Lechwe Trust Collection:
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147547 , vital:38648 , https://doi.org/10.1162/afar.2005.38.3.78
- Description: The caustic humor of The Arts Delegate (2000), by the cartoonist popularly known in Zambia as" Yuss," captures a dynamic readily found in the Zambian art world.
- Full Text:
- Date Issued: 2013
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147547 , vital:38648 , https://doi.org/10.1162/afar.2005.38.3.78
- Description: The caustic humor of The Arts Delegate (2000), by the cartoonist popularly known in Zambia as" Yuss," captures a dynamic readily found in the Zambian art world.
- 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
Walking The Other Side: Doung Anwar Jahangeer
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147681 , vital:38660 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.796204
- Description: While certain forms of mobility are romanticized in the privileged worlds of art and academia, the need to move is often triggered by vulnerability, and literal pathways on the ground reveal much about human engagement with place. This article considers the work of Mauritian-born architect/artist/performer Doung Anwar Jahangeer who is based in Durban, South Africa. Inspired by Michel de Certeau, Jahangeer argues that pathways reveal the characteristics of society and uses the act of walking to question the degree to which meaningful transformation has taken place in South Africa. His City Walk performances disclose to audiences how grounded ways of engaging with movement can challenge the metaphoric blindness that handicaps privileged movement. Focusing on his performances from the 2012 ‘Making Way’ exhibition the author interprets Jahangeer's work as challenging blind spots with regard to space, particularly partial spaces still marred by Apartheid. Through performative walking he encourages his audiences to read between the lines of road markings, cracks and signs, and to experience the power of corporeally engaging with the road by thoughtfully placing one foot in front of the other as a mode of seeing.
- Full Text:
- Date Issued: 2013
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147681 , vital:38660 , https://0-doi.org.wam.seals.ac.za/10.1080/09528822.2013.796204
- Description: While certain forms of mobility are romanticized in the privileged worlds of art and academia, the need to move is often triggered by vulnerability, and literal pathways on the ground reveal much about human engagement with place. This article considers the work of Mauritian-born architect/artist/performer Doung Anwar Jahangeer who is based in Durban, South Africa. Inspired by Michel de Certeau, Jahangeer argues that pathways reveal the characteristics of society and uses the act of walking to question the degree to which meaningful transformation has taken place in South Africa. His City Walk performances disclose to audiences how grounded ways of engaging with movement can challenge the metaphoric blindness that handicaps privileged movement. Focusing on his performances from the 2012 ‘Making Way’ exhibition the author interprets Jahangeer's work as challenging blind spots with regard to space, particularly partial spaces still marred by Apartheid. Through performative walking he encourages his audiences to read between the lines of road markings, cracks and signs, and to experience the power of corporeally engaging with the road by thoughtfully placing one foot in front of the other as a mode of seeing.
- Full Text:
- Date Issued: 2013
China-Africa relations: research approaches
- Authors: Simbao, Ruth K
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147503 , vital:38644 , https://doi.org/10.1162/afar.2012.45.2.1
- Description: About to board a plane in Johannesburg, I handed my temporary boarding pass to the flight attendant who exclaimed,“Simbao, you have a fong kong boarding pass!” Fong kong is a slang term used in South Africa meaning fake, cheap, or low quality and is often associated with Chinese imports. In this case, the term was used to refer to a temporary pass issued earlier on my journey that needed to be replaced with a new boarding pass in Johannesburg.
- Full Text:
- Date Issued: 2012
- Authors: Simbao, Ruth K
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147503 , vital:38644 , https://doi.org/10.1162/afar.2012.45.2.1
- Description: About to board a plane in Johannesburg, I handed my temporary boarding pass to the flight attendant who exclaimed,“Simbao, you have a fong kong boarding pass!” Fong kong is a slang term used in South Africa meaning fake, cheap, or low quality and is often associated with Chinese imports. In this case, the term was used to refer to a temporary pass issued earlier on my journey that needed to be replaced with a new boarding pass in Johannesburg.
- Full Text:
- Date Issued: 2012
Dialectics of dance and dress: the performative negotiation of Soli girl initiates (Moye) in Zambia
- Authors: Simbao, Ruth K
- Date: 2010
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147492 , vital:38643 , https://doi.org/10.1162/afar.2010.43.3.64
- Description: During a 2005 dance rehearsal in Nkomeshya Village near Lusaka, Zambia, a group of Soli girl initiates (moye) entered a clearing, slowly moving towards the drummer who beckoned them with her rhythmic eats. The girls per-formed a polite curtseying step, reflecting the meek modesty they are taught to display when they humbly greet elders or their future husbands with downcast eyes.
- Full Text:
- Date Issued: 2010
- Authors: Simbao, Ruth K
- Date: 2010
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147492 , vital:38643 , https://doi.org/10.1162/afar.2010.43.3.64
- Description: During a 2005 dance rehearsal in Nkomeshya Village near Lusaka, Zambia, a group of Soli girl initiates (moye) entered a clearing, slowly moving towards the drummer who beckoned them with her rhythmic eats. The girls per-formed a polite curtseying step, reflecting the meek modesty they are taught to display when they humbly greet elders or their future husbands with downcast eyes.
- Full Text:
- Date Issued: 2010
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
Light on a hill: building the Constitutional Court of South Africa, Bronwyn Law-Viljoen (Ed.): book review
- Authors: Simbao, Ruth K
- Date: 2007
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147324 , vital:38626 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31011
- Description: Light on a hill : Building the Constitutional Court of South Africa is a visually elegant book that claims to 'reflect the spirit of the Court and be a beautiful object in its own right' (p. 8). Certainly this book is striking, with its rich photographs by Angela Buckland, its fresh, breathable design by Adele Prins, and its broad format with lavish centerfolds. Reading the text is in many ways an enlightening process of understanding the conceptual underpinnings of the buildings that make up the Constitutional Court complex, but this process of reading takes a few twists and turns along the way.
- Full Text:
- Date Issued: 2007
- Authors: Simbao, Ruth K
- Date: 2007
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147324 , vital:38626 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31011
- Description: Light on a hill : Building the Constitutional Court of South Africa is a visually elegant book that claims to 'reflect the spirit of the Court and be a beautiful object in its own right' (p. 8). Certainly this book is striking, with its rich photographs by Angela Buckland, its fresh, breathable design by Adele Prins, and its broad format with lavish centerfolds. Reading the text is in many ways an enlightening process of understanding the conceptual underpinnings of the buildings that make up the Constitutional Court complex, but this process of reading takes a few twists and turns along the way.
- Full Text:
- Date Issued: 2007
The thirtieth anniversary of the Soweto uprisings: reading the shadow in Sam Nzima's iconic photograph of Hector Pieterson
- Authors: Simbao, Ruth K
- Date: 2007
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147536 , vital:38647 , https://doi.org/10.1162/afar.2007.40.2.52
- Description: This haunting photograph (Fig. 1) from the 1976 Soweto Uprisings in South Africa is often referred to as the single most important photograph to emerge from the struggle against apartheid (Purtilo 1999:22). According to South African film director Feizel Mamdoo, there are particular moments in history that are defined by photographic, celluloid, or television images, such as the world famous photograph of the Saigon girl, naked and burning from napalm (Worsdale 1998; see also Richards 2001). He argues that the iconic photograph by Sam Nzima depicting Hector Pieterson being carried in the arms of Mbuyisa Makhubu, with his distraught sister Antionette1 running alongside, is comparable in the way that “it marks history, both social and personal” (Worsdale 1998).
- Full Text:
- Date Issued: 2007
- Authors: Simbao, Ruth K
- Date: 2007
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147536 , vital:38647 , https://doi.org/10.1162/afar.2007.40.2.52
- Description: This haunting photograph (Fig. 1) from the 1976 Soweto Uprisings in South Africa is often referred to as the single most important photograph to emerge from the struggle against apartheid (Purtilo 1999:22). According to South African film director Feizel Mamdoo, there are particular moments in history that are defined by photographic, celluloid, or television images, such as the world famous photograph of the Saigon girl, naked and burning from napalm (Worsdale 1998; see also Richards 2001). He argues that the iconic photograph by Sam Nzima depicting Hector Pieterson being carried in the arms of Mbuyisa Makhubu, with his distraught sister Antionette1 running alongside, is comparable in the way that “it marks history, both social and personal” (Worsdale 1998).
- Full Text:
- Date Issued: 2007
AmaNdebele, Peter Magubane and Sandra Klopper: book review
- Authors: Simbao, Ruth K
- Date: 2006
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147336 , vital:38627 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31002
- Description: AmaNdebele is a very attractive book with beautifully reproduced colour photographs taken by the renowned photographer Peter Magubane, who secured enormous credibility as a photojournalist during the violent years of apartheid. While some South African readers who browse through the glossy portrayals of ceremonial attire and homestead decorations may recall Magubane's earlier books such as Soweto speaks (1981) and Soweto: The fruit of fear (1986) in which the photographer laid bare the ferocious violence of apartheid rule, many readers will skip over the nuances of both Magubane's disrupted career and the contentious relationship between the Ndebele people and the South African apartheid government.
- Full Text:
- Date Issued: 2006
- Authors: Simbao, Ruth K
- Date: 2006
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147336 , vital:38627 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC31002
- Description: AmaNdebele is a very attractive book with beautifully reproduced colour photographs taken by the renowned photographer Peter Magubane, who secured enormous credibility as a photojournalist during the violent years of apartheid. While some South African readers who browse through the glossy portrayals of ceremonial attire and homestead decorations may recall Magubane's earlier books such as Soweto speaks (1981) and Soweto: The fruit of fear (1986) in which the photographer laid bare the ferocious violence of apartheid rule, many readers will skip over the nuances of both Magubane's disrupted career and the contentious relationship between the Ndebele people and the South African apartheid government.
- Full Text:
- Date Issued: 2006