Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A1
L. Witz, Helena Pohlandt-Mccormick, G. Minkley, John Mowitt
{"title":"Red assembly: The work remains","authors":"L. Witz, Helena Pohlandt-Mccormick, G. Minkley, John Mowitt","doi":"10.17159/2309-9585/2016/V42A1","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A1","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89715673","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 : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A5
L. Witz
The installation artwork Red by Simon Gush (with his collaborators James Cairns and Mokotjo Mohulo) evokes two senses of representation. One is of symbolism, meaning, visual strategies, juxtapositions, silences and so on. The other appears as the authority to speak on behalf of the views of an individual or an assemblage such as ‘the workers’, ‘the community’ or ‘the people’. In this article I employ this double sense of the term to consider how the voice of the worker has been deployed in the production of South African labour histories. I do this through examining what was arguably the major labour history publication in South Africa in the 1970s and 1980s, the South African Labour Bulletin. It devoted a large part of its November 1990 issue to the strike and sleep-in at the Mercedes-Benz plant in East London in that year, the same set of events that Gush drew upon over twenty years later. I then turn to the installation Red itself, originally exhibited in 2014 at the Goethe Institute in Johannesburg and the following year at the Ann Bryant Gallery in East London. In Red, events were made into history through voices and images on film and the fabrication of artefacts for display: ‘strike uniforms’, a ‘Mandela car’ and ‘sleep-in strike beds’. The latter were presented in the installation’s publicity as speculative reconstructions and counterposed with interviews in the film component that were depicted as ‘the voices of the people involved’ from management and labour. Instead I argue for seeing these both a speculative reconstructions. Linking this to the spatialising technologies of museums I examine how the Lwandle Migrant Labour Museum in Cape Town and the Workers Museum in Johannesburg, evoke voice and words in their depictions of migrant labour. Locating the Labour Bulletin and these museums alongside Red provides an opportunity to think of alternative ways that labour histories may be produced in both the academy and the public domain.
Simon Gush的装置艺术作品Red(与他的合作者James Cairns和Mokotjo Mohulo)唤起了两种表现感。一个是象征，意义，视觉策略，并置，沉默等等。另一种是代表个人或群体(如“工人”、“社区”或“人民”)观点发言的权威。在这篇文章中，我使用这个术语的双重意义来考虑工人的声音是如何在南非劳工历史的生产中被部署的。我通过研究可以说是20世纪70年代和80年代南非主要的劳工历史出版物《南非劳工公报》来做到这一点。它在1990年11月号上用了很大一部分篇幅来报道当年东伦敦梅赛德斯-奔驰工厂的罢工和露宿事件，20多年后，古什也引用了同样的一系列事件。然后我转向装置作品《红色》本身，它最初于2014年在约翰内斯堡的歌德学院展出，次年在东伦敦的安·布莱恩特画廊展出。在《红色》中，事件通过电影中的声音和图像以及展出的手工制品的制作而成为历史:“罢工制服”、“曼德拉汽车”和“睡在罢工床上”。后者在装置的宣传中被呈现为投机性重建，并与电影组件中的采访相对应，这些采访被描述为来自管理层和劳工的“参与人员的声音”。相反，我认为这两者都是推测性的重建。将此与博物馆的空间化技术联系起来，我研究了开普敦的Lwandle移民劳工博物馆和约翰内斯堡的工人博物馆如何在他们对移民劳工的描述中唤起声音和文字。将《劳工公报》和这些博物馆放在红色旁边，提供了一个思考在学院和公共领域生产劳动历史的替代方式的机会。
{"title":"‘The voices of the people involved’: Red, representation and histories of labour","authors":"L. Witz","doi":"10.17159/2309-9585/2016/V42A5","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A5","url":null,"abstract":"The installation artwork Red by Simon Gush (with his collaborators James Cairns and Mokotjo Mohulo) evokes two senses of representation. One is of symbolism, meaning, visual strategies, juxtapositions, silences and so on. The other appears as the authority to speak on behalf of the views of an individual or an assemblage such as ‘the workers’, ‘the community’ or ‘the people’. In this article I employ this double sense of the term to consider how the voice of the worker has been deployed in the production of South African labour histories. I do this through examining what was arguably the major labour history publication in South Africa in the 1970s and 1980s, the South African Labour Bulletin. It devoted a large part of its November 1990 issue to the strike and sleep-in at the Mercedes-Benz plant in East London in that year, the same set of events that Gush drew upon over twenty years later. I then turn to the installation Red itself, originally exhibited in 2014 at the Goethe Institute in Johannesburg and the following year at the Ann Bryant Gallery in East London. In Red, events were made into history through voices and images on film and the fabrication of artefacts for display: ‘strike uniforms’, a ‘Mandela car’ and ‘sleep-in strike beds’. The latter were presented in the installation’s publicity as speculative reconstructions and counterposed with interviews in the film component that were depicted as ‘the voices of the people involved’ from management and labour. Instead I argue for seeing these both a speculative reconstructions. Linking this to the spatialising technologies of museums I examine how the Lwandle Migrant Labour Museum in Cape Town and the Workers Museum in Johannesburg, evoke voice and words in their depictions of migrant labour. Locating the Labour Bulletin and these museums alongside Red provides an opportunity to think of alternative ways that labour histories may be produced in both the academy and the public domain.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88894750","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 : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A13
Hlonipha Mokoena
{"title":"Johnny Fingo: war as work on the Eastern Cape Frontier","authors":"Hlonipha Mokoena","doi":"10.17159/2309-9585/2016/V42A13","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A13","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75957463","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 : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A8
Sinazo Mtshemla, G. Minkley, Helena Pohlandt-Mccormick
Following a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush’s film and installation Red, simultaneously tracking the ways that sound – and particularly music and dialogue – can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.
{"title":"Listening to Red","authors":"Sinazo Mtshemla, G. Minkley, Helena Pohlandt-Mccormick","doi":"10.17159/2309-9585/2016/V42A8","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A8","url":null,"abstract":"Following a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush’s film and installation Red, simultaneously tracking the ways that sound – and particularly music and dialogue – can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79432565","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 : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A15
D. Shandy
{"title":"Noëleen Murray and Leslie Witz, Hostels, Homes, Museum: memorialising migrant labour pasts in Lwandle, South Africa","authors":"D. Shandy","doi":"10.17159/2309-9585/2016/V42A15","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A15","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74662222","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 : 2016-01-11DOI: 10.17159/2309-9585/2016/V42A16
M. Wessels
{"title":"Dorothea Bleek: A life of scholarship","authors":"M. Wessels","doi":"10.17159/2309-9585/2016/V42A16","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A16","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84992763","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 : 2016-01-01DOI: 10.17159/2309-9585/2016/V42A4
Elliot James
This article analyses the bed installation in Simon Gush’s Red exhibit to draw attention to the ‘sleep-in’ aspect of the 1990 East London Mercedes-Benz strike. It shows how the strike narrative’s emphasis on the shop workers and Nelson Mandela’s flawless red Mercedes-Benz automatically insulates the strike’s central sleep-in component from the topic of queer desire. By revealing Red’s beds and the acts thereon as the strike narrative’s ‘queer limit’, the article uses Gush and Emma Sulkowicz’s techniques to reinvent the sleep-in as a complex space of homosociality and queer self-discovery. Doing so builds on Gush’s installations and uses performance to deliberately ‘pervert’ the strike’s collective memory and offer up strategies for queer critique in (South) African historiography.
{"title":"Screwing the assembly line: queerness, art-making and Mandela's Mercedes-Benz","authors":"Elliot James","doi":"10.17159/2309-9585/2016/V42A4","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A4","url":null,"abstract":"This article analyses the bed installation in Simon Gush’s Red exhibit to draw attention to the ‘sleep-in’ aspect of the 1990 East London Mercedes-Benz strike. It shows how the strike narrative’s emphasis on the shop workers and Nelson Mandela’s flawless red Mercedes-Benz automatically insulates the strike’s central sleep-in component from the topic of queer desire. By revealing Red’s beds and the acts thereon as the strike narrative’s ‘queer limit’, the article uses Gush and Emma Sulkowicz’s techniques to reinvent the sleep-in as a complex space of homosociality and queer self-discovery. Doing so builds on Gush’s installations and uses performance to deliberately ‘pervert’ the strike’s collective memory and offer up strategies for queer critique in (South) African historiography.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87095600","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 : 2016-01-01DOI: 10.1057/978-1-137-48316-4_2
N. Worden
{"title":"Strangers ashore: sailor identity and social conflict in mid-18th century Cape Town","authors":"N. Worden","doi":"10.1057/978-1-137-48316-4_2","DOIUrl":"https://doi.org/10.1057/978-1-137-48316-4_2","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83279176","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 : 2006-11-01DOI: 10.4324/9780203095331-21
M. Godby
In 2003 the War Museum of the Boer Republics in Bloemfontein published a selection of photographs from its holdings on the South African War of 1899-1902 under the title Suffering oj War. 2 Although most of the images depict the suffering of Boer subjects in the unequal war between Great Britain and the Boer States of the South African Republic (subsequently, the Transvaal) and the Orange Free State (Rebpublic), the text of the book reads as a condemnation of war in general. In this sense, Suffering oj War fonns the latest chapter in the evolution of the war in South African political consciousness that Albert Grundlingh has traced over the past century.3 Grundlingh shows that, despite the trauma of the war and its obvious resonance in historical memory, only nine books on it were published before 1931. As the tide of Afrikaner Nationalism rose in the 1930s and 1940s, however, many books were written to celebrate the exploits of Boer commandos and generals, on the one hand, and condemn the British treatment of the civilian population, on the other. Subsequently, as the victorious Nationalist movement sought to rally English-speaking support against a presumed common Black enemy, little attention was paid to the War as a defining moment in Mrikaner history. The occasion of the centenary of the War in the new dispensation of a liberated South Africa, however, has encouraged scholars to examine the War as it affected the entire population of the subcontinent for which reason it is now generally referred to as the South African War rather than its traditional name of the AngloBoer War. However, if these changes in historical perspective have allowed the history of the War to be examined with increasing critical rigour, it has to be said that the same is not true of the photographs of the War, especially the photographs of concentration camp victims. Like other historical photographs, pictures of the South African War are routinely reproduced in altered fonnat, with incomplete or altered caption information, and no apparent concern for their authorship, original circulation, or function. Moreover, the concentration camp photographs in particular have been made to work as propaganda, which, almost by definition, purposefully excludes the possibility of a critical reading of the images.
{"title":"Confronting Horror: Emily Hobhouse and the Concentration Camp Photographs of the South African War","authors":"M. Godby","doi":"10.4324/9780203095331-21","DOIUrl":"https://doi.org/10.4324/9780203095331-21","url":null,"abstract":"In 2003 the War Museum of the Boer Republics in Bloemfontein published a selection of photographs from its holdings on the South African War of 1899-1902 under the title Suffering oj War. 2 Although most of the images depict the suffering of Boer subjects in the unequal war between Great Britain and the Boer States of the South African Republic (subsequently, the Transvaal) and the Orange Free State (Rebpublic), the text of the book reads as a condemnation of war in general. In this sense, Suffering oj War fonns the latest chapter in the evolution of the war in South African political consciousness that Albert Grundlingh has traced over the past century.3 Grundlingh shows that, despite the trauma of the war and its obvious resonance in historical memory, only nine books on it were published before 1931. As the tide of Afrikaner Nationalism rose in the 1930s and 1940s, however, many books were written to celebrate the exploits of Boer commandos and generals, on the one hand, and condemn the British treatment of the civilian population, on the other. Subsequently, as the victorious Nationalist movement sought to rally English-speaking support against a presumed common Black enemy, little attention was paid to the War as a defining moment in Mrikaner history. The occasion of the centenary of the War in the new dispensation of a liberated South Africa, however, has encouraged scholars to examine the War as it affected the entire population of the subcontinent for which reason it is now generally referred to as the South African War rather than its traditional name of the AngloBoer War. However, if these changes in historical perspective have allowed the history of the War to be examined with increasing critical rigour, it has to be said that the same is not true of the photographs of the War, especially the photographs of concentration camp victims. Like other historical photographs, pictures of the South African War are routinely reproduced in altered fonnat, with incomplete or altered caption information, and no apparent concern for their authorship, original circulation, or function. Moreover, the concentration camp photographs in particular have been made to work as propaganda, which, almost by definition, purposefully excludes the possibility of a critical reading of the images.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2006-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83162597","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}
{"title":"From \"mere weeds\" and \"bosjes\" to a cape floral kingdom: the re-imagining of indigenous flora at the Cape, c. 1890-1939.","authors":"Lance VanSittert","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"28233251","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}
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