CRIME,ART AND PUBLIC CULTURE

Jane Alexander's ‘Security’ was installed at the 2009 Joburg Art Fair as a Special Project. This essay investigates notions of being guarded and fenced-in, which are implicit in this piece, in an attempt to breathe new life into a space that has all too easily been blanketed as a new form of ‘apartheid’ in contemporary South Africa. Rather, I suggest, what ‘Security’ allowed its publics to experience was a complex process of working through the everyday ingredients of the post-apartheid, and so to realize new connections between strangers. I argue that this work, at this time, probes at the nexus of a private–public sphere that allows for a real-time grappling with issues of a private nature in the public. The essay further positions this work in relation to some others by Alexander in an attempt to more fully grasp what ‘Security’ says about the present moment. Finally, the Joburg Art Fair is investigated as a setting richly suggestive of this moment in South Africa that simultaneously projects, and allows for, ambivalence in its art publics.     

ON PUBLIC AND PRIVATE IN J. M. COETZEE

This essay reads J. M. Coetzee's Diary of a Bad Year in its historical context (the moment of the US war in Iraq, Abu Graib, Guantanamo and the apparent triumph of neoliberalism), while also probing the problems at stake in the practice of contextual reading and of taking the work as staging the opinions of the biographical Coetzee. The essay teases out not only the question of whether Coetzee should be seen as a public intellectual (the short but not entirely satisfactory answer is ‘no’), but also how the terms ‘public’ and ‘private’ play out in his oeuvre and are helpful in pondering Coetzee's approach to questions of genre, censorship and authorship.     

Cruel (im)mobilities and the nearly utopian intimacies of Italian migrants’ personal relationships

Most research on visits focuses on (semi)successful connections that equate valued intimacy to adaptation to transnational life and ethno-national kin obligations. In contrast, we highlight important migrant relationships where adaptation is minimal and contact diminishes, yet they also take on heightened affective intensity. Drawing from a multi-sited ethnography that includes migrants and friends and family, we examine the affective and ethical dimensions of visits and ICTs (information and communications technology) within the personal relationships of highly skilled Italian migrants in London. Deploying the concepts cruel optimism and polyrhythmia, the paper examines how contrasting rhythms of visits and ICTs provoke reflections and feelings on whether intimacies at a distance are ‘real’. Despite difficulties, informants suggest intimacies ‘feel normal’, imbuing relations with hope for their authenticity that grounds relations in a state of mobile impasse: where feelings of normalcy lead to less interest in recreating connections yet also constructs hope that sustains visits and digital connections.     

Examining the differences between the use of wearable cameras and traditional cameras in research – a research note

Abstract

Photographic images allow data to be captured from an alternative perspective. Traditional, manual cameras are the most common method of recording photographic data, however, innovative technology is changing the way in which photographs can be collected. Wearable cameras enable a vast amount of photographic images to be captured, automatically, without user interaction. It is often assumed that photographic research methods are used for a similar purpose, engage participants in a similar way and yield a similar outcome, however, there are various differences between the use of traditional, manual cameras and innovative, wearable cameras. This research note offers a unique contribution to the literature by highlighting the differences between the use of traditional, manual cameras and wearable, automatic cameras within research.     

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.     

Photographic portraits of migrants in South Africa: framed between identity photographs and (self-)presentation

This essay explores how migration within the African continent is framed visually by passport photos as well as artistic documentary projects based in Johannesburg, South Africa. It offers examples of what type of photographic (self-)portraits are constructed, which photographs circulate and how African migrants’ self-images as well as South African society’s perception of them are affected by certain photographic images. The method employed is a close reading of some paradigmatic photographs. In addition, I will discuss different – and often gendered – ways in which African migrant subjects may become visible. In short, this essay asks, what photographic portraits construct the hegemonic view of the African migrant subject in the public sphere? Accordingly, the tension between visibility and invisibility of African migrants’ lives emerges in the interstices of the inquiry. The paper first looks at the taking of identity photographs, since the passport photo exemplifies how the individual is made visible by the nation state. It can simultaneously serve as a poignant reminder of the ambivalent qualities of photography: on the one hand, documenting and codifying, and on the other hand, creatively representing. In this context, the essay explores the possibility of remaining invisible or “opaque,” but also the conceivably more empowering representational aspect of photography such as we see in participatory (art) projects, which may be connected to the visual politics of self-expression and reflection.     

PERFORMING THE VISUAL NORTH

During the last decade, the phrase ‘visual culture’ has come to identify a variety of interdisciplinary approaches to the visual in everyday life. While analytic perspectives may come from gender, race or media theory, political economy, psychoanalysis, and so forth, there is an apparent agreement about the critical relation the visual has to subjectivity and social organization. The travelling of critical and cultural theory across disciplinary boundaries has given ‘visual culture’ an institutional form through new degrees, programmes, cross-faculty appointments, courses, introductory textbooks, and research publications. This paper comments on the intellectual history of ‘visual culture’, identifies cultural aspects of visual performance that have been understated in recent formulations of visual culture and visual studies, and argues that the current institutional form of visual culture research has contributed to the disappearance of cultural and anthropological approaches within visual culture. The paper is developed in relation to a case study involving popular photography as a cultural performance of the Canadian north, and considers the contribution of performance to visual culture.     

Challenging perceptions of disability through performance poetry methods: the ‘Seen but Seldom Heard’ project

This paper considers performance poetry as a method to explore lived experiences of disability. We discuss how poetic inquiry used within a participatory arts-based research framework can enable young people to collectively question society’s attitudes and actions towards disability. Poetry will be considered as a means to develop a more accessible and effective arena in which young people with direct experience of disability can be empowered to develop new skills that enable them to tell their own stories. Discussion of how this can challenge audiences to critically reflect upon their own perceptions of disability will also be developed.     

The Federal GPRA Evaluation Mandate

Abstract

The Government Performance and Results Act (GPRA) mandates inclusion of evaluation in federal agency strategic plans, impacting human service programs receiving federal support. Recommended evaluation methods include flexible ongoing and participatory approaches. Yet social work may not be prepared to appropriately respond to the government's demands for accountability. This paper reviews GPRA and its implications for social work practice, evaluation, and research, offering response strategies. The paper suggests that the creation of a National Center for Social Work Research (S. 70/H.R. 663) could help bridge evaluation gaps, offering a centralized mechanism for monitoring evaluation activities and maximizing federal research resources.     

GIS technology and survey sampling methods: The Khayelitsha/Mitchell's plain 2000 survey

This paper explores the entwining of city and song with a focus on the genre of isicathamiya in the city of Pietermaritzburg. It argues that the making of song involves the shaping of new subjectivities and it looks in particular at the role of isicathamiya performance in the making and re‐making of a particular urban space. It argues that the life and history of a city or town holds within it the songs and singers that shape it culturally and thus write themselves into the memory and being of the place. The paper searches for a new cultural topography of place that embraces this view. It situates a study of two isicathamiya groups, the Washing Boys and Naughty Boys, within a study of the life of the changing and suffering city and argues that the resilience of the genre and of its singers gives it a unique place as an interpretive voice in the New Era of post‐1994 and in the Pietermaritzburg of the present.     

Affective politics and reading/writing poetry from the Northeast of India

ABSTRACT

Theorization of cultural and political issues of Northeast of India often creates a disengagement from the actual cultural performances produced in the region. This unique geo-cultural place is sometimes homogenized. In actuality, it is the home of diverse socio-cultural practices and performances. In the context of globalization, deforestation, Christianization, other internal clashes and external influences, material bodies, here, are continuously being rewritten in socio-cultural sphere. Non-representational theory considers poetry as an effective mode of exhibiting the virtual multiplicity of the nonrepresentational world. This paper will focus on exploring the corpus of Northeast Indian English poetry that focuses on social practices and bodily experiences to interpret the entire cultural flow of everyday life. As Non-representational Theory positions ‘affect’ as a central issue to individual and collective disposition in constituting the affective political discourse, this paper will also indicate some political imperatives by advancing a politics of hope in the realm of socio-political sphere.     

Cost–time performance of public sector housing projects in Nigeria

The performance of the construction industry in Nigeria has consistently been a source of concern to both public and private sector clients. Previous studies have identified cost and time overruns amongst others as key performance indicators. This is particularly significant for public sector clients in Nigeria, where due to poor budgetary control, many projects have been abandoned at various stages of completion. This paper is set to evaluate the magnitude of this problem at key stages in the process, from budgetary planning to completion, using the public sector client as exploratory model.     

Strategic role of public relations in enterprise strategy,governance and sustainability—A normative framework

The purpose of the study was to suggest a normative framework for the development of an organization's enterprise (societal role/stakeholder) strategy, indicating its relationship with governance, sustainability, and CSR. The normative framework contains two dimensions: Enterprise strategy is developed within the context of enterprise governance as well as social and environmental sustainability and responsibility, to achieve the organization's strategic non-financial goals (the sustainability dimension). Corporate strategy is developed within the context of corporate governance as well as economic sustainability and responsibility, to achieve strategic financial/economic goals (the business dimension). PR/communication management plays a strategic role in enterprise strategy development but a support role in corporate strategy development. The development of enterprise strategy necessitates a Triple Bottom Line approach to strategic management.     

The Dangerous Real: Queer Solo Performance in/as Active Disruption

Abstract

Like all radical community endeavours, queer performance in the United States has been shaped through resistance to restrictive ideologies. National insecurity over ‘indecent’ (read: queer) artistic expression in the US has been aimed at artists working in a variety of genres, and here I focus specifically on queer solo performance artists. This essay explores the dangerous realities that queer artists present to an imagined unified US national identity. I argue that queer solo performers operate as artistic activists, challenging homogenous fantasies about US culture through the queering of experience. Aesthetically disparate, their work is connected by common threads of vulnerability and precarity. The article asks how their work disrupts U.S. insecurities concerning intersections of sexuality, gender identity, race and religion.     

Comment apprécier une politique policière ? : Le premier ministère Sarkozy (7 mai 2002-30 mars 2004)

How to assess the effects of the policy of Nicolas Sarkozy, Home Secretary in France from May 2002 to March 2004? An analysis of the statistics and, in particular, of the way they were construed reveals that the results were ambiguous, because law enforcement was centered on the state's duty to enforce the law while police services were being asked to show a decrease in delinquency so as to prove that the new policy was effective. On the other hand, an analysis of polls about how public opinion felt about law and order indicates that the minister's tough talk was effective to a degree, especially when feelings of insecurity were strongly politicized prior to presidential elections in April 2002. This analysis sheds light on the distance between the practical and purely political effectiveness of a policy of law and order.