Showing 17–32 of 95 results
The media as the medium. The medium is the message. These two propositions—the second from Marshall McLuhan—define the principal axes on which South African artist Siemon Allen (born 1971, Durban, South Africa) articulates his archivally-driven yet self-reflexive practice.
Nothing but the Truth is a story of two brothers, of sibling rivalry, of exile, of memory and reconciliation, of the perplexities of freedom
This lavishly illustrated and highly authoritative book is structured around southern Africa’s 13 distinct biomes
A white woman brings up the born free black girl in Cape Town suburbia– in the process alienating her from the rest of her township
family.
The greatest form of wisdom lives inside us and Journaling is an amazing way to tap into our own brilliance. We colour-in, expressing our unique creativity and allow our minds to reflect & relax. The Sankofa Mode Hidden Gems book is the coming together of 3 beautiful and empowering elements; Colouring-in, Journaling & the wisdom of Proverbs from various tribes across Africa.
Containing colouring artworks designed by the legendary veteran illustrator Muziwakhe Nhlabatsi (born 1954) from South Africa, these detailed line artworks bring together tribal aesthetics from all over our ‘Colourful continent’. By colouring-in the artworks you get to collaborate with an esteemed African Artist and engage with a broad range of African Cultural Aesthetics.
Somewhere on the Border was written in exile and was intercepted in the post and banned by the apartheid censors. This one-act version of the play brings the South African Border War back into public discourse and pierces through the armour of silence, secrecy and shame that still surrounds it.
Sophiatown was the ‘Chicago of South Africa’, a vibrant community that produced not only gangsters and shebeen queens but leading journalists, writers, musicians and politicians, and gave urban African culture its rhythm and style. This play, based on the life history of Sophiatown, opened at the Market Theatre in Johannesburg in February 1986 to great acclaim. The play won the AA Life Vita Award for Playwright of the Year 1985/86. This new edition of the play includes an introduction which sets the work in its historical context.
Combative, volatile, constantly on the verge of exploding, Dwayne and Shanell Combrink are two halves of a white South African working-class couple, when Namhla Gumede, born on 16 June 1976, arrives on their doorstep. A smouldering dark comedy suddenly leads to startling revelations, rage and recrimination
Ten Years of Collecting (1979-1989), David Hammond-Tooke and Anitra Nettleton, softcover, published by the University of the Witwatersrand, 1989, tearing, creasing and wear to cover, shelf wear.
Internationally renowned, Peter Rich’s career represents a lifelong attempt to find a contemporary, yet uniquely African mode of design. This book follows the chronology of his work which emerges from a fascination with African tribal settlements, including his documentation, publication, and exhibition of Ndebele art and architecture, and his friendship with sculptor Jackson Hlungwani.
Lucky has been brought up in a small rural black community. But is he really black?… Issues of identity and belonging crowd in on Lucky, who is thrown off balance by the publicity surrounding him , yet enjoys the attention and sudden ‘celebrity’ this brings. In the end, who is Lucky?
This publication is devoted to William Kentridge’s (born 1955) multimedia cycle The Nose (based on Gogol’s short story of the same name), comprised of the video installation “I Am Not Me, the Horse Is Not Mine,” plus sculptures, tapestries and works on paper. Kentridge describes this cycle as an elegy for the artistic language of the Russian Constructivists.
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.
The Thabo Mbeki I Know is a collection that celebrates one of South Africa’s most exceptional thought leaders. The contributors include those who first got to know Thabo Mbeki as a young man, in South Africa and in exile, and those who encountered him as a statesman and worked alongside him as an African leader.
In some dystopian future, all homo-sexual people have been shipped into space. From his hermetically sealed pod, the Boy looks down on a ruined , devastated Earth. It is a story of loss, grief and isolation.
Craig Higginson’s first three plays for adult audiences – collected here in one volume – represent one of the strongest debuts in contemporary South African theatre. Although each can be seen as a variation on the theme of the post-apartheid state of the nation play, they are also engaged with realities in Zimbabwe, the Congo and contemporary Europe. Higginson’s experience of growing up in wartorn Zimbabwe and apartheid South Africa have given him a deep-rooted and potent angle from which to dramatize a dialogue between Europe and Africa.
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