Before you arrive We Are Here: Shuma Sopotela’s ‘Indlulamthi’
- Authors: Makandula, Sikhumbuzo
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147248 , vital:38608 , https://artthrob.co.za/2018/08/03/before-you-arrive-we-were-here-shuma-sopotelas-indlulamthi/
- Description: Chuma Sopotela’s multimedia performance ‘Indlulamthi’ at the National Arts Festival proposes a healing of the ‘Settler Frontier’ through a sonicscape. This production was realized with Lulamil Nikani, the Palestinian actor Ahmad Tobasi and Makhanda-based children from Ntsika High School and several other children groups she invited.
- Full Text:
- Date Issued: 2018
- Authors: Makandula, Sikhumbuzo
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147248 , vital:38608 , https://artthrob.co.za/2018/08/03/before-you-arrive-we-were-here-shuma-sopotelas-indlulamthi/
- Description: Chuma Sopotela’s multimedia performance ‘Indlulamthi’ at the National Arts Festival proposes a healing of the ‘Settler Frontier’ through a sonicscape. This production was realized with Lulamil Nikani, the Palestinian actor Ahmad Tobasi and Makhanda-based children from Ntsika High School and several other children groups she invited.
- Full Text:
- Date Issued: 2018
Silent and Complex Histories: in conversation with Buhlebezwe Siwani
- Authors: Makandula, Sikhumbuzo
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147236 , vital:38607 , https://artthrob.co.za/2018/11/05/silent-and-complex-histories-in-conversation-with-buhlebezwe-siwani/
- Description: A feature by Sikhumbuzo Makandula on the 5th of November 2018
- Full Text:
- Date Issued: 2018
- Authors: Makandula, Sikhumbuzo
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147236 , vital:38607 , https://artthrob.co.za/2018/11/05/silent-and-complex-histories-in-conversation-with-buhlebezwe-siwani/
- Description: A feature by Sikhumbuzo Makandula on the 5th of November 2018
- Full Text:
- Date Issued: 2018
Reimagining our missing histories: Eria Nsubuga SANE and Sikhumbuzo Makandula in conversational partnership
- Makandula, Sikhumbuzo, Nsubuga, Eria
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
Umzila: a mark or track made by dragging any heavy body along the ground
- Authors: Makandula, Sikhumbuzo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146523 , vital:38533 , https://www.ug.edu.gh/events/arts-council-african-studies-association-acasa-17th-triennial-symposium-august-8-â-13-2017
- Description: ACASA facilitates communication among scholars, teachers, students, artists, museum specialists, collectors, and all others interested in the arts of Africa and the African Diaspora. Its goals are to promote greater understanding of African material and expressive culture in all its forms, and to encourage contact and collaboration with African and Diaspora artists and scholars.
- Full Text:
- Date Issued: 2017
- Authors: Makandula, Sikhumbuzo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146523 , vital:38533 , https://www.ug.edu.gh/events/arts-council-african-studies-association-acasa-17th-triennial-symposium-august-8-â-13-2017
- Description: ACASA facilitates communication among scholars, teachers, students, artists, museum specialists, collectors, and all others interested in the arts of Africa and the African Diaspora. Its goals are to promote greater understanding of African material and expressive culture in all its forms, and to encourage contact and collaboration with African and Diaspora artists and scholars.
- Full Text:
- Date Issued: 2017
A River of Blood Flows: Lerato Shadi’s ‘Noka Ya Bokamoso’
- Authors: Makandula, Sikhumbuzo
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147258 , vital:38609 , https://artthrob.co.za/2016/07/13/a-river-of-blood-flows-lerato-shadis-noka-ya-bokamoso/
- Description: The title of Lerato Shadi’s show, ‘Noka Ya Bokamoso,’ which opened at National Arts Festival in Grahamstown, translates from Setswana to ‘a river of tomorrow.’ In the Albany gallery you encounter Shadi performing Mosako Wa Nako. She sits silently crocheting a ball of red wool into a scroll which unfurls with indecipherable writing. Shadi’s isolation from the rest of the artworks on the exhibition draws you closer, emphasising the rhythmic movement of her hands.
- Full Text:
- Date Issued: 2016
- Authors: Makandula, Sikhumbuzo
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147258 , vital:38609 , https://artthrob.co.za/2016/07/13/a-river-of-blood-flows-lerato-shadis-noka-ya-bokamoso/
- Description: The title of Lerato Shadi’s show, ‘Noka Ya Bokamoso,’ which opened at National Arts Festival in Grahamstown, translates from Setswana to ‘a river of tomorrow.’ In the Albany gallery you encounter Shadi performing Mosako Wa Nako. She sits silently crocheting a ball of red wool into a scroll which unfurls with indecipherable writing. Shadi’s isolation from the rest of the artworks on the exhibition draws you closer, emphasising the rhythmic movement of her hands.
- Full Text:
- Date Issued: 2016
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