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- Critical Arts : A Journal of South-North Cultural and Media Studies
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- Volume 16, Issue 2, 2002
Critical Arts : A Journal of South-North Cultural and Media Studies - Volume 16, Issue 2, 2002
Volume 16, Issue 2, 2002
Author Handel Kashope WrightSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 1 –18 (2002)More Less
Extracted from text ... 1 ? Handel Kashope Wright < email@example.com > is Associate Professor of Cultural Studies in Education, University of Tennessee. He has published widely on the articulation of (Pan)African cultural studies and the relationship between cultural studies and education. His forthcoming book is titled A Prescience of African Cultural Studies. Editorial: Notes on the (Im)Possibility of Articulating Continental African Identity Handel Kashope Wright ? Esu, do not undo me, Do not falsify the words of my mouth, Do not misguide the movements of my feet, You who translates yesterday's words Into novel utterances, Do not undo me, I bear you ..
Author Ibrahim AbdullahSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 19 –37 (2002)More Less
This paper deals with the centrality of rebellious youth culture in understanding Sierra Leone's wasted decade, 1991-2000. The paper discusses the fusion between the mainstream and the unacceptable youth cultures, the emergence of an imagined community consisting of rebellious youths, and the inauguration of a counter-insurgency discourse based on pan-Africanism and violence.
Author Suren PillaySource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 38 –75 (2002)More Less
In late 1995 a movement emerged from the Cape Flats called the People Against Gangsterism and Drugs (PAGAD). It emerged from neighbourhood watch groups and although it claimed a diverse support base, it had an overwhelmingly Muslim face. Its stated aims were to remove gangsters and end the sale of drugs in communities on the Cape Flats. The dramatic killing of one of Cape Town's most notorious gang leaders by a group of PAGAD supporters immediately catapulted this organisation, and the presence of gangs, into the public space. This paper is an attempt to problematise representations, of both PAGAD and gangs, in the media and academic studies that had been done thus far. It seemed to me that the representations and studies were based on a set of politico-philosophical assumptions that led to the generic categorisations of these phenomena. From these categorisations derivative discourses offering programmatic solutions arise. The argument of this paper is that, firstly, the identity of the gangster in Cape Town - as derivative of poverty, as anti-social, as a result of the Group Areas Act - and that of PAGAD - as representative of a homogenous Islam and as the local incarnation of a global 'Islamic threat' - obscures their particularity and specificity. I argue that a richer grasp of their constitutive dynamics will be obtained if we explore their identities as non-static 'processes'. These processes involve locating identity formation within the interface of globality and locality: the symbolic borderlands of contingency, which bring to the fore constitutive conditions of ambiguity and hybridity1 . The paper is an argument in three movements. Firstly, I explore the relationship between globalisation and culture and between the local and global, which informs my argument. The paper thereafter takes as its focus the 'construction' of the gangster in Cape Town. The third part of the paper problematises the 'construction' of PAGAD that has emerged.
Author Sheila CameronSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 76 –93 (2002)More Less
Using a naturalistic paradigm my research explores influences on cultural policies and production in Bulawayo, Zimbabwe during the decade after Independence. The work is based on published documents, unpublished archives and the lived experience. It is intended that the outcome of the research should be useful primarily to a new generation of cultural practitioners in southern Africa. This paper addresses cultural politics and policies around the Bulawayo Music Revival Show 1987 and the Zimbabwe Union of Musicians and introduces a mimetic treatment. I construct a theoretical framework in terms of tacit policies, proto-policies and documented policies to analyse adaptive processes among cultural workers implementing plans and policies, before presenting evidence and examples.
Author Duncan BrownSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 94 –116 (2002)More Less
In this article I argue that in <I>'A Littoral Zone'</I> Douglas Livingstone undertakes a remarkable project of mapping his identity and work - as poet, scientist, human being - onto the landscape in which he lived, worked and moved: that he claims belonging - in terms of myth, DNA linkages, history, biology, relationships, literature - while acknowledging estrangement - through personal loss, pollution, greed, rejection, despoliation, history, loneliness, death. The volume explores these issues in ways which are at once locally specific and broadly global: the particular place is made to resonate with wider, and profounder, implications. This does not mean that there are not also problematic aspects to the mapping of identity onto place, and I consider some of these, including Livingstone's evocation of his relationships with black writing in South Africa.
Author Vanessa McLennan-DoddSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 117 –126 (2002)More Less
Extracted from text ... 117 Review Essay They Lie, We Lie: Getting on with Anthropology Peter Metcalf London & New York: Routledge, 2002 Vanessa McLennan-Dodd? Introduction "This is an essay about lies: white lies and ones as black as night, evasions, exaggerations, delusions, half-truths and credible denials" (Metcalf, 2002, p. 1). Peter Metcalf's They Lie, We Lie highlights the power relations and the complexities that occur in the practice of ethnography, and specifically within the relationships that develop between researchers and their informants. It demonstrates that exploitation and deception are among the activities of the informant as well as the ethnographer, as both ..
Author Bhekimpilo SibandaSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 127 –131 (2002)More Less
Extracted from text ... 127 Book Review Cry Zimbabwe: Independence - Twenty years on Peter Stiff Alberton, South Africa: Galago Publishing, 2000, pp496. Bhekimpilo Sibanda? Cry Zimbabwe: Independence - Twenty years on, is a book which touches many raw nerves of a critical period in the history of Zimbabwe, being from 1979 to the period immediately after the elections of June 2000. Within a climate of global d?tente, and a thawing of East/West relations, coupled with a landmark change in government in the United Kingdom, Margaret Thatcher committed her new Conservative government to a solution to the 'Rhodesian problem'. The Zimbabweans/Rhodesians themselves who ..