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Memory and Magic
This contemporary art of the San people emerged from a short phase of transition from the ancient culture - the rock art, the oral history, the old traditions, their 'magical' world - to the modern, globalised world of media communication and formal education.
Justice and Reconciliation in Post-Apartheid South Africa
An assessment of the transitional processes aimed at creating a stable and just society in South Africa.
The !Xun & Khwe Art Project
- Unique art project established 1993 in a refugee camp in South Africa - The only existing collection of the art of the !Xun and Khwe - Oral history captured in colorful paintings and expressive lino cuts The !Xun & Khwe Art Project was developed in 1993 in a refugee camp in Schmidtsdrift, South Africa. After being party to the struggles for liberation from colonial rule, endangered groups of San people from Namibia and Angola were relocated there. They eventually found their final home in the self-governing South African community of Platfontein. The art of the !Xun and Khwe came about during the short period of transition from a traditional way of life to a modern, globalized society. This is what makes them unique. The collection of Hella Rabbethge-Schiller reveals the remarkable creativity and visual expressiveness of the artists. Despite otherwise depending on oral transmission, the San have captured their stories for posterity here in images charged with energy. Text in English and German.
Animals and African Ethics
The claim is frequently made on behalf of African moral beliefs and practices that they do not objectify and exploit nature and natural existents like Western ethics does. This book investigates whether this is correct and what kind of status is reserved for other-than-human animals in African ethics.
Mounting Queen Victoria
"South African society has been refashioned since the first democratic elections were held in 1994; if democracy is the theory then transformation is the practice. This is apparent in the nation's museums, where collections and exhibition policies, staff and audiences have been changed in fundamental ways. Such changes have impacted the range of these institutions, including those focusing on art, natural history and science, cultural history, local events, and military matters. Steven C. Dubin examines in Mounting Queen Victoria the various strategies museums have adopted to shed their former ideological biases and become more inclusive. This book also notes that in this process, museums have developed into lively centres of debate - noisy democratic forums recovering the past and generating fresh information"--Publisher's website.
Indigenous Knowledge
Although the manifestation of what is taken to be indigenous knowledge could presumably be traced back roughly to the origins of humankind, the idea of indigenous knowledge is a fairly recent phenomenon. It has arguably gained conceptual and discursive currency only over the past half century, with a veritable slew of conferences, workshops, special journal editions, and anthologies devoted to the topic. Yet, there has been no treatise that offers a comprehensive, critical examination of this notion. Accounts of indigenous knowledge usually focus on explanations of “indigenous,” “local,” “traditional,” “African” and the like – but to date not a single defense of indigenous ...
Drawing the Line
Drawing the Line examines the ways in which cultural, political, and legal lines are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa—through literary texts, artworks, and other forms of cultural production. Under the rubric of a philosophy of the limit, and with reference to a range of signifying acts and events, this book asks what it takes to recalibrate a sociopolitical scene, shifting perceptions of what counts and what matters, of what can be seen and heard, of what can be valued or regarded as meaningful. The book thus argues for an aesthetics of transitional justice and makes an appeal for a postapartheid aesthetic inquiry, as opposed to simply a political or a legal one. Each chapter brings a South African artwork, text, speech, building, or social encounter into conversation with debates in critical theory and continental philosophy, asking: What challenge do these South African acts of signification and resignification pose to current literary-philosophical debates?
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