Juliette Leeb-du Toit – författare
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2 produkter
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525 kr
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China and Africa have long shared a history of allegiance and contact points through global political forces from the time of colonialism and the Cold War. With China's rise as the new superpower, its presence in Africa has expanded, leading to significant economic, geopolitical and cultural shifts. While issues such as trade, aid and development have received much attention, Chinese and African encounters through the lens of the visual arts and material culture is a neglected field.Visualising China in Southern Africa: Biography, Circulation, Transgression is a ground-breaking volume that addresses this deficit through engaging with the work of contemporary African and Chinese artists while analysing broader material production that prefigures the current relationship. The essays are wide-ranging in their analysis of ceramics, photography, painting, etching, sculpture, film, performance, postcards, stamps, installations, political posters, cartoons and architecture.Visualising China in Southern Africa confines its focus to southern Africa, yet even within this region, the context is complex. Ethnicity and nationalism, the lingering influence of Cold War allegiances and colonial configurations all continue to play a role. The various visual cultures discussed in this volume emphasise the commonality of these categories, but also point towards other shared histories that transcend the nation-state category.The collection includes scholarly chapters, photo essays, interviews, and artists' personal accounts, organised around four themes: material flows, orientations and transgressions, spatial imaginaries, and biographies. The artists, photographers, filmmakers, curators and collectors in this volume include: Stary Mwaba, Hua Jiming, Anawana Haloba, Gerald Machona, Nobukho Nqaba, Marcus Neustetter, Brett Murray, Diane Victor, William Kentridge, Kristin NG-Yang, Kok Nam, Mark Lewis, the Chinese Camera Club of South Africa, Wu Jing, Henion Han and Shengkai Wu.
688 kr
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The cross-cultural usage of a particular cloth type – blueprint – is central to South African cultural history. Known locally as seshoeshoe or isishweshwe, among many other localised names, South African blueprint originated in the Far East and East Asia. Adapted and absorbed by the West, blueprint in Africa was originally associated with trade, coercion, colonisation, Westernisation, religious conversion and even slavery, but residing within its hues and patterns was a resonance that endured. The cloth came to reflect histories of hardship, courage and survival, but it also conveyed the taste and aesthetic predilections of its users, preferences often shared across racial and cultural divides. In its indigenisation, isishweshwe has subverted its former history and alien origins and has come to reflect the authority of its users and their culture, conveying resilience, innovation and adaptation and above all a distinctive South Africanness.In this beautifully illustrated book Juliette Leeb-du Toit traces the origins of the cloth, its early usage and cultural adaptations, and its emerging regional, cultural and aesthetic significance. In examining its usage and current national significance, she highlights some of the salient features associated with histories of indigenisation.