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
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