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Number 29, 2017 ISSN 1020 1497 | 01 Contents Number 29, 2017 ISSN 1020 1497 | 01 Contents > Editorial 04 Leora Farber > Intimate lives, interior places 18 Sarah Nuttall The Front Room ‘Inna Joburg’: A hybrid intervention 37 > Michael McMillan > “The same but not quite”: Respectability, creative agencies and self-expression in black middle-class Soweto homes 55 Shonisani Netshia At Home with Vanley Burke 72 > Christine Checinska > Libidinal economies of Black hair: Subverting the governance of strands, subjectivities and politics 95 Shirley Anne Tate “… if Black girls had long hair” 112 > Hlonipha Mokoena Hair-stylisation and the “Art-of-living”: the case of Tendai Huchu’s The hairdresser of Harare 130 > Edwin Mhandu Zanele Muholi’s Reading Room 145 > Ashraf Jamal > Dress as a site of multiple selves: Address and redress in Judith Mason’s The Man who Sang and the Woman who Kept Silent and Wanja Kimani’s You Have Not Change 163 Kent Lindiwe Williams The collector’s asylum: The politics of disposability in the work of Julia Rosa Clark 185 > Andrew J Hennlich Refocusing the traumatic past (an essay in two parts) 204 > Maureen de Jager Snapshots of freedom: Street photography in Cape Town from the 1930s to the 1980s 219 > Siona O'Connell > EXHIBITION REVIEW: The Arrivants 235 Irene Bronner Number 29, 2017 ISSN 1020 1497 | 02 > Editorial policy and guidelines 243 > E-mail submissions and correspondence 245 > Editorial board 246 > Advisory board 250 Number 29, 2017 ISSN 1020 1497 | 03 Credits > Editor-in-chief: Jeanne van Eeden > Guest editor: Leora Farber > Editorial assistants: Rory du Plessis & Fatima Cassim > Design & layout: Kyle Rath > Cover image: Michael McMilllan, The Front Room ‘Inna Joburg’, 2016, Installation detail. Installation comprising found objects, home furnishings, wood. FADA Gallery, Johannesburg. Courtesy of Eugene Hön. Image & Text is published and distributed by the University of Pretoria. The views of contributors are not necessarily those of the editors or of the University of Pretoria. The University therefore accepts no responsibility for opinions expressed in the journal. © Copyright reserved | ISSN 1020 1497 | 2017 Number 29 www.imageandtext.up.ac.za | [email protected] Number 29, 2017 ISSN 1020 1497 | 04 Editorial > Leora Farber Director, Visual Identities in Art and Design Research Centre, University of Johannesburg, Johannesburg, South Africa. [email protected] Intimate archives // Autoethnographic acts: Personal surfacings, creative agencies, imagined freedoms Sharing intimate spaces and stories – making them habitable in public – may be a way of breaking down distances between people in the imaginative realm that … cross[es] over into the realm of physical space, potentially opening up new ways of thinking and feeling as well as moving, acting and relating to others (Bystrom 2013:334). In their introduction to the special edition of Cultural Studies in which authors explore the interconnected relations between private lives and public cultures in contemporary South African society, editors Kerry Bystrom and Sarah Nuttall (2013:310) use the term ‘intimate exposures’ to describe ‘a set of diverse acts that involve revealing inner aspects and places of the self and self-making’ that were previously suppressed under apartheid. As they contend, ‘[r]evealing inner lives … blurs common boundaries between public and private through a kind of spatial itinerancy, where things perceived to be properly confined to the home or domestic life surface in public spaces and become knitted into public discussions around these surfacings’ (Bystrom & Nuttall 2013:316). Such acts of self-exposure or exposure of the private lives of others in the public realm are intertwined with the public and political realms, and, as such, can work to shape, or at least recognise, the presence of multiple public-private spheres (Bystrom & Nuttall 2013:308, 310). As Bystrom (2013:336) notes, post-1994, South African academic and public interest in, and cultural production around, domestic, family and private life has grown owing to the shift in emphasis from the collective struggle towards examinations of selfhood to the focus on personal and subjective experience. In South Africa, narratives around personal, intimate or interior expression came to the fore in the Truth and Reconciliation Commission of 1996, which placed private experience and testimony firmly within the public realm Number 29, 2017 ISSN 1020 1497 | 05 (McGregor & Nuttall cited by Bystrom 2013:336). From this point onwards, a set of first- person narratives or ‘autobiographical acts’ (Nuttall & Michael 2000) emerged within the 1. The Roundtable took place from 4-5 cultural sphere (Bystrom & Nuttall 2013:310). These narratives present a ‘groundswell August 2016, at the FADA Gallery, Univer- sity of Johannesburg. It was accompanied of personal stories … candid, intimate voices that replace the grand narratives of apartheid by the installation-based exhibitions en- with a proliferation of micro-narratives …’ (McGregor & Nuttall cited by Bystrom 2013:336). ttled The Arrivants, and The Front Room ‘Inna Jo’burg’ (FADA Gallery, 30 July-28 August), by Christine Checinska and Mi- Many of the articles in this themed edition emanated from papers presented, personal chael McMillan respectively. At the open- narratives and conversations that took place at the Intimate archives//autobiographical ing, the artists collaborated on a per- 1 formance entitled Back-a-Yard. As first- acts. Personal surfacings as expressed through material culture (2016) Roundtable, generation Black British artists, McMillan hosted by the Visual Identities in Art and Design Research Centre (VIAD) in 2016. A focus and Checinska both explore the emer- 2 gence of a black British subjectivity that of the Roundtable was on how what are refered to in this edition as “personal surfacings” arose from Caribbean diasporic migration (as they manifest in creative and/or everyday3 cultural practices)4 are routed through, and how this subjectivity manifests in per- sonal surfacings of the British-African- Carribean front room and masculine dress. performances of the self and the articulation of personal experiences, Checinska’s navigation of the invisibility of stories and images as well as private or interior spaces in which the immigrant African diasporic subject subjectivity gets shaped; [an intimate exposure] focuses on and circulates through the intersections of culture, race through feeling and affective life; it is profoundly invested in objects, and dress is analysed in Irene Bronner’s commodities or ‘things’; it is about movement and mobility; it tends to review in this themed issue, in which she embrace vulnerability, risk and recombination rather than following a provides a first-hand account of her encoun- ter with this autoethnographic exhibition. predetermined aesthetic or political arc (Bystrom & Nuttall 2013:308). 2. While Bystrom and Nuttall refer to “in- timate exposures”, in this edition, the term In light of the current turn towards examining ways in which colonial structures that “personal surfacings” is used to denote underpin and are upheld within institutional spaces might be decentered within global aspects of the private-intimate-personal that are not necessarily acts of self-ex- and South African academies, authors in this themed edition explore how “personal posure, or acts that expose the private surfacings”, in their public intimacies as spaces of articulation and affective encounter, lives of others in the public realm. Rather, “surfacings” alludes to the uprising and may grant visibility to, and/or potentially unsettle colonial structures and their constructions. consequent visibility of that which has As such, personal surfacings may be seen as spaces that create openings for, or been sublimated, hidden, buried, unseen, forgotten. opportunities, to make visual the structures of colonial logic. Rather than starting from a set of assumptions or theoretical critiques around the category of decoloniality (and 3. The term “everyday”, includes a range decolonial politics), authors take the everyday practices of address – which may or may of diverse, non-uniform personal and/or group experience/s, and as such, has the not be decolonial depending on the relational enactments the involve – as their points possibility to be read both in relation to the of departure. Drawing on coloniality’s split between the public and the private realms personal and the political. as a starting point for critique, they offer and develop insight in relation to empirical 4. The term “lived-experience” is used examples by focusing on personal surfacings in the context of lived, everyday experience. here to denote forms of asserting crea- tive agency in daily life by ‘subjects of ac- tion, subjected to power and law … [who] Authors consider how personal surfacings, as manifesting at intersecting points between have a rich and complex consciousness; private and public institutions, can be read both as expressions of personal and that … are capable of challenging their oppression’ (Mbembe 2001:5-6). As Achille collective histories and narratives. These private and public institutions in which the Mbembe (2001:5) notes, the complex phe- personal surfaces include, but are not limited to, those of the home (furniture, objects, nomena of state and power take place in a material sense, as opposed to ways in images, photographs, décor); processes of self-fashioning through the body (specifically which they are reduced in academic dis- hair-stylisation and dress);
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