"Knowing With": New Rhodes Board Navigates Collaboration, Intimacy, and Solidarity
- Baasch, Rachel M, Fọlárànmí, Stephen, Koide, Emi, Kakande, Angelo, Simbao, Ruth K
- Authors: Baasch, Rachel M , Fọlárànmí, Stephen , Koide, Emi , Kakande, Angelo , Simbao, Ruth K
- Date: 2020
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147514 , vital:38645 , https://doi.org/10.1162/afar_a_00523
- Description: Rhodes University (or UCKAR), based in Makhanda, South Africa, joined the African Arts editorial consortium in 2016 and its first journal issue—vol. 50, no. 2—was published in 2017. Initially the board was run by Ruth Simbao, with the aim of developing collaborations with other scholars, particularly those based on the African continent and within the global south (Simbao 2017: 1). For the second Rhodes issue (Summer 2018), Simbao worked with Guest Board Member Amanda Tumusiime from Makerere University, and for the third Rhodes issue (Summer 2019) she collaborated with Stephen Folárànmí from Obáfémi Awólówò University, Ilé-Ifè, Nigeria, who at the time was a Postdoctoral Fellow at Rhodes.
- Full Text:
- Date Issued: 2020
- Authors: Baasch, Rachel M , Fọlárànmí, Stephen , Koide, Emi , Kakande, Angelo , Simbao, Ruth K
- Date: 2020
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147514 , vital:38645 , https://doi.org/10.1162/afar_a_00523
- Description: Rhodes University (or UCKAR), based in Makhanda, South Africa, joined the African Arts editorial consortium in 2016 and its first journal issue—vol. 50, no. 2—was published in 2017. Initially the board was run by Ruth Simbao, with the aim of developing collaborations with other scholars, particularly those based on the African continent and within the global south (Simbao 2017: 1). For the second Rhodes issue (Summer 2018), Simbao worked with Guest Board Member Amanda Tumusiime from Makerere University, and for the third Rhodes issue (Summer 2019) she collaborated with Stephen Folárànmí from Obáfémi Awólówò University, Ilé-Ifè, Nigeria, who at the time was a Postdoctoral Fellow at Rhodes.
- Full Text:
- Date Issued: 2020
Condition Report 3: Art History in Africa: debating localization,legitimization and new solidarities
- Simbao, Ruth K, Kouoh, Koyo, Nzewi, Ugochukwu-Smooth C, Sousa, Suzana, Koide, Emi
- Authors: Simbao, Ruth K , Kouoh, Koyo , Nzewi, Ugochukwu-Smooth C , Sousa, Suzana , Koide, Emi
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146055 , vital:38491 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00456
- Description: Following on from the African Arts dialogue, “Zimbabwe Mobilizes: ICAC's Shift from Coup de Grăce to Cultural Coup” (Simbao et al. 2017) this dialogue considers another important event in the visual arts that recently took place on the African continent. Like the International Conference on African Cultures (ICAC) that was held in Harare in 2017, this event in Dakar contributes in important ways towards a shift of the center of gravity of the global academy, particularly the study of art history in and of Africa.
- Full Text:
- Date Issued: 2019
Condition Report 3: Art History in Africa: debating localization,legitimization and new solidarities
- Authors: Simbao, Ruth K , Kouoh, Koyo , Nzewi, Ugochukwu-Smooth C , Sousa, Suzana , Koide, Emi
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146055 , vital:38491 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00456
- Description: Following on from the African Arts dialogue, “Zimbabwe Mobilizes: ICAC's Shift from Coup de Grăce to Cultural Coup” (Simbao et al. 2017) this dialogue considers another important event in the visual arts that recently took place on the African continent. Like the International Conference on African Cultures (ICAC) that was held in Harare in 2017, this event in Dakar contributes in important ways towards a shift of the center of gravity of the global academy, particularly the study of art history in and of Africa.
- Full Text:
- Date Issued: 2019
Cosmolocal orientations: trickster spatialization and the politics of cultural bargaining in Zambia
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146044 , vital:38490 , DOI 10.1080/19301944.2018.1532379
- Description: The spatialization of Africa is fraught, and places within Africa tend to be stereotyped by geographies of morality and simplistic rural/urban divides. Focusing on the spatial, cultural, and political bargaining of contemporary chiefs and cultural festivals in 21st-century Zambia, this article delinks cosmopolitanism and Afropolitanism from the city and associated attitudes of urbanity. Positioning place as a trickster character, it argues for a nuanced understanding of time-space imaginaries that refuses to bind people and identities to closed-down notions of place. In this article I propose the term cosmolocal, suggesting that the cosmolocal is an outward-engaging orientation that understands place as a profoundly discursive and situational process and that has the potential to exist anywhere. Many contemporary chiefs in Zambia embrace cosmolocalism, enabling them to escape the limitations of being viewed merely as custodians of culture who are limited to the space of the village framed historically as the warehouse of culture.
- Full Text:
- Date Issued: 2019
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146044 , vital:38490 , DOI 10.1080/19301944.2018.1532379
- Description: The spatialization of Africa is fraught, and places within Africa tend to be stereotyped by geographies of morality and simplistic rural/urban divides. Focusing on the spatial, cultural, and political bargaining of contemporary chiefs and cultural festivals in 21st-century Zambia, this article delinks cosmopolitanism and Afropolitanism from the city and associated attitudes of urbanity. Positioning place as a trickster character, it argues for a nuanced understanding of time-space imaginaries that refuses to bind people and identities to closed-down notions of place. In this article I propose the term cosmolocal, suggesting that the cosmolocal is an outward-engaging orientation that understands place as a profoundly discursive and situational process and that has the potential to exist anywhere. Many contemporary chiefs in Zambia embrace cosmolocalism, enabling them to escape the limitations of being viewed merely as custodians of culture who are limited to the space of the village framed historically as the warehouse of culture.
- Full Text:
- Date Issued: 2019
David Kolaone fought for the right to define himself and his art:
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146981 , vital:38582 , https://theconversation.com/david-koloane-fought-for-the-right-to-define-himself-and-his-art-120687
- Description: Dr David Nthubu Koloane, who was born in South Africa in 1938, was an extraordinary pioneer in the visual arts who fiercely defied any form of categorisation. As an artist, teacher, mentor, curator, arts administrator and author, he fought for the human right to define oneself and to determine one’s own future.
- Full Text:
- Date Issued: 2019
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146981 , vital:38582 , https://theconversation.com/david-koloane-fought-for-the-right-to-define-himself-and-his-art-120687
- Description: Dr David Nthubu Koloane, who was born in South Africa in 1938, was an extraordinary pioneer in the visual arts who fiercely defied any form of categorisation. As an artist, teacher, mentor, curator, arts administrator and author, he fought for the human right to define oneself and to determine one’s own future.
- Full Text:
- Date Issued: 2019
Pushing against ‘China-Africa’ slowly, and with small stories:
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146778 , vital:38556 , http://www.somethingweafricansgot.com/about-1
- Description: the new focus on african arts and critical thought.
- Full Text:
- Date Issued: 2019
- Authors: Simbao, Ruth K
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146778 , vital:38556 , http://www.somethingweafricansgot.com/about-1
- Description: the new focus on african arts and critical thought.
- Full Text:
- Date Issued: 2019
Capturing the Soweto Uprising: South Africa’s most iconic photograph lives on
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147036 , vital:38587 , https://theconversation.com/capturing-the-soweto-uprising-south-africas-most-iconic-photograph-lives-on-98318
- Description: Sam Nzima, the photographer who captured the iconic image of the 1976 Soweto Uprising passed awayon May 12, 2018. The photograph was one of six frames showing Mbuyisa Makhubu carrying 12-year-old Hector Pieterson who was shot by police, and Hector’s sister, Antionette Pieterson (now Sithole) running alongside.
- Full Text:
- Date Issued: 2018
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147036 , vital:38587 , https://theconversation.com/capturing-the-soweto-uprising-south-africas-most-iconic-photograph-lives-on-98318
- Description: Sam Nzima, the photographer who captured the iconic image of the 1976 Soweto Uprising passed awayon May 12, 2018. The photograph was one of six frames showing Mbuyisa Makhubu carrying 12-year-old Hector Pieterson who was shot by police, and Hector’s sister, Antionette Pieterson (now Sithole) running alongside.
- Full Text:
- Date Issued: 2018
Igniting public space at the Chale Wote street art festival in Accra:
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147048 , vital:38588 , https://theconversation.com/igniting-public-space-at-the-chale-wote-street-art-festival-in-accra-102783
- Description: For the past eight years at the end of every August the James Town suburb of Ghana’s capital Accra has been taken over by the Chale Wote street art festival. During the festival, thousands of people, including local celebrities, artists, musicians, boxers and everyday revellers, move up and down the streets mostly by foot and at times on roller skates or unicycles.
- Full Text:
- Date Issued: 2018
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147048 , vital:38588 , https://theconversation.com/igniting-public-space-at-the-chale-wote-street-art-festival-in-accra-102783
- Description: For the past eight years at the end of every August the James Town suburb of Ghana’s capital Accra has been taken over by the Chale Wote street art festival. During the festival, thousands of people, including local celebrities, artists, musicians, boxers and everyday revellers, move up and down the streets mostly by foot and at times on roller skates or unicycles.
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- Date Issued: 2018
Installation view: Chale Wote Festival 2018
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147059 , vital:38589 , https://www.contemporaryand.com/magazines/chale-wote-festival-accra-2018/
- Description: The Chale Wote festival opened on the Day of Re-Membering (20 August), when the Nai Priest poured libations at Brazil House in order to invoke the ancestral spirits. Core events took place on the streets and at various public spaces in James Town from 25 – 26 August. A number of artists including Kiffouly Youchaou, Kresiah Mukwazhi, Va-Bene Elikem Fiatsi (crazinisT artisT), Charlotte Brathwaite, Percy Nii Nortey and the Ubulungiswa/Justice collective created works inside Ussher Fort and James Fort, which were built as slave forts by the Dutch and the British.
- Full Text:
- Date Issued: 2018
- Authors: Simbao, Ruth K
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147059 , vital:38589 , https://www.contemporaryand.com/magazines/chale-wote-festival-accra-2018/
- Description: The Chale Wote festival opened on the Day of Re-Membering (20 August), when the Nai Priest poured libations at Brazil House in order to invoke the ancestral spirits. Core events took place on the streets and at various public spaces in James Town from 25 – 26 August. A number of artists including Kiffouly Youchaou, Kresiah Mukwazhi, Va-Bene Elikem Fiatsi (crazinisT artisT), Charlotte Brathwaite, Percy Nii Nortey and the Ubulungiswa/Justice collective created works inside Ussher Fort and James Fort, which were built as slave forts by the Dutch and the British.
- Full Text:
- Date Issued: 2018
Zimbabwe mobilizes: ICAC's shift from Coup de Grăce to Cultural Coup
- Simbao, Ruth K, Chikukwa, Raphael, Ogonga. Jimmy, Bickle, Berry, Pereira, Marie H, Altass, Dulcie A, Chikowero, Mhoze, Fall, N'Goné
- Authors: Simbao, Ruth K , Chikukwa, Raphael , Ogonga. Jimmy , Bickle, Berry , Pereira, Marie H , Altass, Dulcie A , Chikowero, Mhoze , Fall, N'Goné
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145665 , vital:38456 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00399
- Description: The International Conference on African Cultures (ICAC) was held at the National Gallery of Zimbabwe in Harare from September 11–13, 2017. Eight delegates write their reflections on the importance of this Africa-based event.
- Full Text:
- Date Issued: 2018
- Authors: Simbao, Ruth K , Chikukwa, Raphael , Ogonga. Jimmy , Bickle, Berry , Pereira, Marie H , Altass, Dulcie A , Chikowero, Mhoze , Fall, N'Goné
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145665 , vital:38456 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00399
- Description: The International Conference on African Cultures (ICAC) was held at the National Gallery of Zimbabwe in Harare from September 11–13, 2017. Eight delegates write their reflections on the importance of this Africa-based event.
- Full Text:
- Date Issued: 2018
Between place and a raised foot: the pace, protest and sway of ambulatory art
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146468 , vital:38528 , https://www.ug.edu.gh/events/arts-council-african-studies-association-acasa-17th-triennial-symposium-august-8-â-13-2017
- Description: ACASA facilitates communication among scholars, teachers, students, artists, museum specialists, collectors, and all others interested in the arts of Africa and the African Diaspora. Its goals are to promote greater understanding of African material and expressive culture in all its forms, and to encourage contact and collaboration with African and Diaspora artists and scholars.
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146468 , vital:38528 , https://www.ug.edu.gh/events/arts-council-african-studies-association-acasa-17th-triennial-symposium-august-8-â-13-2017
- Description: ACASA facilitates communication among scholars, teachers, students, artists, museum specialists, collectors, and all others interested in the arts of Africa and the African Diaspora. Its goals are to promote greater understanding of African material and expressive culture in all its forms, and to encourage contact and collaboration with African and Diaspora artists and scholars.
- Full Text:
- Date Issued: 2017
Reaching sideways, writing our ways: the orientation of the arts of Africa discourse
- Simbao, Ruth K, Miko, William B, Ijisakin, Eyitayo T, Tchibozo, Romuald, Hwati, Masimba, NG-Yang, Kristin, Mudekereza, Patrick, Nalubowa, Aidah, Hyacinthe. Genevieve, Jason, Lee-Roy, Abdou, Eman, Chachage, Rehema, Tumusiime, Amanda, Sousa, Suzana, Muchemwa, Fadzai
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
Situating Africa: an alter-geopolitics of knowledge, or Chapungu rises
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
A Geopolitics of knowledge and the value of discomfort:
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146444 , vital:38526 , https://www.ru.ac.za/fineart/latestnews/alutacontinuadoingitfordaddytenyearson.html
- Description: In 2006, the short essay ‘Doing it for Daddy’ by visual artist Sharlene Khan caused controversy when it expressed the opinion that since 1994, ‘transformation’ in the visual arts field in South Africa seemed to have halted at the point of White women replacing White men in positions of power. It questioned this new position of dominance in institutions that remained colonially and racially untransformed. On the 16 and 17th of September 2016, the School of Fine Art at Rhodes University will host a one-day symposium ‘A luta Continua: Doing it for Daddy - Ten years on…’ which seeks to both commemorate that article and those who ‘speak up’, but also, fundamentally, to continue looking at the ways in which various social oppressions intersect in the fields of art history and visual arts in South Africa. Presenters include Khwezi Gule, Nontobeko Ntombela, Nomusa Makhubu, Same Mdluli, Fouad Asfour, Ruth Simbao, Sharlene Khan, students from Wits School of Arts and Rhodes Art History and Visual Culture, as well as a performance by visual artist Sikhumbuzo Makandula.
- Full Text:
- Date Issued: 2016
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146444 , vital:38526 , https://www.ru.ac.za/fineart/latestnews/alutacontinuadoingitfordaddytenyearson.html
- Description: In 2006, the short essay ‘Doing it for Daddy’ by visual artist Sharlene Khan caused controversy when it expressed the opinion that since 1994, ‘transformation’ in the visual arts field in South Africa seemed to have halted at the point of White women replacing White men in positions of power. It questioned this new position of dominance in institutions that remained colonially and racially untransformed. On the 16 and 17th of September 2016, the School of Fine Art at Rhodes University will host a one-day symposium ‘A luta Continua: Doing it for Daddy - Ten years on…’ which seeks to both commemorate that article and those who ‘speak up’, but also, fundamentally, to continue looking at the ways in which various social oppressions intersect in the fields of art history and visual arts in South Africa. Presenters include Khwezi Gule, Nontobeko Ntombela, Nomusa Makhubu, Same Mdluli, Fouad Asfour, Ruth Simbao, Sharlene Khan, students from Wits School of Arts and Rhodes Art History and Visual Culture, as well as a performance by visual artist Sikhumbuzo Makandula.
- Full Text:
- Date Issued: 2016
Infecting the city: site-situational performance and ambulatory hermeneutics
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146156 , vital:38500 , DOI: 10.1080/09528822.2016.1266776
- Description: This article proposes the term ‘site-situational’ art or performance as a meaningful shift beyond ‘site-specificity’ and as a way to develop forward-moving and relational understandings of place. While place falls prey to Western, modernist stereotypes of closed, territorial geographic systems, site-situational readings, radical forms of ‘recognition’ and ambulatory hermeneutics enable an understanding of place as a wandering signifier, a trickster figure, and an in-the-moment conversation between environments and living beings. Through an analysis of the 2009 Infecting the City performing arts festival in South Africa, the article links site-situational performance to situational understandings of identification in the context of migration and xenophobia. It connects the participatory creative resistance aspired to by the Situationists that transforms situations rather than just recognises them, to the potential mutuality that can be experienced when one recognises oneself in the face of a ‘foreigner’ as well as the potential culpability that accompanies pro-active recognition-on-the-run.
- Full Text:
- Date Issued: 2016
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146156 , vital:38500 , DOI: 10.1080/09528822.2016.1266776
- Description: This article proposes the term ‘site-situational’ art or performance as a meaningful shift beyond ‘site-specificity’ and as a way to develop forward-moving and relational understandings of place. While place falls prey to Western, modernist stereotypes of closed, territorial geographic systems, site-situational readings, radical forms of ‘recognition’ and ambulatory hermeneutics enable an understanding of place as a wandering signifier, a trickster figure, and an in-the-moment conversation between environments and living beings. Through an analysis of the 2009 Infecting the City performing arts festival in South Africa, the article links site-situational performance to situational understandings of identification in the context of migration and xenophobia. It connects the participatory creative resistance aspired to by the Situationists that transforms situations rather than just recognises them, to the potential mutuality that can be experienced when one recognises oneself in the face of a ‘foreigner’ as well as the potential culpability that accompanies pro-active recognition-on-the-run.
- Full Text:
- Date Issued: 2016
Walking into Africa in a Chinese way: Hua Jiming’s mindful entry as counterbalance
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/146167 , vital:38501 , ISBN 9791024005799 , https://books.google.co.za/books?id=VGSwDwAAQBAJanddq=Afrique-Asie:+Arts,+espaces,+pratiquesandsource=gbs_navlinks_s
- Description: Book abstract. The links between Africa and Asia are at the very heart of globalization. Understanding its richness and complexity requires a study carried out from various points of view. Particular attention to culture is essential. Centered on the work of visual artists and performers, on town planning, literature and spirituality, the essays gathered here call on many disciplines: art history and history, anthropology, sociology, geography, architecture, comparative literature, visual and culture studies. They constitute a network of crossed views on a subject which no serious reflection on globalization can do today.
- Full Text:
- Date Issued: 2016
- Authors: Simbao, Ruth K
- Date: 2016
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/146167 , vital:38501 , ISBN 9791024005799 , https://books.google.co.za/books?id=VGSwDwAAQBAJanddq=Afrique-Asie:+Arts,+espaces,+pratiquesandsource=gbs_navlinks_s
- Description: Book abstract. The links between Africa and Asia are at the very heart of globalization. Understanding its richness and complexity requires a study carried out from various points of view. Particular attention to culture is essential. Centered on the work of visual artists and performers, on town planning, literature and spirituality, the essays gathered here call on many disciplines: art history and history, anthropology, sociology, geography, architecture, comparative literature, visual and culture studies. They constitute a network of crossed views on a subject which no serious reflection on globalization can do today.
- Full Text:
- Date Issued: 2016
Blind spots: trickery and the'opaque stickiness' of seeing
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147303 , vital:38624 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176319
- Description: In a flash the spot will disappear, and in its place - and this is the interesting thing - there is nothing. According to experimental psychology, the eye does not fill in the blind spot, but tricks us into thinking that it has been filled. The blind spot is pure absence of vision, and cannot be experienced at all. The blind spot is an invisible absence : an absence whose invisibility is itself invisible (Elkins 1996 : 170).
- Full Text:
- Date Issued: 2015
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147303 , vital:38624 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176319
- Description: In a flash the spot will disappear, and in its place - and this is the interesting thing - there is nothing. According to experimental psychology, the eye does not fill in the blind spot, but tricks us into thinking that it has been filled. The blind spot is pure absence of vision, and cannot be experienced at all. The blind spot is an invisible absence : an absence whose invisibility is itself invisible (Elkins 1996 : 170).
- Full Text:
- Date Issued: 2015
What "global art" and current (re)turns fail to see: a modest counter-narrative of "not-another-biennial"
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147314 , vital:38625 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176315
- Description: What is the scope of "global art" and who drives its framing within the current climate of 'corporate globalization' (Demos 2009 : 7, emphasis in original)? In what ways do the recent global turn and curatorial turn underwrite meaningful global inclusivity and visibility, and to what degree does this globally shared art constitute mutuality? Does "global art", including the accompanying process of biennialisation, allow for local narratives in a way that seriously accounts for a geopolitical view of contemporary art in the twenty-first century? While the inclusion of "new art worlds" in what Belting, Buddensieg and Weibel (2013) term "global art" is framed as a democratisation of contemporary art and the demise of the western art canon, it is important to raise questions regarding the blind spots of this supposedly global, post-1989 expansion.
- Full Text:
- Date Issued: 2015
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147314 , vital:38625 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176315
- Description: What is the scope of "global art" and who drives its framing within the current climate of 'corporate globalization' (Demos 2009 : 7, emphasis in original)? In what ways do the recent global turn and curatorial turn underwrite meaningful global inclusivity and visibility, and to what degree does this globally shared art constitute mutuality? Does "global art", including the accompanying process of biennialisation, allow for local narratives in a way that seriously accounts for a geopolitical view of contemporary art in the twenty-first century? While the inclusion of "new art worlds" in what Belting, Buddensieg and Weibel (2013) term "global art" is framed as a democratisation of contemporary art and the demise of the western art canon, it is important to raise questions regarding the blind spots of this supposedly global, post-1989 expansion.
- Full Text:
- Date Issued: 2015
Cosmological efficacy and the politics of Sacred Place: Soli Rainmaking in contemporary Zambia
- Authors: Simbao, Ruth K
- Date: 2014
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147482 , vital:38642 , https://doi.org/10.1162/AFAR_a_00163
- Description: In this article I analyze cosmological efficacy in light of the politicization and apparent secularization of contemporary annual ceremonies in Zambia, south-central Africa, which are framed by scholars as neotraditional (Lentz 2001), folklorized (van Binsbergen 1994), or retraditionalized (Gould 2005:3, 6) events. My term “festivalization” registers the formalization of Zambian performances such as rituals, harvest festivals, inaugurations, and initiations as annual festival events, but does not imply a pejorative attitude towards cultural change and so-called inauthenticity, as the words “folklorization” or “retraditionalization” seem to do.
- Full Text:
- Date Issued: 2014
- Authors: Simbao, Ruth K
- Date: 2014
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147482 , vital:38642 , https://doi.org/10.1162/AFAR_a_00163
- Description: In this article I analyze cosmological efficacy in light of the politicization and apparent secularization of contemporary annual ceremonies in Zambia, south-central Africa, which are framed by scholars as neotraditional (Lentz 2001), folklorized (van Binsbergen 1994), or retraditionalized (Gould 2005:3, 6) events. My term “festivalization” registers the formalization of Zambian performances such as rituals, harvest festivals, inaugurations, and initiations as annual festival events, but does not imply a pejorative attitude towards cultural change and so-called inauthenticity, as the words “folklorization” or “retraditionalization” seem to do.
- Full Text:
- Date Issued: 2014
Rise and fall of apartheid: photography and the bureaucracy of everyday life
- Authors: Simbao, Ruth K
- Date: 2014
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147604 , vital:38653 , DOI: 10.1080/02533952.2014.998052
- Description: The exhibition catalogue Rise and Fall of Apartheid is a valuable collection of photographic images that create, according to Enwezor, “a critical visualization and interrogation of […] [apartheid’s] normative symbols, signs and representation” (18). The catalogue focuses on African subjects as “agents of their own emancipation” (18), and contextualises South Africa’s anticipation of the end of apartheid within broader global changes in the late 1980s. Essays by Okwui Enwezor, Michael Godby, Achille Mbembe, Darren Newbury, Colin Richards, Patricia Hayes, Andries Walter Olifant, Rory Bester and Khwezi Gule are included in the catalogue, and are interspersed between photographic images that are grouped in chronological clusters: 1948–1959; 1960–1969; 1970–1979; 1980–1989; and 1990–1995.
- Full Text:
- Date Issued: 2014
- Authors: Simbao, Ruth K
- Date: 2014
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147604 , vital:38653 , DOI: 10.1080/02533952.2014.998052
- Description: The exhibition catalogue Rise and Fall of Apartheid is a valuable collection of photographic images that create, according to Enwezor, “a critical visualization and interrogation of […] [apartheid’s] normative symbols, signs and representation” (18). The catalogue focuses on African subjects as “agents of their own emancipation” (18), and contextualises South Africa’s anticipation of the end of apartheid within broader global changes in the late 1980s. Essays by Okwui Enwezor, Michael Godby, Achille Mbembe, Darren Newbury, Colin Richards, Patricia Hayes, Andries Walter Olifant, Rory Bester and Khwezi Gule are included in the catalogue, and are interspersed between photographic images that are grouped in chronological clusters: 1948–1959; 1960–1969; 1970–1979; 1980–1989; and 1990–1995.
- Full Text:
- Date Issued: 2014
A Crown on the Move: stylistic integration of the Luba-Lunda complex in Lunda-Kazembe performance
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147524 , vital:38646 , https://doi.org/10.1162/afar.2006.39.3.26
- Description: Carried on a scarlet and zebra-hide litter above the heads of a throbbing crowd, Mwata Kazembe XIX gloriously stretches out his arms as if to embrace a world that is his own (Fig. 1). As he parts the sea of well-wishers, splashes of red burst into view and the talking drum beats out its decree. Basking in a charged clamor where the senses blur in clouds of dust, Mwata gracefully sways from side to side, jangling the beads and cowries on the back of his akatasa crown. It is on this day that the Lunda-Kazembe Crown moves.
- Full Text:
- Date Issued: 2013
- Authors: Simbao, Ruth K
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147524 , vital:38646 , https://doi.org/10.1162/afar.2006.39.3.26
- Description: Carried on a scarlet and zebra-hide litter above the heads of a throbbing crowd, Mwata Kazembe XIX gloriously stretches out his arms as if to embrace a world that is his own (Fig. 1). As he parts the sea of well-wishers, splashes of red burst into view and the talking drum beats out its decree. Basking in a charged clamor where the senses blur in clouds of dust, Mwata gracefully sways from side to side, jangling the beads and cowries on the back of his akatasa crown. It is on this day that the Lunda-Kazembe Crown moves.
- Full Text:
- Date Issued: 2013