look at a selection of In South Africa, allthat remain ofthe San some verycollectible artists whose work Ebrahim, one ofthelastresidents of District are their beautiful and elegantrock paint- encapsulates protestor resistance art- a Six. The chairs were usedin Naz'shouse for ings, executed in the colours of the earth, most powerful medium in the peoples of the last celebration of the Eid feast in Dis- and to be foundin shallowcaves right across South Africa'sstruggle forliberation. Many trict Six, and were draped with white the country. Itisknownthat painting was of their worksare held in stock.