Dungamanzi/stirring waters: Tsonga and Shangaan art from southern Africa, Nessa Leibhammer (Ed.): book reviews
- Authors: Simbao, Ruth K
- Date: 2008
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147358 , vital:38629 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31053
- Description: A woman known as Nkoma We Lwandle (Cow of the Ocean) and a man, Dunga Manzi (Stirring Waters), are remembered as the first Tsonga diviners. Trained by Nzunzu - a powerful water serpent - they were pulled into a lake for a few months and later emerged as influential healers. Such stories (like the one relayed by Dederen of a young girl, Nsatimuni, who also temporarily disappeared into a lake) represent 'death' and 'rebirth', reflecting Arnold van Gennep's (1909) well-known schema of rites de passage: séparation, marge, and agrégation. Separated from daily life, these characters sink into another world where people breathe in water like a foetus in the liquid depths of a womb, evoking impending new birth (p. 171).
- Full Text:
- Date Issued: 2008
- Authors: Simbao, Ruth K
- Date: 2008
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147358 , vital:38629 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31053
- Description: A woman known as Nkoma We Lwandle (Cow of the Ocean) and a man, Dunga Manzi (Stirring Waters), are remembered as the first Tsonga diviners. Trained by Nzunzu - a powerful water serpent - they were pulled into a lake for a few months and later emerged as influential healers. Such stories (like the one relayed by Dederen of a young girl, Nsatimuni, who also temporarily disappeared into a lake) represent 'death' and 'rebirth', reflecting Arnold van Gennep's (1909) well-known schema of rites de passage: séparation, marge, and agrégation. Separated from daily life, these characters sink into another world where people breathe in water like a foetus in the liquid depths of a womb, evoking impending new birth (p. 171).
- Full Text:
- Date Issued: 2008
Tracing and erasure in Kathryn Smith's Psychogeographies: the washing away of wrongs
- Authors: de Jager, Maureen
- Date: 2008
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147413 , vital:38634 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31057
- Description: Kathryn Smith's Psychogeographies: The Washing Away of Wrongs is a series of twelve prints comprising photographs and handwritten text, wherein she records her 'pilgrimage' to the former homes of British serial killer Dennis Nilsen. As such, it utilises photographic and autographic traces to 'track' the elusive traces left by Nilsen. Given the lapse of two decades between Nilsen's arrest and Smith's visit, the traces of Nilsen's 'wrongs' seem all but erased by the banal façade of suburban living which has continued on, regardless. In taking this as a starting point, the following article considers the motif of absence that characterises Smith's work as intrinsic to traces per se.
- Full Text:
- Date Issued: 2008
- Authors: de Jager, Maureen
- Date: 2008
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147413 , vital:38634 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31057
- Description: Kathryn Smith's Psychogeographies: The Washing Away of Wrongs is a series of twelve prints comprising photographs and handwritten text, wherein she records her 'pilgrimage' to the former homes of British serial killer Dennis Nilsen. As such, it utilises photographic and autographic traces to 'track' the elusive traces left by Nilsen. Given the lapse of two decades between Nilsen's arrest and Smith's visit, the traces of Nilsen's 'wrongs' seem all but erased by the banal façade of suburban living which has continued on, regardless. In taking this as a starting point, the following article considers the motif of absence that characterises Smith's work as intrinsic to traces per se.
- Full Text:
- Date Issued: 2008
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