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Beneath the public face of Dunn’s work, the author contends, lies a private world of even greater significance, a world in which the essential elements of our being are examined, depicted and, by implication, commented upon – all with a gently satirical eye. It is this re-assessment which forms the basis of Chris Perold’s book, illustrated with reproductions and commentaries on more than one hundred of the artist’s paintings.
The Standard Bank Foundation of African Art, housed at the University of the Witwatersrand Art Galleries was begun ten years ago. This exhibition, one of the largest of its kind ever held in South Africa, commemorates a partnership which expresses the true ideals of both private enterprise and public education in this country.
In March 2016, Mosilo Mothepu was appointed CEO of Trillian Financial Advisory, a subsidiary of Gupta-linked Trillian Capital Partners. The prospect of being at the helm of a black-owned financial consultancy was electrifying for a black woman whose twin passions were transformation and empowering women. Three months later, suffering from depression and insomnia, she resigned with no other job lined up.
Beneath the Nelson Mandela Boulevard flyover on Cape Town’s foreshore lives a community of stowaways, young Tanzanian men from the slums of Dar es Salaam.
When journalist Sean Christie meets Adam Bashili, he comes to know the extraordinary world of Beachboys, a multi-port, fourth-generation subculture that lives to stow away and stows away to survive. But Sean starts to accompany the beachboys on trips around their everyday Cape Town, he becomes more than a casual observer, serving as sometime moneylender, driver, confidant and scribe, and eventually joining Adam on an unprecedented tour of Dar es Salaam’s underworld and a reckless run down Africa’s east coast.
Under Nelson Mandela Boulevard remaps both city and continent, introducing us to the places and people we so frequently overlook.
The carefully modulated surface of Stuart Payne’s poems belies the intriguing, startling and thought-provoking depths of thought and perception. Such deliberate tensioning between the obvious and the hidden allows him to craft finely judged poems that reward rereading. Whether evoking the touch of the sun or the sound of an old tape recording, his universe is both vivid and uncertain as past, present and future are considered and reconsidered, and the distance between minds is sensed and explored.
Many people became familiar with the phrase, ‘Ooh Vuyo – he’s such a big big dreamer’ from the TV beer commercial that told a rags-to-riches story about an entrepreneur who starts a business selling boerewors rolls and grows it into a successful multinational business.
Wondering whether it was a true tale, Miles Kubheka did some research. When he discovered that Vuyo was a fictitious character, he saw a gap in the market for developing an exciting business model.
Bold and zesty, Wanda The Brave is a celebration of girl power, and a reminder that courage and friendship is a mighty force!
Wayne Barker’s artistic career spans almost two decades, marked by a bitter-sweet mix of politics, poetry, and a passion for subversion. Tracking that career from apartheid South Africa’s most violent years to a new democratic dispensation, the artist’s monograph explores the contradictory impulses of “African identity”.
The new year is synonymous with resolutions, good intentions, and dreams of a successful year ahead.
Worlds in one country is a compact, inclusive history of writing in South Africa from the nineteenth century to 1994 that crosses boundaries of language and colour, including prose, poetry and theatre.
In the World presents a collection of essays by Cape Town cultural analyst and art critic Ashraf Jamal focused on 24 South African artists working in painting, photography, sculpture and performance. Aimed at a wide, international audience, the texts reconfigure the national narrative of South African art within a broader African and global context. From identity politics to the boom of “African art” in a global contemporary art market, Jamal explores a variety of issues at the heart of South African art practice.
This examination of the extraordinary work which has recently appeared is therefore very timely. Migration is a central theme of much African fiction written in English. Here, Brenda Cooper tracks the journeys undertaken by a new generation of African writers, their protagonists and the solid objects that populate their fiction, to depict the material realities of their multiple worlds and languages. The book explores the uses to which the English language is put in order to understand these worlds. It demonstrates how these writers have contested the dominance of colonising metaphors. The writers’ challenge is to find an English that can effectively express their many lives, languages and identities.
We are at the same time trying hard to impress our former oppressors by rubbishing our cultures and beliefs in the interest of theirs. Our languages are vanishing and we are meanwhile contributing to their demise by speaking only the former oppressors’ language to our children.
We have turned ourselves into easy targets in all spheres and it is time we confront our weaknesses head on.
Let the prayer begin…
Catapulted into national prominence with the release of her multiple-award-winning debut album, Zandisile, in 2005, Simphiwe Dana has since carved a place for herself as one of the most significant artists of her generation using a unique combination of jazz, rap and traditional music.
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