Pub Date : 2024-02-28DOI: 10.17159/2309-9585/2024/v50a2
Catarina Casimiro Trindade, Tassiana Tomé
This photo-essay, entitled 'Our Stories: Cartography of a Conflict', is born from the fieldwork carried out in the scope of the research 'Past, Present and Future in the Voice of Women and Girls Affected by the Conflict in Cabo Delgado: A Feminist Analysis', as a way of naming and disseminating the diversity of voices of displaced women, and broadening the visibility of their stories, which have very often been reduced to statistics. The aim of this article is to share their perceptions and demands, their stories and journeys in search of security and possible horizons for their re-existence. This photo-essay shows that women displaced and affected by the conflict need to be named, singularised in their aspirations, needs and struggles. Their life stories are the reason for this work. It is their pain and resilience, their desires, their invisible and visible powers, their strategies for rebuilding their lives, families and communities that we want to make known. Their voices need to be heard, read, understood and placed at the centre of all governmental and civil society interventions for reconstruction, humanitarian response and peacebuilding in Cabo Delgado. Each woman participating in this photo-essay has chosen to share her story and her face, and has decided how to be photographed and represented, with the desire that somehow their trajectories become sources of direct knowledge to guide the paths to Peace in the province. They want to be known and recognised in their dignity, in their determination and perseverance, as well as in their deepest needs. The story of each woman shared in this article is a local and national reference to build a nonviolent future in Mozambique.
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Pub Date : 2024-02-28DOI: 10.17159/2309-9585/2024/v50a1
João Feijó, A. Orre
A long history of extractive industries and activities have shaped the societies of northern Mozambique, and the Cabo Delgado province in particular. For centuries, the growing international demand on local resources had a great impact on the northern micro-societies. The demand for cheap labour and natural resources, ranging from ivory and cotton, to timber, rubies, land, gas and more, involved thousands of local actors in its extraction, reproducing systems of local power. The persistence of poverty, inequality and conflicts, as well as simmering and sometimes grand-scale violence, fits into a long-term trend of extractivism. Through a historical approach and field observations, we focus on the political economy of extracting natural resources. We point out the persisting basic patterns of extractivism that accompanied Mozambique's integration into global markets, and continued or even deepened, in the post-independence period. These activities are oriented towards foreign markets. They are instigated by foreign investment, but invariably carried out in collaboration with a chain of national gatekeepers. In a clientelist system, local elites resort to their proximity to the state to reproduce their power, often at the expense of state expropriation. Weak state institutions have the functional effect of reproducing the elites, also serving the interests of extractivist capital. It is, however, a system with many and profound contradictions, producing conflict and violence, which also recurrently put those interests at risk.
{"title":"Domination, Collaboration and Conflict in Cabo Delgado's History of Extractivism","authors":"João Feijó, A. Orre","doi":"10.17159/2309-9585/2024/v50a1","DOIUrl":"https://doi.org/10.17159/2309-9585/2024/v50a1","url":null,"abstract":"A long history of extractive industries and activities have shaped the societies of northern Mozambique, and the Cabo Delgado province in particular. For centuries, the growing international demand on local resources had a great impact on the northern micro-societies. The demand for cheap labour and natural resources, ranging from ivory and cotton, to timber, rubies, land, gas and more, involved thousands of local actors in its extraction, reproducing systems of local power. The persistence of poverty, inequality and conflicts, as well as simmering and sometimes grand-scale violence, fits into a long-term trend of extractivism. Through a historical approach and field observations, we focus on the political economy of extracting natural resources. We point out the persisting basic patterns of extractivism that accompanied Mozambique's integration into global markets, and continued or even deepened, in the post-independence period. These activities are oriented towards foreign markets. They are instigated by foreign investment, but invariably carried out in collaboration with a chain of national gatekeepers. In a clientelist system, local elites resort to their proximity to the state to reproduce their power, often at the expense of state expropriation. Weak state institutions have the functional effect of reproducing the elites, also serving the interests of extractivist capital. It is, however, a system with many and profound contradictions, producing conflict and violence, which also recurrently put those interests at risk.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140421849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.17159/2309-9585/2023/v49a9
B Pyper
Taking its cue from two instances of hyper-local jazz sociability along one street in Mamelodi, five years apart, the focus of this article is on three instances of public memorialisation and, through them, on how listening can be socialised and enculturated. It is an exploration both of how sociality is co-constituted through listening, and of how listening is socially constructed, attending to how people become members of aural collectives in distinctive ways. It foregrounds how mostly working-class people living under conditions seldom of their own making continue, in the avowedly postapartheid context, at least partially to remake their worlds sonically, foregrounding the public cultures that they thereby aurally co-create as a notable cultural expression in and of themselves. Methodologically, it considers how recourse to non-elite aesthetics, viewed as repertoires of living, offer alternatives to the claims of both ethnographies and social histories 'from below' to present 'the word' of the community' in an authoritative sense.
{"title":"Public Culture, Sociality, and Listening to Jazz: Aural Memorialisation in the Time of COVID","authors":"B Pyper","doi":"10.17159/2309-9585/2023/v49a9","DOIUrl":"https://doi.org/10.17159/2309-9585/2023/v49a9","url":null,"abstract":"Taking its cue from two instances of hyper-local jazz sociability along one street in Mamelodi, five years apart, the focus of this article is on three instances of public memorialisation and, through them, on how listening can be socialised and enculturated. It is an exploration both of how sociality is co-constituted through listening, and of how listening is socially constructed, attending to how people become members of aural collectives in distinctive ways. It foregrounds how mostly working-class people living under conditions seldom of their own making continue, in the avowedly postapartheid context, at least partially to remake their worlds sonically, foregrounding the public cultures that they thereby aurally co-create as a notable cultural expression in and of themselves. Methodologically, it considers how recourse to non-elite aesthetics, viewed as repertoires of living, offer alternatives to the claims of both ethnographies and social histories 'from below' to present 'the word' of the community' in an authoritative sense.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135293662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.17159/2309-9585/2023/v49a8
B Kona
This text is a remix of an archival engagement with recordings/performances of 'freedom songs' or 'liberation songs' in a south or southern African context. The authors began this collaborative research project as part of a course in the Masters in History degree programme at the University of the Western Cape (UWC). The essay includes a re-edited, updated transcript of dialogue the authors shared along with two mix(tap)es they produced together. The conversation speaks of songs as archives, archives of song(s), and memory/ies pertaining to anti-Apartheid struggle and ongoing Fallism.
{"title":"A Mercy","authors":"B Kona","doi":"10.17159/2309-9585/2023/v49a8","DOIUrl":"https://doi.org/10.17159/2309-9585/2023/v49a8","url":null,"abstract":"This text is a remix of an archival engagement with recordings/performances of 'freedom songs' or 'liberation songs' in a south or southern African context. The authors began this collaborative research project as part of a course in the Masters in History degree programme at the University of the Western Cape (UWC). The essay includes a re-edited, updated transcript of dialogue the authors shared along with two mix(tap)es they produced together. The conversation speaks of songs as archives, archives of song(s), and memory/ies pertaining to anti-Apartheid struggle and ongoing Fallism.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135293663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.17159/2309-9585/2023/v49a1
Aidan Erasmus, Valmont Layne
In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral.
{"title":"Oral/Aural: Pastness and Sound as Medium and Method","authors":"Aidan Erasmus, Valmont Layne","doi":"10.17159/2309-9585/2023/v49a1","DOIUrl":"https://doi.org/10.17159/2309-9585/2023/v49a1","url":null,"abstract":"In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135431059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.17159/2309-9585/2020/V46A12
Pamila Gupta
ABSTRACT In this article, I propose to take up the concept and physical space of a photographic 'darkroom' located in Stone Town, Zanzibar, to explore a set of images from the Capital Art Studio (1930-present) collection produced by Ranchhod Oza (1907-93), and inherited by his son Rohit Oza (1950-). I employ a concept of darkness to read this visual archive differently and propose multiple 'other lives' for a set of images. First, by bringing this African photography collection to light, I am taking it out of the 'dark rooms' of history in one sense and exposing it for interpretation. Second, I focus my lens on the Oza physical darkroom located in the back of the studio on Kenyatta Road in Stone Town, where photographs of a range of Zanzibari persons were both developed and printed and that open up the darkroom as a place of photographic complexity and sensorium, and not just mechanical reproduction. Third, I develop darkness as a form of beauty in certain images of sky, water and skin from this archive that showcase Zanzibar's position as an Indian Ocean island and port city whilst under rule by the Omani Sultanate (1698-1964) and British Protectorate (1890-1963). Fourth, I conceptualise the Zanzibar Revolution of 1964 as a time of visual darkness, which temporarily restricted photographic practices operating in Stone Town under the new Afro-Shirazi political party. Throughout my analysis, I use a framing of 'darkness' to interrogate photography as an aesthetic practice deeply immersed in materialities and metaphors of dark and light, black and white, and as integral to Zanzibar's oceanic islandness.
在这篇文章中，我提议利用桑给巴尔石城的一个摄影“暗室”的概念和物理空间，来探索由Ranchhod Oza(1907-93)制作并由他的儿子Rohit Oza(1950-)继承的Capital Art Studio(1930年至今)系列的一组图像。我运用黑暗的概念以不同的方式阅读这些视觉档案，并为一组图像提出多个“其他生命”。首先，通过将这些非洲摄影集展现在世人面前，我从某种意义上把它们从历史的“暗室”中拿了出来，并将其暴露出来，以供解读。其次，我把镜头聚焦在Oza实体暗室，它位于石头镇肯雅塔路的工作室后面，在这里，一系列桑给巴尔人的照片被冲洗和打印出来，这使暗室成为一个摄影复杂性和感官的地方，而不仅仅是机械复制。第三，我将黑暗发展为一种美，在某些天空、水和皮肤的图像中，这些档案展示了桑给巴尔在阿曼苏丹国(1668 -1964)和英国保护国(1890-1963)统治下作为印度洋岛屿和港口城市的地位。第四，我将1964年的桑给巴尔革命概念化为一个视觉黑暗的时代，它暂时限制了在新的非洲-谢拉兹政党领导下的石头镇的摄影实践。在我的整个分析过程中，我用“黑暗”的框架来质疑摄影作为一种美学实践，它深深沉浸在物质和暗与光、黑与白的隐喻中，是桑给巴尔海洋岛屿不可或缺的一部分。
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Pub Date : 2020-01-01DOI: 10.17159/2309-9585/2020/V46A11
Inês Ponte
This article explores the afterlives of the photographic production by Ruy Duarte de Carvalho (1941–2010), a Portuguese-born Angolan anthropologist who amidst the country’s long-lasting civil war (1975–2002) engaged with the Ovakuvale transhumant shepherds dwelling in the semi-arid region of southern Angola. Through the 1990s, Carvalho used analogue photographic cameras to document his fieldwork among the Ovakuvale, and afterwards engaged in various experiments with the medium for ethnographic purposes. Departing from the current assemblage of Carvalho’s personal archive that remains after he passed away, I explore distinct photographic relations connected to public usages of his Ovakuvale images during his lifetime, to discuss the ways in which he articulated them through diverse expressive modes and ventures – such as watercolours, illustrated publications, temporary exhibitions and a theatre play. Offering the opportunity to surrender to a broad experimental practice that makes his overall Ovakuvale ethnography particularly revealing, I project through the current archival assemblage a comparative approach to the rationales guiding the presentation of his Ovakuvale field images, to discuss salient temporal relationships between his method to produce and later reuse these images in postcolonial times.
本文探讨了Ruy Duarte de Carvalho(1941-2010)的摄影作品后的生活。Ruy Duarte de Carvalho是一名葡萄牙出生的安哥拉人类学家，在安哥拉长期内战(1975-2002)期间，他与居住在安哥拉南部半干旱地区的奥瓦库瓦莱(Ovakuvale)牧民进行了接触。在整个20世纪90年代，卡瓦略使用模拟照相机记录他在奥瓦库瓦人中的田野工作，然后为了民族志的目的，用这种媒介进行了各种实验。从卡瓦略去世后留下的个人档案的当前组合出发，我探索了与他一生中奥瓦库瓦尔图像的公共用途相关的独特摄影关系，讨论了他通过各种表达模式和冒险(如水彩画、插图出版物、临时展览和戏剧)表达它们的方式。我提供了一个机会，让我接受一个广泛的实验实践，这使得他的整个奥瓦库瓦尔人种志特别具有启示意义，我通过当前的档案组合，对指导他的奥瓦库瓦尔田野图像呈现的基本原理进行了比较，讨论了他在后殖民时代生产和后来再利用这些图像的方法之间的显著时间关系。
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Pub Date : 2020-01-01DOI: 10.17159/2309-9585/2020/V46A7
Michael Aird
{"title":"From Illustration to Evidence: Centring Historical Photographs in Native Land Claims","authors":"Michael Aird","doi":"10.17159/2309-9585/2020/V46A7","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A7","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89440960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.17159/2309-9585/2020/V46A1
P. Hayes, Iona Gilburt
In the wake of intensifying debates on decolonisation and restitution in Africa and its francophone diaspora, a Facebook posting of 6 February 2020 gave an other life to a photographic portrait of the French-Italian explorer Savorgnan de Brazza taken in 1882.1 The uploaded digital scan of a photograph from nearly 140 years ago flashed up in a moment of contemporary hypervisibility, offering a visual pretext to denounce de Brazza and the effect of his interventions in Africa virtually and openly on a public post, pulling the image out of the academic and archival environments it had until then mostly inhabited. Trained at the French naval academy, de Brazza undertook three expeditions to West and Central Africa between 1878 and 1885 under the banner of anti-slavery and supported by the Société de Géographie de Paris and powerful political patrons. Effectively his expeditions helped to establish French territorial claims along the Ogooué and Congo rivers, and the French colony of Congo-Brazzaville was named after him. After his second expedition in the Congo which checked King Leopold’s ambitions in the region, de Brazza’s public reputation soared. A number of portraits were taken of the explorer at the renowned Nadar studio in Paris, where de Brazza appears against a painted backdrop of the seaside.2 Prints of these were placed in albums and can now be seen as single digitised images in the online portal of the Bibliothèque Nationale de France.
在关于非洲及其法语侨民的非殖民化和归还问题的辩论日益激烈之际，2020年2月6日的一篇Facebook帖子为1882年拍摄的法裔意大利探险家萨弗格南·德·布拉扎(Savorgnan de Brazza)的照片赋予了另一种生命。上传的一张近140年前的照片的数字扫描图在当代高度关注的时刻闪现。提供了一个视觉上的借口来谴责de Brazza和他在非洲的干预的影响，在一个公共职位上，几乎公开，将图像从学术和档案环境中拉出来，直到那时它主要居住。在法国海军学院接受训练的de Brazza，在1878年至1885年间，在反对奴隶制的旗帜下，在巴黎社会组织和强大的政治赞助人的支持下，三次前往西非和中非探险。实际上，他的远征帮助法国确立了在奥古瓦尔河和刚果河沿岸的领土主张，法国殖民地刚果-布拉柴维尔也以他的名字命名。他在刚果的第二次探险阻止了利奥波德国王在该地区的野心，此后，de Brazza的公众声誉飙升。在巴黎著名的纳达尔画室，这位探险家的许多肖像都是在那里拍摄的，在那里，德·布拉扎出现在以海滨为背景的绘画中这些照片的印刷品被放在相册中，现在可以在法国国家图书馆的在线门户网站上看到单一的数字化图像。
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Pub Date : 2020-01-01DOI: 10.17159/2309-9585/2020/V46A9
Christopher J. Lee
This article examines the visual archive of the 1955 Asian-African Conference held in Bandung, Indonesia. Better known as the Bandung Conference or simply Bandung, this diplomatic meeting hosted 29 delegations from countries in Africa and Asia to address questions of sovereignty and development facing the emergent postcolonial world. A number of well-known leaders attended, including Jawaharlal Nehru of India, Zhou Enlai of China, Gamal Abdel Nasser of Egypt, and Sukarno of the host country, Indonesia. Given its importance, the meeting was documented extensively by photojournalists. The argument of this article is that the visual archive that resulted has contributed to the enduring symbolism and mythology of Bandung as a moment of Third World solidarity. More specifically, the street photography style of many images – with leaders walking down the streets of Bandung surrounded by adoring crowds – depicted an informality and intimacy that conveyed an accessible, anti-hierarchical view of the leaders who were present. These qualities of conviviality and optimism can also be seen in images of conference dinners, airport arrivals, delegate speeches, and working groups. Drawing upon the critical work of scholars of southern Africa and Southeast Asia, this article summarily positions the concept of the ‘decolonising camera’ to describe both the act of documenting political decolonisation as well as the ways in which visual archives produced during decolonisation can contribute to new iconographies of the political, which are both factual and mythic at once. In April 1955, delegations from 29 countries in Africa and Asia convened in the city of Bandung, Indonesia, to address pressing issues their respective continents faced during the early Cold War period. Formally named the Asian-African Conference, the Bandung Conference – or simply Bandung, as it is often referred to – was co-sponsored by Indonesia, Burma (present-day Myanmar), Ceylon (present-day Sri Lanka), India, and Pakistan. Though the countries present were not all independent – Sudan * I would like to thank Patricia Hayes, Iona Gilburt, and the anonymous peer reviewers for their recommendations and guidance throughout the editorial process. I would also like to thank participants at the ‘Other Lives of the Image’ International Workshop held at the Centre for Humanities Research, University of the Western Cape, in October 2019 for their questions and comments. Finally, I would like to thank David Webster for his help with the images.
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