Social documentary and personal investigations in contemporary South African photography: Tracey Derrick’s “One in Nine” series

A shell of white gauze floats against a split background in Tracey Derrick’s 2009 photograph, Inhabit – Habergeon – middle English, piece of armour to protect the neck and chest (Inhabit), both autonomous and materially frail. The shadowed wall lifts the calcified gauze towards the viewer, as its lithe body hovers above the vertical divide that separates light from dark. This position apart from the edge may be read as a passage missed or overcome. A year of invasive treatment following her diagnosis of stage two breast cancer in March of 2008 led South African documentary photographer Tracey Derrick to create a photographic series that combines her humanist sensibility with personal reflections on illness. Derrick represents meditations on her trajectory through illness in “One in Nine: My Year as a Statistic,” a collection of reposeful digital colour photographs – including Inhabit – that features the cast Derrick made to obtain accurate measurements for her prosthesis. This body of work complicates a widely held assumption that post-apartheid photography in South Africa focuses more on the individual than collective societal issues. Derrick’s unusual series warrants methodological treatment that attends to the complex ways in which the visual vocabulary and concerns of apartheid-era documentary photography overlap with the personal explorations associated with post-1994 photographic production. In this paper, I utilise socio-historical, psychoanalytic and phenomenological readings of Tracey Derrick’s photograph and “One in Nine” series to elicit an interpretation of the image and series as statement of agency within a metaphorical battle against an invisible, yet pervasive disease. By reading Derrick’s photograph through these theoretical lenses, I reveal her image to be a metaphoric assertion of tenacity and Derrick’s agency, and highlight the areas of overlap between Derrick’s documentary practice and her more personal “One in Nine” project.     

Democracy as a transitional compass: women’s participation in South Africa and Kerala,India

ABSTRACT

In this article I explore the attempts by the states in South Africa and Kerala to create spaces for public participation by specifically focusing on women’s involvement in local spaces. Democracy is a crucial part of any emancipatory future that seeks to challenge and overcome inequality. I show that both states have ‘invited’ participation by women in various ways, but that the transformative potential of this participation is limited by national political economy, bureaucratization, and the lack of political will. In South Africa, the invited spaces eventually transformed into avenues for delivery and in response the women in this study shifted to inventing ways to engage in development in their personal lives. By using a double comparison – South Africa over time and South Africa compared to India – I argue that transformative politics requires a combination of invented and invited spaces.     

Conjuring up traditions: atmospheres,eras and family Christmases

Despite some macro level concern with the concepts of tradition and ‘detraditionalization’, sociologists for the most part have paid relatively little attention to the everyday realities of family traditions as they are experienced and narrated in people's lives. Based on a qualitative study of ‘Family Backgrounds and Everyday Lives’, this article explores people's experiences and narratives of family Christmases, and examines how traditions are conjured up and evoked in multi‐dimensional, embodied, emplaced and sensory ways. The article argues that in recognizing and conjuring up family practices and happenings as ‘traditions’, people create a vivid and potent sense of generational eras, atmospheres and family styles. These have a moral currency that matters – sometimes quite profoundly – in people's lives, and are the subject of debate and negotiation between, as well as within, generations. Christmas traditions, it is argued, are central in the constitution of eras not least because they enable the bundling up of time – past, present and anticipated for descendant generations – into packages of generalized ‘time out of time’, characterized by distinctive atmospheres, and around which memories can coalesce and about which stories can be told. These atmospheric eras – more than broad or macro understandings of ‘tradition’ – are central in how generational dynamics and personal family histories take shape, and how memories are ‘indexed’ in and through time.     

‘Entering the territory of incitement’: oppositionality and Africa South

Africa South was an anti‐apartheid journal edited by Ronald Segal which was published in South Africa in the late 1950s and early 1960s. This article explores the historical and political significance of Africa South and considers its implications for an understanding of ‘oppositionality’ in the post‐apartheid present. The central challenge which Africa South offered to its own context was its transnational perspective. Africa South was an important meeting place in the global routes of the developing pan‐African movement. It is also noteworthy for its effort to bring disparate areas of history and experience – both within the African continent and across the African diaspora – into revealing alignment with one another. The principle of conjuncture, I argue, initiated an important analytical move: the opportunity for illuminating comparison, the re‐conceptualisation of an often fragmented political and social landscape and an unusual glimpse of the whole. In tension with this totalising vision is the journal’s generic eclecticism, its flexible political identity and its collaborative construction. In both its unity and its fragmentation, Africa South offers an important point of departure for activist journalism and oppositional intellectual endeavours in the present.     

Ai Weiwei’s Fairytale: a unique social engagement

Abstract

Art as a social engagement in the West can be dated back to the history of avant-garde art starting from the end of nineteenth century. Rooted in his own cultural background, Chinese artist Ai Weiwei’s socially engaged art project “Fairytale is more complex than the avant-garde strategy. The work Fairytale established a structure – “1=1,001”. That means on the one hand, the participants can be easily regarded everywhere in Kassel as 1,001 mobile works of art. All of them contribute to an entire work. In other words, the 1,001 people consist of one work. On the other hand, everyone is dealing with their personal issues independent of art. In this sense, the entire work can be divided into 1,001 personal experiences. This structure is based on three principles of Chinese philosophy Taoism – the duality between Yin and Yang, the dynamism between Yin and Yang, and the concept of “uselessness”. Positioning Fairytale within both Western theoretical as well as Chinese philosophical contexts, this essay is to analyze how Chinese philosophy shaped Ai’s strategy of social engagement and his cultural identity – Chineseness.     

JOHANNESBURG INTERIORS

Almost two decades into the post-apartheid era, inner-city Johannesburg – like much of South Africa – remains structured by deeply ingrained forms of physical and imaginative segregation. Building on architect Sarah Calburn's suggestion that one way to address these divisions would be to make the city's external or outside spaces feel more like domestic interiors as well as on the calls of writer Njabulo Ndebele for new forms of public intimacy, this article explores three distinct artistic projects that each attempt to push beyond segregation by opening up private homes for public perusal and/or making public space more intimate and home-like: Kgebetli Moele's novel Room 207, Christoph Gurk's performance art collection X Homes Johannesburg and Terry Kurgan's public photography/digital media experiment Hotel Yeoville. Working with concepts of home, hotels and hospitality, it theorizes the modes of ‘intimate exposure’ these projects enact as forms of hospitality or Derridean ‘hos(ti)pitality’ potentially capable of welcoming diverse groups into a shared public space while at the same time foregrounding inequalities in need of redress. While the role of artistic projects in shaping culture should not be overemphasized, the article also underscores how such works have emerged in contemporary South Africa as vibrant ways of thinking in public and thinking the public.     

Wall Street Scandals: The Myth of Individual Greed1

There is rarely an introductory text in sociology that does not begin with C. Wright Mills’s (1967) distinction between personal troubles and structural or public issues. To lack sociological imagination is to confuse between these two levels of analysis in trying to explain public issues in terms of personal troubles, or history in terms of the individual’s biography. “Troubles occur within the character of the individual and within the range of his immediate relations with others; Issues have to do with matters that transcend these local environments of the individual and the range of his inner life” ( Mills, 1967:8 ). Issues are generated in response to the dynamics of the social system and unfold within the larger structural and historical contexts where the character of the individual takes shape. Yet, the most popular explanation of the contemporary financial crisis with its disastrous social and economic consequences is personal greed. It is the greedy investment bankers, corrupt politicians, and unscrupulous lobbyists who are to take the brunt of the current economic meltdown in the United States. A few bad apples on Wall Street have created havoc on Main Street. Here, one may argue that greed that—if not kept in check—which seems to afflict almost everyone, transcending social class and status boundaries, may be a public issue—a structural problem—rather than a problem within the character of the individual. Not to be greedy within the contemporary social and economic system may be considered pathological, an instance of personal trouble.     

Holding the Traveller's Gaze Accountable in Shiva Naipaul's North of South: An African Journey

Abstract

Travelogues are partly based on what is witnessed, observed and noted about the places and people visited and what is already known in advance, mainly from an existing archive. The archive, therefore, is an important element in travel writing. However, an author cannot avoid responsibility for what she/he notes/writes/composes about a place and its people. In a sense, a biography of a place may represent a writer's struggles to compromise between the material in the archive – such as existing books on the subject of his/her writing – and what she/he actually observed/observes. The veracity of the writer's narrative/story is dependent on the logic of the evidence that he/she adduces. The weight of the archived narrative, however, can burden the writer in which case he/she would need to limit its influence in order to tell a ‘believable’ story. Shiva Naipaul's extensive reliance on the existing pre- and colonial-time archive of writing on Africa seriously undermines his representation of life in postcolonial East Africa. The result is a travelogue filled with a great sense of personal disappointment with the political, cultural, economic and social conditions in postcolonial Kenya, Tanzania and Zambia – the countries that he visits. Shiva seems to unwittingly translate this sense of deep disappointment into a ‘demonisation’ of Eastern Africa. Whilst acknowledging that there is a difference – and an important one – between a text and the world that it seeks to represent, the key proposition in this paper is that Naipaul's biography does not offer any redemptive characterisation of both the African space and the people that he writes about precisely because it summons a biased archive as evidence for its own claims.     

‘We Listen for What the Waves Intone’: Intertextuality and the Circum-Atlantic Poetics of Seamus Heaney,Natasha Trethewey and Kwame Dawes

Abstract

This article argues that the poetry of Seamus Heaney, Natasha Trethewey and Kwame Dawes constructs the Atlantic space as an oceanic intertext. Utilising Joseph Roach’s notion of the circum-Atlantic, this article examines how Trethewey’s and Dawes’ intertextual engagement with Heaney highlights how the Atlantic rim retains ‘a memory imperfectly deferred’. Through tracing connections between the work of Heaney, Dawes and Trethewey it becomes apparent that, in addition to thematic preoccupations with the legacy of imperial racisms and colonial displacement, the writers share a similar set of motifs. These poets fashion watery interstices at the margins of the Atlantic – coastlines, bogs and flooded islands – as intercultural lieux de mémoire, resonant with memory and haunted by an intertextual poetics that evokes the chorus of ‘water-lost’ Atlantic voices. This article suggests that, although the Atlantic is fashioned as an agent of disconnection, violence and liminality, it also functions as a reminder of the deep time that joins the Atlantic regions and its archipelagos, with its layers of multiple temporalities and storied pasts.     

The Sunday Times Heritage Project: heritage,the media and the formation of national consciousness

Since the advent of democracy in 1994, the landscape of memory in South Africa has undergone significant changes. While most new monuments, memorials and heritage sites have emerged under the aegis of the government, this article focuses on a private sector initiative, the Sunday Times Heritage Project (STHP), sponsored by the Sunday Times newspaper in celebration of its centenary in 2006. The project involved the installation of 30 small-scale memorials commemorating key moments in the history of South Africa, with each memorial being accompanied by a website entry. The article focuses on the role of the media in shaping a new national consciousness in South Africa and specifically investigates how a new, supposedly shared history emerges through the work of the Sunday Times journalists in selecting stories and negotiating with stakeholders. With reference to specific examples, significant differences are highlighted between the newspaper’s heritage initiative and the state-initiated memory projects, but ultimately, it is argued, the STHP reveals a calculated or unconscious acceptance of the state-endorsed historical discourse structured around resistance narratives, which has become hegemonic since 1994.     

‘Black holes in the fabric of the nation’: refugees in Mohsin Hamid’s Exit West

ABSTRACT

This article explores the representation of refugees in Mohsin Hamid’s Exit West, a novel which has been widely celebrated for its response to the refugee crisis of its contemporary moment. In a distinct echo of Salman Rushdie’s claim, thirty-five years earlier, that it ‘may be argued that the past is a country from which we have all emigrated’, Hamid’s novel similarly claims that ‘we are all migrants through time.’ Moreover, like Rushdie’s fiction, Hamid’s novel incorporates elements of magical realism: its protagonists escape their unnamed war-torn city through a ‘door’ that instantaneously transports them to Mykonos, and they subsequently travel through other such ‘doors’ to London and California. Their story is interspersed with a series of vignettes in which other migrants also find themselves magically transported across national borders. As well as considering the ways in which Hamid’s novel seeks to humanise refugees, this article considers the novel’s evocation of a world in which human beings – like capital, images, and (mis)information – have gained access to largely ungovernable networks of instantaneous travel across vast distances. It argues that Hamid’s novel is not just ‘about’ refugees but also constitutes a reflection on how they and their journeys are represented and mediated by actually-existing technologies.     

Andrii Liubka’s Carbide: Ukrainian democratic reforms through a dark glass

ABSTRACT

The Revolution of Dignity in Ukraine and its reforms are the topics of Andrii Liubka’s novel Karbid (Carbide, 2015). Employing Voltairean laughter and neo-Gothic aesthetics, Liubka presents the idea of European integration (one of the expected outcomes of the reforms) implemented practically by the corrupt elites of the imagined Transcarpathian town of Vedmediv as a money-laundering enterprise – an underground tunnel for smuggling drugs and people’s organs from Ukraine to Europe. The author proposes that the elites – most of whom are criminals – personify Julia Kristeva’s concept of abjection in the novel and represent social spheres that need reform. Contrary to the Euromaidan goals, these comprador elites desire even stronger borders between Ukraine and the European Union, as these facilitate their shadow economy, and they subject the local population to economic and social decline, turning them into disposable human waste. By applying the concept of abjection in its psychoanalytic and social forms to Liubka’s tragicomic novel, the author argues that his text points to Ukraine’s struggle to define itself as “West” and shed its totalitarian legacy of the Soviet “East,” and brings attention to the conflict between the post-Euromaidan national strivings of Ukraine’s citizens and the rampant corruption that negates their efforts.     

Place,people and processes in waste theory: a global South critique

Scholars across the humanities and social sciences have long sought to theorize waste, and more particularly the relationship between humans – their history, society, culture, art and thought – and their discards. My contention, though, is that these theories, since Mary Douglas’s Purity and Danger (1966) and Thompson’s Rubbish Theory (1979), have been predominantly based in and on global North contexts and, concomitantly, have taken as their axiom the distance between our cultures, lives, experiences and our material rejects. By intersecting existing cultural theories of waste with two important emerging schools of thought – environmental justice and new materialism – I argue that the exclusion or side-lining of places, notably in the global South where countless people live on a day-to-day basis with, on, and off waste, leads to certain imbalances, biases and gaps. Most notably, the livingness and agency of material rejects is often overlooked in theories that oppose humans and other-than-human waste. By way of conclusion, I propose the notion of ‘living waste’ – a more literal and material take on Bauman’s well-known concept ‘wasted lives’ – as a new point of departure for a reconceptualization of waste that might escape the prevailing dualisms and account simultaneously for ‘full-belly’ and ‘empty-belly’ contexts, human (wasted) lives and other-than-human waste materials, and understandings of lived experiences of waste.     

Mxolisi Nyezwa’s Poetry of No Sure Place

A change in direction of the journal New Coin during the 1990s saw the emergence of a diverse group of poets who had previously struggled for publication. This article recognises this often overlooked collective and argues that they quickly established their own style of “Poetry of No Sure Place”, which expresses a malaise of sadness within South Africa that is popularly felt but rarely articulated. Focusing on three collections of poetry by Mxolisi Nyezwa, I show how this group’s work rests on a permanent – and possibly worsening – sense of imbalance. The article explores how Nyezwa attempts to reconcile a felt public and private need to write, struggles to find a source of connection and questions the permanence of social change in South Africa. Nyezwa epitomises the marginalisation, apprehension and uncertainty of New Coin’s Poetry of No Sure Place.     

Watching The Daily Show in Kenya

Global distribution of a popular American television programme – Jon Stewart's Daily Show – offers a rare opportunity to examine transnational contingencies of meaning in political satire. Drawing on focus group discussions in Kenya, this analysis shows how some East Africans appropriated and reinterpreted – indeed unexpectedly subverted – The Daily Show's political content, deriving from it insights that Stewart himself might have found surprising. Kenyan viewers perceived in The Daily Show gaps between the rhetoric and reality of empire and pointed to limitations of Stewart's dissident satire as they rejected its depictions of non-wealthy nations and marginalized peoples. They reconfigured Daily Show episodes as commentaries on global power relations; reflected critically on Kenyan politics, media and their own political subjectivities; and revised their own earlier assumptions about the gap between Africa and supposedly ‘mature’ democracies such as the United States. Thus, American political satire such as The Daily Show can activate in foreign audiences new perceptions of differences between the ‘West’ and the rest and new forms of political imagination.     

All Sons of Gaika

Departing from a consideration of Jacob Dlamini’s book, Native Nostalgia, this essay critically reviews the conceptual terrain implied by “nostalgia,” re-situating it in relation to memory, especially where it intersects with debates over the status of “truth” in relation to “history.” We explore nostalgia through three dualities that underpin a burgeoning literature: remembering and forgetting, witnessing and testimony, and mourning and melancholia. Against conceptual oppositions that pit remembering against forgetting, or alternatively, that seek to remedy the fallibility of memory by seeking access to the “truth” of history, we suggest that nostalgia is probably more usefully understood as a practice of coincident temporalities. Nostalgia, in this sense, denotes a specific way of enfolding the past into the present, and indeed the future. We discuss two projects of post-apartheid testimony that work from, and on, the presumed antagonism that nostalgia sets up between “truth” and its possible distortions in memory: the Truth and Reconciliation Commission of 1996–1998, and the Apartheid Archive Project initiated in 2009. We conclude by suggesting that South Africans may need to pursue what Ackbar Abbas has called an “affective politics of disappointment” if the past is to be brought more creatively to bear on South Africa’s future.     

Narratives of ‘mixed race’ youth in South Korea: racial order and in-betweenness

South Korea has long been regarded as a country with a single ethnicity. Honhyeol, which literally means ‘mixed blood’ in Korean, exemplifies this orientation. In recent years, the number of ‘mixed race’ children in the country has been on the rise due to the increase in international marriages, particularly between Korean men and foreign women. Drawing on the personal narratives of 56 youths (aged between 9 and 17) obtained from three essay contests, this article examines how, why, and in which contexts the racial hierarchies of ‘mixed race’ children in Korea are constructed. Narratives of ‘mixed race’ children and their peers show that a ‘hierarchical racial order’ – characterized by a color-coding system that simultaneously operates along the lines of national origin – is channeled into ‘mixed race’ people’s everyday lives, thus shaping their identity constructions.     

The public private sphere: family narrative and democracy in Argentina and South Africa

This article explores the paradoxical prominence of seemingly private family stories and memories in the democratic public spheres emerging in the wake of the ‘Dirty War’ in Argentina and apartheid in South Africa. In part because the discourse of the family was used in these cases to both uphold and protest dictatorial regimes, individuals who lost family members to state violence became powerful moral agents in the post‐dictatorship and post‐apartheid periods. Narratives told by and about these individuals – ranging from personal testimony given in each country’s truth commission to representations in theatre, fiction and film – have worked to constitute what may be called a ‘public private sphere’. They not only express personal grief, but also (and especially in wider cultural circulation) have been emplotted and mobilised to construct democratic publics. These may or may not correspond to the nationwide publics envisioned in state discourses of reconciliation. Using genealogical fiction surrounding ‘disappeared children’ in Argentina as a lens to analyse South Africa, this article argues that stories of children attempting to piece together their family histories reveal this dynamic as they become sites for convening democratic publics and critiquing transitional politics.