Open debate: ephemeral democracies: interrogating commonality in South Africa
- Authors: Makhubu, Nomusa
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147626 , vital:38655 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.796200
- Description: South Africa's Post-Apartheid era is characterized by the rhetoric of ‘unity in diversity’. However, numerous artist-led public interventions disclose alienating socio-economic conditions. Neoliberal reforms in the context of prevailing structural designs of Apartheid in South Africa weaken the democratization process, making it figurative rather than tangible and participatory. There is a pervasive perception that centres of power within the arts in South Africa are located in institutions of white proprietorship. As a result, young artists create independent establishments where they can have some control over cultural production and dissemination. This article debates the different strategies that are used by young practising artists to confront contemporary challenges in Post-Apartheid South Africa. One of these strategies promotes integration and deracialization through persistent engagement with predominantly white institutions in order to generate a sense of common purpose while the other opts for the power of provocative racialized but marginalized cultural movements.
- Full Text:
- Date Issued: 2013
- Authors: Makhubu, Nomusa
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147626 , vital:38655 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.796200
- Description: South Africa's Post-Apartheid era is characterized by the rhetoric of ‘unity in diversity’. However, numerous artist-led public interventions disclose alienating socio-economic conditions. Neoliberal reforms in the context of prevailing structural designs of Apartheid in South Africa weaken the democratization process, making it figurative rather than tangible and participatory. There is a pervasive perception that centres of power within the arts in South Africa are located in institutions of white proprietorship. As a result, young artists create independent establishments where they can have some control over cultural production and dissemination. This article debates the different strategies that are used by young practising artists to confront contemporary challenges in Post-Apartheid South Africa. One of these strategies promotes integration and deracialization through persistent engagement with predominantly white institutions in order to generate a sense of common purpose while the other opts for the power of provocative racialized but marginalized cultural movements.
- Full Text:
- Date Issued: 2013
Politics of the strange: revisiting Pieter Hugo's Nollywood
- Authors: Makhubu, Nomusa
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147582 , vital:38651 , https://doi.org/10.1162/AFAR_a_00044
- Description: In a photographic essay accomplished between 2008 and 2009, South African photographer Pieter Hugo depicts ambiguous images of “supernatural” characters in Nigeria’s Nollywood.1 The majority of these photographs were taken in Enugu. Hugo’s Nollywood (2008/2009) has been exhibited widely in South Africa and in European, Australian, and American cities such as Rome, London, Paris, Amsterdam, Terragona, New York, Los Angeles, Sydney, and Adelaide as well as Auckland, New Zealand. Each portrait illustrates the grotesque in Nollywood.
- Full Text:
- Date Issued: 2013
- Authors: Makhubu, Nomusa
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147582 , vital:38651 , https://doi.org/10.1162/AFAR_a_00044
- Description: In a photographic essay accomplished between 2008 and 2009, South African photographer Pieter Hugo depicts ambiguous images of “supernatural” characters in Nigeria’s Nollywood.1 The majority of these photographs were taken in Enugu. Hugo’s Nollywood (2008/2009) has been exhibited widely in South Africa and in European, Australian, and American cities such as Rome, London, Paris, Amsterdam, Terragona, New York, Los Angeles, Sydney, and Adelaide as well as Auckland, New Zealand. Each portrait illustrates the grotesque in Nollywood.
- Full Text:
- Date Issued: 2013
The art of change: perspectives on transformation in South Africa
- Makhubu, Nomusa, Simbao, Ruth K
- Authors: Makhubu, Nomusa , Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147642 , vital:38657 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.798180
- Description: There have been almost two decades of democracy in South Africa, yet rising anger and violent discontent lay bare continuing inequity. It is timely to ask the question: can South Africans really be frank about how meaningful the transformation from oppressive political and economic structures has been? Does the inclination towards neo-liberalism and capitalism in South Africa’s post-Apartheid democracy allow real change? Where economic inequality and spatial divisions still persist and, indeed, are actively reproduced by current market forces, can South Africans really create inclusive and integrative spaces? The Art of Change: Perspectives on Transformation in South Africa confronts some of these issues, reopening debates and encouraging reflection on cultural dynamics in South Africa during the past two decades.
- Full Text:
- Date Issued: 2013
- Authors: Makhubu, Nomusa , Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147642 , vital:38657 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.798180
- Description: There have been almost two decades of democracy in South Africa, yet rising anger and violent discontent lay bare continuing inequity. It is timely to ask the question: can South Africans really be frank about how meaningful the transformation from oppressive political and economic structures has been? Does the inclination towards neo-liberalism and capitalism in South Africa’s post-Apartheid democracy allow real change? Where economic inequality and spatial divisions still persist and, indeed, are actively reproduced by current market forces, can South Africans really create inclusive and integrative spaces? The Art of Change: Perspectives on Transformation in South Africa confronts some of these issues, reopening debates and encouraging reflection on cultural dynamics in South Africa during the past two decades.
- Full Text:
- Date Issued: 2013
Violence and the cultural logics of pain: representations of sexuality in the work of Nicholas Hlobo and Zanele Muholi
- Authors: Makhubu, Nomusa
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147814 , vital:38675 , https://0-doi.org.wam.seals.ac.za/10.1080/02560046.2012.723843
- Description: Nicholas Hlobo and Zanele Muholi have raised critical issues regarding sexual identity in patriarchal contexts since they premiered at the Michael Stevenson Gallery in 2005. Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality – in particular, homosexuality. Hlobo investigates notions of masculinity and the practice of circumcision, while Muholi documents the existence of transgender and homosexuality in township spaces (her recent work expands to various other spaces). This article focuses on the roles that violence plays in the sexual politics represented in Hlobo and Muholi’s work.
- Full Text:
- Date Issued: 2012
- Authors: Makhubu, Nomusa
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147814 , vital:38675 , https://0-doi.org.wam.seals.ac.za/10.1080/02560046.2012.723843
- Description: Nicholas Hlobo and Zanele Muholi have raised critical issues regarding sexual identity in patriarchal contexts since they premiered at the Michael Stevenson Gallery in 2005. Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality – in particular, homosexuality. Hlobo investigates notions of masculinity and the practice of circumcision, while Muholi documents the existence of transgender and homosexuality in township spaces (her recent work expands to various other spaces). This article focuses on the roles that violence plays in the sexual politics represented in Hlobo and Muholi’s work.
- Full Text:
- Date Issued: 2012
The "other" Africans : re-examining representations of sexuality in the work of Nicholas Hlobo and Zanele Muholi
- Authors: Makhubu, Nomusa
- Date: 2008
- Subjects: Hlobo, Nicholas Muholi, Zanele Women in art Photography, Artistic Homosexuality in art Sex in art Performance art Art, African
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2410 , http://hdl.handle.net/10962/d1002206
- Description: Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality, particularly homosexuality. It is extremely difficult to discuss African sexuality in light of the stain of colonial attitudes that have exoticised and ascribed hypersexuality to African bodies. Moreover, sexuality is often not discussed in the construction of so-called African traditions and this has contributed to rendering African-ness as an exclusive identity. Tensions within and between categories of African-ness are compounded by constituted regulations. For example, Hlobo investigates the obligation of circumcision which seems to contrast the lifestyle and contexts in which he works and resides, and Muholi represents the existence of homosexual and transgender relations, even within conservative categories. The visual imagery of these two artists investigates the boundaries set by different social constructs. These set boundaries have also affected crimes against bisexual, transgender and homosexual individuals, which are reaching an alarming rate. Hlobo questions the validity of structures that marginalise homosexual individuals through drawing attention to the ambivalence of certain statutes. Muholi seeks to publicise the injustices imposed upon homosexual individuals in order to demonstrate the weight of that crisis. Although the South African legal system condones liberated expressions of sexual identity, due to social prejudices homosexual individuals are still treated as if they are not entitled to basic human rights. As a result, hate-crimes are not reported, and when they are they are not taken seriously. Hlobo and Muholi not only bring these issues to light, but also point out the dilemma inscribed in the social and political history of (South) Africa with regards to collective and individual identities. This thesis seeks to provide an analysis of the visual language used by Hlobo and Muholi to subvert the notion that homosexuality is “un-African” and to complicate concepts of gender, sexuality and identity.
- Full Text:
- Date Issued: 2008
- Authors: Makhubu, Nomusa
- Date: 2008
- Subjects: Hlobo, Nicholas Muholi, Zanele Women in art Photography, Artistic Homosexuality in art Sex in art Performance art Art, African
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2410 , http://hdl.handle.net/10962/d1002206
- Description: Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality, particularly homosexuality. It is extremely difficult to discuss African sexuality in light of the stain of colonial attitudes that have exoticised and ascribed hypersexuality to African bodies. Moreover, sexuality is often not discussed in the construction of so-called African traditions and this has contributed to rendering African-ness as an exclusive identity. Tensions within and between categories of African-ness are compounded by constituted regulations. For example, Hlobo investigates the obligation of circumcision which seems to contrast the lifestyle and contexts in which he works and resides, and Muholi represents the existence of homosexual and transgender relations, even within conservative categories. The visual imagery of these two artists investigates the boundaries set by different social constructs. These set boundaries have also affected crimes against bisexual, transgender and homosexual individuals, which are reaching an alarming rate. Hlobo questions the validity of structures that marginalise homosexual individuals through drawing attention to the ambivalence of certain statutes. Muholi seeks to publicise the injustices imposed upon homosexual individuals in order to demonstrate the weight of that crisis. Although the South African legal system condones liberated expressions of sexual identity, due to social prejudices homosexual individuals are still treated as if they are not entitled to basic human rights. As a result, hate-crimes are not reported, and when they are they are not taken seriously. Hlobo and Muholi not only bring these issues to light, but also point out the dilemma inscribed in the social and political history of (South) Africa with regards to collective and individual identities. This thesis seeks to provide an analysis of the visual language used by Hlobo and Muholi to subvert the notion that homosexuality is “un-African” and to complicate concepts of gender, sexuality and identity.
- Full Text:
- Date Issued: 2008
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