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Winner of IASPM Book Prize, given by IASPM, 2023 This book is an ethnographic study of sound archives and the processes of creative decolonization that form alternative modes of archiving and curating in the 21st century. It explores the histories and afterlives of sound collections and practices at the International Library of African Music. Sound Fragments follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa. The narrative speaks to larger issues in sound studies, curatorial practices, and the reciprocity and ethics of listening to and reclaiming culture. Sound Fragments interrogates how Xhosa arts activism contributes to an expanding notion of what a sound or cultural archive could be, and where it may resonate now and in future.
In Dust of the Zulu Louise Meintjes traces the political and aesthetic significance of ngoma, a competitive form of dance and music that emerged out of the legacies of colonialism and apartheid in South Africa. Contextualizing ngoma within South Africa's history of violence, migrant labor, the HIV epidemic, and the world music market, Meintjes follows a community ngoma team and its professional subgroup during the twenty years after apartheid's end. She intricately ties aesthetics to politics, embodiment to the voice, and masculine anger to eloquence and virtuosity, relating the visceral experience of ngoma performances as they embody the expanse of South African history. Meintjes also shows how ngoma helps build community, cultivate responsible manhood, and provide its participants with a means to reconcile South Africa's past with its postapartheid future. Dust of the Zulu includes over one hundred photographs of ngoma performances, the majority taken by award-winning photojournalist TJ Lemon.
This book considers the question of spatial justice after apartheid from several disciplinary perspectives – jurisprudence, law, literature, architecture, photography and psychoanalysis are just some of the disciplines engaged here. However, the main theoretical device on which the authors comment is the legacy of what in Carl Schmitt’s terms is nomos as the spatialised normativity of sociality. Each author considers within the practical and theoretical constraints of their topic, the question of what nomos in its modern configuration may or may not contribute to a thinking of spatial justice after apartheid. On the whole, the collection forces a confrontation between law’s spatiality in a “postcolonial” era, on the one hand, and the traumatic legacy of what Paul Gilroy has called the “colonial nomos”, on the other hand. In the course of this confrontation, critical questions of continuation, extension, disruption and rewriting are raised and confronted in novel and innovative ways that both challenge Schmitt’s account of nomos and affirm the centrality of the constitutive relation between law and space. The book promises to resituate the trajectory of nomos, while considering critical instances through which the spatial legacy of apartheid might at last be overcome. This interdisciplinary book will appeal to scholars of critical legal theory, political philosophy, aesthetics and architecture.
Refusal, Transition and Post-apartheid Law under editorship of professor Karin van Marle is indeed long overdue. As some of the authors in the relevant contributions to this publication rightly point out, Van Marle?s call for a ?jurisprudence of generosity?, enabled through an ?ethics of refusal?, signals a new shift in South African jurisprudence. Through the lens of Van Marle?s ethics of refusal and her jurisprudence of generosity, the articles present fresh and meaningful interpretations in respect of a range of very relevant topics ranging from property theory and a rethinking of human rights, to the role of forgiveness and the dangers inherent in modern technology.
It historicizes the contemporary discussion of urbanism, highlighting the local and global breadth of the city landscape. This interdisciplinary collection examines how the city develops in the interactions of space and imagination. The essays focus on issues such as street design in Vienna, the motion picture industry in Los Angeles, architecture in Marseilles and Algiers, and the kaleidoscopic paradox of post-apartheid Johannesburg. They explore the nature of spatial politics, examining the disparate worlds of eighteenth-century Baghdad, nineteenth-century Morelia. They also show the meaning of everyday spaces to urban life, illuminating issues such as crime in metropolitan London, youth culture in Dakar, "memory projects" in Tokyo, and Bombay cinema.
Pursuing fragments -- Pulling together, falling apart -- Knowing fragments -- Writing in fragments -- Political framings -- Walking cities -- In completion.
The Short Story after Apartheid offers the first major study of the anglophone short story in South Africa since apartheid’s end. By focusing on the short story this book complicates models of South African literature dominated by the novel and contributes to a much-needed generic and formalist turn in postcolonial studies. Literary texts are sites of productive struggle between formal and extra-formal concerns, and these brief, fragmentary, elliptical, formally innovative stories offer perspectives that reframe or revise important concerns of post-apartheid literature: the aesthetics of engaged writing, the politics of the past, class and race, the legacies of violence, and the struggle over the land. Through an analysis of key texts from the period by Nadine Gordimer, Ivan Vladislavić, Zoë Wicomb, Phaswane Mpe, and Henrietta Rose-Innes, this book assesses the place of the short story in post-apartheid writing and develops a fuller model of how artworks allow and disallow forms of social thought.
I love reading /writing and decided to express my experiences and understanding based on those experiences in the form of a poetry book. I'm a mixed-breed who grew up during Apartheid and currently live in post-Apartheid South Africa.
Challenging the stereotype that black people who lived under South African apartheid have no happy memories of the past, this examination into nostalgia carves out a path away from the archetypical musings. Even though apartheid itself had no virtue, the author, himself a young black man who spent his childhood under apartheid, insists that it was not a vast moral desert in the lives of those living in townships. In this deep meditation on the experiences of those who lived through apartheid, it points out that despite the poverty and crime, there was still art, literature, music, and morals that, when combined, determined the shape of black life during that era of repression.