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Invitation: Unga Dada Go Topless

Unga Dada

 

‘Unga Dada, ek is lief vir jou…’

Aryan Kaganov + Garth Erasmus + Manfred Zylla + Niklas Zimmer = 8 nipples.

8 Nipples perform the legendary Afrikaans rock opera written by Hendrik Frensch.

DIE GEHEIME LEWE VAN BOETEBESSIE

Tuesday 25th Augustus, 9pm, Blah Blah Bar, Slaapstad.

Back by Popular Demand: DECOLON I SING WITS

DECOLON I SING WITS

It gives me great pleasure to be able to report that DECOLON I SING WITS is screening again at The Bioscope, Maboneng Precinct, Joburg as of today until Friday 14 August, including matinee shows at 2pm. Don’t miss these screenings.

Read Wamuwi Mbao’s review of DECOLON I SING WITS:

Reviews

Decolon I Sing Wits: A Review

Decolonising Wits

My film DECOLONISING WITS – AN ACT OF EPISTEMIC DISOBEDIENCE opened at The Bioscope on 3 July. Here it is reviewed by Helgé Janssen:

This Kaganof ‘documoment’ is a brave film – for it talks where others haven’t dared to walk.

This film thus gives credence to a small band of EFF supporters who are spearheading the drive to decolonize the University of the Witwatersrand.

There are large sections of the film without subtitles; rendering the verbal coherence of the film somewhat stilted to a cursory ‘white’ sensibility and this is done intentionally. There are no participants who have personal ego narratives (apart from Mngxitama?) while at the same time demonstrating the genesis and the accumulating awareness of the rising swell for reassessment of post-apartheid political ‘achievements’.

And don’t miss what Kwanele Sosibo had to say about the film in the Mail & Guardian.

Decolonising Wits

DECOLONISING WITS from African Noise Foundation on Vimeo.

To be perfectly frank, I have to add that our task is rendered all the more complex because there is hardly any agreement as to the meaning, and even less so the future, of what goes by the name “the university” in our world today.

The harder I tried to make sense of the idea of “decolonization” that has become the rallying cry for those trying to undo the racist legacies of the past, the more I kept asking myself to what extent we might be fighting a complexly mutating entity with concepts inherited from an entirely different age and epoch. Is today’s university the same as yesterday’s or are we confronting an entirely different apparatus, an entirely different rationality – both of which require us to produce radically new concepts?

We all agree that there is something anachronistic, something fundamentally wrong with a number of institutions of higher learning in South Africa.

There is something fundamentally cynical when institutions whose character is profoundly ethno-provincial keep masquerading as replicas of Oxford and Cambridge without demonstrating the same productivity as the original places they are mimicking.
There is something profoundly wrong when, for instance, syllabi designed to meet the needs of colonialism and Apartheid continue well into the post-Apartheid era.

We also agree that part of what is wrong with our institutions of higher learning is that they are “Westernized”.
But what does it mean “they are westernized”?

They are indeed “Westernized” if all that they aspire to is to become local instantiations of a dominant academic model based on a Eurocentric epistemic canon.

But what is a Eurocentric canon?

A Eurocentric canon is a canon that attributes truth only to the Western way of knowledge production.

It is a canon that disregards other epistemic traditions.

It is a canon that tries to portray colonialism as a normal form of social relations between human beings rather than a system of exploitation and oppression.

Furthermore, Western epistemic traditions are traditions that claim detachment of the known from the knower. They rest on a division between mind and world, or between reason and nature as an ontological a priori.

They are traditions in which the knowing subject is enclosed in itself and peeks out at a world of objects and produces supposedly objective knowledge of those objects. The knowing subject is thus able, we are told, to know the world without being part of that world and he or she is by all accounts able to produce knowledge that is supposed to be universal and independent of context.

The problem – because there is a problem indeed – with this tradition is that it has become hegemonic.

This hegemonic notion of knowledge production has generated discursive scientific practices and has set up interpretive frames that make it difficult to think outside of these frames. But this is not all.

This hegemonic tradition has not only become hegemonic. It also actively represses anything that actually is articulated, thought and envisioned from outside of these frames.

For these reasons, the emerging consensus is that our institutions must undergo a process of decolonization both of knowledge and of the university as an institution.

– Achille Mbembe, Decolonizing Knowledge and the Question of the Archive

Now Online: Night is Coming: A Threnody for the Victims of Marikana

Night is Coming: A Threnody for the Victims of Marikana has now been placed online by the Hearing Landscape Critically Group at Oxford University.

Please do take 66 minutes out of your busy schedule to have a look.

Six questions about art in South Africa after Marikana

Stacy Hardy

I asked several people six questions about art in south africa after Marikana.

The latsest respondents were musicologist Carina Venter, short story writer Stacy Hardy, novelist Deon-Simphiwe Skade, biographer Stephanus Muller, art critic Mary Corrigall and SACP stalwart Howard Smith.

Andile Mngxitama in “Black Skins Wits Masks”

Black Skins Wits Masks

EFF MP Andile Mngxitama was suspended from parliament yesterday by speaker Baleka Mbete for a period of five days.

But that doesn’t mean 5 days of silence.

Mngxitama speaks freely in BLACK SKINS WITS MASKS about being a colonial subject, the contemporary meaning of the word kaffir, and the disaster of Wits University.

Watch it here:

Black Skins Wits Masks from Stephanus Muller on Vimeo.

What drives Kaganof?

It used to be Valazza
a white Valiant ’66, straight
six engine a most reliable vehicle
before that a Jaguar Executive that cost
so much to start up I never drove anywhere,
I would call up fancy ladies and ask them to come
to my place where we’d sit in the plushly upholstered
vehicle and admire the engineering. before that an Audi 500
that cost me R10 000 cash to buy and nearly a million to fix
and before that twice a Toyota Corolla; one that was stolen
from outside my house in Westdene and the other I
overturned while speeding drunk down Louis
Botha Avenue which made me wonder
whilst I was overturning how come
they never changed the name of
this motherfucking Avenue to
something indigenous like
Gqom Avenue? or the
Whoonga Freeway?

A Threnody For The Victims of Marikana, Screening at Wits, Friday 25 July

Mary Corrigall reviews Night is Coming, which will screen at Wits Club, West Campus, Friday 25 July at 5pm:

Artists Respond to Marikana

Night Is Coming, Wits University, 25 July

Night is Coming