DYNAMIC AFRICA

Set up in 2010, Dynamic Africa is diverse multi-media curated blog with a Pan-African outlook that seeks to create an expressive platform for African experiences, stories and African cultures.



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Posts tagged "Southern Africa"

Two African cities, Lagos and Johannesburg, listed in new book Art Cities of the Future: 21st Century Avant-Garde as two of twelve global cities to keep an eye on for exciting emerging urban landscapes for contemporary art.

Kari Rittenbach, the book’s editor, describes these places as “urban areas that offer something beyond even prestigious museums and a thriving gallery culture”, and that offer their own creative economies and “critical feedback systems”.

PICTURED: Detail from “The Eclipse Will Not Be Visible to the Naked Eye,” by Dineo Seshee Bopape.

October: Highlighting African Art & African Artists

Vintage photographs of individuals from Africa.

Location unknown by judging by their attire and hairstyles, my assumption is Southern Africa.

Tell them what I did to you…
both judge and jury
Petals of your innocence
a witness to the floor.
Tiles on that fall of Spring in leaves-
pages of life rewritten
in the absence of the presence-
a blossom, au naturel like the
naked features of your face…

Doors closed in open spaces.
Take off your shoes,
tonight we set footprints
in seconds too short to remember-yet experienced
so long and lasting…
taste but do not savor instructions-
that good kind of bad, amber October.

Cracking and hissing firewood, a melting pot
of passion pulsing on her wrist-
Tired pleasure, hanging on that last moment
the promise of a tattoo.
Warm laughs like the oven of sunset…
let me Watch the coals in your eyes,
that lava-manna from the heaven below the 7th
A poem by a young Zimbabwean writer who goes by the pen name Adonis Young.

The first Zimbabwean to be featured on the Man Booker prize shortlist, the BBC’s Alan Kasujja speaks to NoViolet Bulawayo about the inspiration behind her coming-of-age novel We Need New Names, the writing culture and publishing industry in Zimbabwe, and the sociopolitical consciousness burden that often comes with being an African writer.

A stumbling block hard as a rock
Go to the left, it leftens
Go to the right, it rightens
Climb, it heightens
Go underneath, it deepens
Just a matter of two steps

A thirsty walk on the road
Water just two steps ahead
Two steps towards, it moves two steps away
Is this a case of fate postponed?
Or far too close?

The last two stanzas from Tswana poet Morongwa Matsau’s poem “Far Too Close”.
A Zulu man pulls his employer in a pedicab in Durban, South Africa.
Photograph by Melville Chater, National Geographic
October: Highlighting African Art & African Artists

A Zulu man pulls his employer in a pedicab in Durban, South Africa.

Photograph by Melville Chater, National Geographic

October: Highlighting African Art & African Artists

manufactoriel:

Cape Town, Guguletu

manufactoriel:

Cape Town, Guguletu

fromwaxcrayondreamz:

FINAL PRINT:

Harlem Shake meets Maasai/Afro-futurism

1 of 3

Woodcut Print

2013

Katlego Tlabela

fromwaxcrayondreamz.tumblr.com

(via wahalalife)

Postage stamps commemorating the controversial independence of the Transkei region of South Africa in 1976.

The Transkei was made nominally independent in 1976 in order to serve as a legal homeland for millions of Xhosa-speaking black people who had lost their South African citizenship under the apartheid system of racial separation. However, upon the creation of a (nominally) independent Transkei in 1976, all black South Africans with language ties to Transkei (whether or not they lived there) lost their South African citizenship and became citizens of the new country. As a result, 1.6 million Xhosas living in the Transkei and a further 1.3 million non-Ciskei Xhosas living in South Africa lost their South African citizenship - something they had no say in as under the apartheid system, both racial and ethnic classification was ultimately decided upon by the apartheid government. Dual citizenship at birth was not permitted, and renunciation of one’s citizenship was legally possible, but rendered the individual stateless in most cases.

The Organization of African Unity urged the world to shun Transkei on the grounds that recognition would constitute acceptance of apartheid, and the United Nations supported its view.

On October 26th, 1976, the Transkei - a Xhosa region (known then as a Bantustan) that lay between Natal and the Kei River in the Eastern Cape - gained complete independence as an autonomous republic under the policy of separate development. South African prime minister B. J. Vorster justified the declaration of Transkei as an independent republic by referring to “the right of every people to have full control over its own affairs” and wished “Transkei and its leaders God’s richest blessings on the road ahead.” A press release by the African National Congress at the time rejected the Transkei’s independence and condemned it as “designed to consolidate the inhuman policies of apartheid”.

Furthermore, the Transkei could never be an economically self-sufficient nation as it would be financially dependent on the white South African government , and the majority of its citizens would have to migrate into South Africa to find work.

At its opening session the Transkei National Assembly elected Paramount Chief Botha J. Sigcau as the Transkei’s first President and Kaizer Matanzima as Prime Minister. The new republic did not incorporate the apartheid ideology into its constitution, but became a multiracial state in which all citizens had the franchise.

The Republic of Transkei was not recognised beyond South African borders. The General Assembly of the United Nations rejected the declaration of independence as invalid, and called upon all governments to deny any form of recognition of the Transkei and other Bantustans as a direct result of the ANC’s condemnation of the state as a means to reaffirm apartheid policies of separate development.

In 1994, following the dismantling of the apartheid regime, the Transkei was incorporated into the Eastern Cape province.

(sources 1, 2, 3, 4, 5, 6)

africanartagenda:

Peter Pharaoh

Country: Republic of South Africa

Style: Abstract, Contemporary, Portraiture

I can’t say when the change came, when we moved - we being those of us Africans whose cultures historically revered the elderly and bestowed upon them an almost saintly kind of respect - from upholding the once firm traditions of our past, to almost casting a sort of social amnesia upon ourselves, conveniently forgetting the place the elderly amongst us held within our communities.

As someone who didn’t have the opportunity to grow up around my grandparents, it was my parents who both reminded and made great efforts to instill a sense of deep respect for the elderly that would grow to feel almost natural whenever I was in the presence of someone much older than myself.

But often, I’d in some become privy to concerned conversations where those of my parents generation would express, with great bitterness, their disdain at African youth who seemed to be falling out of touch with this crucial tradition of reverence for the elderly - a sentiment that I was quickly reminded of when looking at Mozambican photographer Mário Macilau's series dedicated to elderly African people, titled “Esquecidos” (Forgotten).

Social amnesia isn’t the solitary cause of this concerning treatment of the elderly in many African countries. There are several factors that have contributed to this specific loss of value within our cultures and, of course, it is more complicated than simply ‘forgetting’ or not caring for the elderly. Industrialization, lack of resources, historical influences and transitions, as well as the side-effects of urban migration and of diseases such as HIV/AIDS have all, in some way, had an impact on the displacement of the elderly within certain African cultures.

The question now is, how do we change all of this?

September: Highlighting African Photographers

Images of South Africa’s Indian community in the 1950s that were published in notable and widely-read South African-based magazine DRUM, that was centered around highlighting various facets of African lifestyles throughout Africa and the diaspora.

ETA: I believe most of these images were taken by South African photographer Ranjith Kally.

September: Highlighting African Photographers

Miriam Makeba with Sonny Pillay and his family, 1959.

Makeba and the Durban-Indian ballad singer, born Shunna Pillay, were briefly romantically involved after Makeba left an abusive relationship with her first husband and father of her only daughter Bongi, James Kubayi. 

Of his relationship with the late singer, Pillay says:

“My relationship with Miriam had no family pressure, just gossip. Our romance lasted a few months and then we moved on. We remained the closest of friends until her death.”

“Miriam Makeba and I had a brief romance. If we were married, it would have lasted a lifetime.”

Photograph by South African photographer Ranjith Kally.

September: Highlighting African Photographers

Rita Lazarus, Miss Durban, 1960.

Photographed by South African photographer Ranjith Kally.

September: Highlighting African Photographers

Bonile Bam, Initiation, Transkei, Eastern Cape, 2000.

September: Highlighting African Photographers