2018 Creative Capital Andy Warhol Foundation Arts Writers Grant

Papers

"'Friend of the Family': Maids, Madams, and Domestic Cartographies of Power in South African Art.... more "'Friend of the Family': Maids, Madams, and Domestic Cartographies of Power in South African Art." M. Neelika Jayawardane

Chapter 9 in Ties That Bind: Race and Politics of Friendship in South Africa. Shannon Walsh, Jon Soske, Eds.

In South Africa, it is non uncommon to hear families say that their domestic worker is a 'friend of the family' or fifty-fifty 'similar family'. While some employers strive to pay their 'domestics' a fairer wage, involve themselves in financing their labourers' healthcare costs and funding children's educations, nigh domestics are paid the minimal accustomed daily charge per unit of R100. The obvious socio-economic power imbalances between the 'madams' and 'maids' of South Africa limit claims purporting to incorporate labourers into family structures. Yet, despite this, the language used to describe voluntary social contracts that determine the bonds of friendship, and the less voluntary – just obligatory –
social contracts between family unit members is invoked in order to frame this diff human relationship. Jayawardane's chapter in Ties That Demark: Race and Politics of Friendship in S Africa analyses how artists and photographers in gimmicky S Africa endeavor to question glib attempts at eliding such power imbalances and fears of the other in domestic landscapes. Specifically, Jayawardane focuses on examples of relationships between 'madams' and 'maids' in photography by Ernest Cole, Omar Badsha, Gisèle Wulfsohn, and George Hallett, and in Zanele Muholi'south contempo work that draws attention to possible interracial, 'queer' desire betwixt domestic workers and the madams for whom they work. The value of this approach – using photography as an entry point for analysing the South African institution of domestic labour – is significant, precisely considering the dynamics of these relationships remain largely out of view and relatively unexamined in scholarly research. Each creative person's work works as an intervention into that silence. Through their photographic projects, the photographers – and we, the audience – go critical witnesses to the oppressive nature of how the apartheid system continues to function. The chapter takes into consideration the extent to which domestic workers signify in the Southward African landscape; it considers the intimacy of the relationship between domestic workers, domestic employers and their respective families, and how this type of labour, and the labourers who behave it out are – historically, and in the present – securely inscribed with social meanings. The encounter between madams and maids – created, supported, and maintained by colonial and apartheid structures – provides rich fabric for analysing how unbearable social relations are fabricated normative and adequate.

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"African Mobilities: This Is Not a Refugee Camp Exhibition." Exhibition Catalogue. , 2018

This article explores the ways in which less fashionable, less mobile immigrants– agronomical an... more than This article explores the ways in which less fashionable, less mobile immigrants– agricultural and service sector workers, the undocumented, the refuge and aviary seekers – create bulwarks of back up in gild to solidify their footing in the well-nigh transient moments of their lives. Specifically, I accost the ways in which second- and tertiary-generation children of those less mobile immigrants reference and resignify quondam – almost obsolete – technologies, besides as embarrassingly kitschy 'Africa' ephemera that their parents brought with them in an attempt to refashion our ownplaces in the world. These diasporic, 'semi-politan' generations amalgamate onetime technologies – through which their parents transported and archived fragments of home – with digital technologies. They reframe and reutilise this ephemera – evidence of loss, longing and lack of mobility – in society to redefine, rewrite, and resound selfhoods. In particular, I focus on the ways in which the mixtape, containing pop music, recordings of performed (or oral) poetry, and sermons past dear imams and preachers, became pathways along which subsequent generations relocate selfhood, and how thesounds that older generations carried with them infiltrate the ways new generations situate themselves in the globe.

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What does it mean for artists to work within a earth that is undeniably altered and possibly irre... more What does it mean for artists to work within a globe that is undeniably altered and peradventure irreversibly damaged by human activity? What does it mean for artists, and their visual practices, to encounter the Anthropocene, without simply creating aesthetically arresting works that draw attending to the artist and normalise devastating bug? Can fine art and aesthetics – often a exercise of the elite – properly address the fact that the Anthropocene era will effect more damage on the daily, lived experiences of the poor, the marginalised, and disenfranchised, partnering and including their political presence? These are questions that conceptual artist Vibha Galhotra attempts to accost in her exhibition, (IN)SANITY IN THE Age OF REASON. One cannot walk in to Galhotra's exhibition expecting "prettiness" to meditate the troubling realities that she addresses. Like other artists whose work recognises that we have, irreversibly, "entered the 'Anthropocene' – a new geologic era marked by the impact of human activeness on the earth" – her work as well engages in a variety of modes, "ranging from critique to applied demonstrations and shading into other current tendencies similar social practice, relational aesthetics, environmental activism and systems theory."

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"Difficulty" is the alibi that we nigh frequently utilise for not attempting to acquire someone'due south name. That... more than "Difficulty" is the alibi that nosotros about often apply for not attempting to learn someone'southward name. That refusal to even attempt to pronounce the "other" is, of course, a one-style privilege. When we are asked to flatten out our names, we are being asked to compact and reduce the rich layers of context that are imbedded in the states. Nosotros are being asked to brand ourselves simpler, more digestible for those who don't want to deal with complexity or divergence. It means we are seen equally something that remains so "other" that we remain "unpronounceable". Only pronouncing a proper name – or choosing non to – is indicative of whether people are willing to exist respectful of our integrity in other ways. It speaks miles about whether they want to develop a relationship with us, and our work, rather than reshape united states into like shooting fish in a barrel to consume commodities.

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South African performance creative person Lerato Shadi'due south meticulous acts of production and erasure mirror ... more Due south African performance creative person Lerato Shadi's meticulous acts of product and erasure mirror the ways in which she attempts to reconcile the separation she feels from what is on the historical record—all that is valorised in official archives, university classrooms, and holdings of museums—from that of her lived experience. Her performances highlight the violence of by erasures and continuing reminders that one does not belong. Shadi'south piece of work attempts to call our attention to the hypocrisies of empire, and the violent erasures required to maintain its superior status. Is information technology possible, on frontlines of conquest --where the descendants of empire are even more invested in shoring upwardly the myth of their superiority -- tin Black subjectivity assert its presence? For artists who live on the coalface of historical erasure, their creative practise becomes an obligation: to write, to record, annal what happens when one's history and the record of one's people's existence is beingness erased. Shadi captures her compulsion to record, assiduously writing on the walls, despite the mitt that will inevitably come to erase her efforts. In performatively erasing her own valiant attempts, she performs the means in which imperial mechanism is driven to erase the history of civilisations information technology believes information technology vanquished. She also hints at the more insidious forgetting that happens within any culture under set on—the loss of cultural memory in the confront of the pressures of day-to-24-hour interval survival.

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M. Neelika Jayawardane profiles Aida Muluneh, examining how the longing for her mother's Ethiopia... more Thou. Neelika Jayawardane profiles Aida Muluneh, examining how the longing for her mother'south Ethiopia, and the desire to complicate a century of misrepresentation, led the artist to repatriate and explore nowadays-twenty-four hour period nostalgia and hope in her native land.

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The initial observations that reached the American public well-nigh the Diallo-DSK rape case, as it westward... more The initial observations that reached the American public almost the Diallo-DSK rape case, every bit information technology was orchestrated by the popular media, was one that represented the polar opposites of global political and gender categories. American readers identified with Diallo's initial story, every bit long as it remained an affair that personified the established, easily identifiable dialectical oppositions of race, grade, and gender. All the same, when information technology was revealed that Diallo may have had "agency" unavailable to the archetype victim – in fashioning her finances and clearing narrative – her credibility as a victim of rape was questioned. This essay explores the relationship between narratives, power, the power of each histrion to deploy their bureau, and the manner in which credibility is questioned when a victim practice whatever limited power is available to her.

Keywords
Narrative; Agency; Sexual Assail; Nafissatou Diallo; Dominique Strauss-Kahn (DSK)

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This chapter examines the relevance of memoir in uncovering silences surrounding the long-lasting... more This chapter examines the relevance of memoir in uncovering silences surrounding the long-lasting consequences of the Global State of war on Terror. I argue that 'scandalizing' post-ix/xi memoirs like Mahvish Rukhsana Khan's My Guantánamo Diary: The Detainees and the Stories They Told Me question popular mythologies of terror surrounding the detainees. Khan's narrative counters land discourses partly due to the significance given to personal testimony in the American social consciousness—memoirs are regarded as revelation and "truth-telling" devices, and every bit legitimized means of challenging hidden inequalities and violence. The significance we confer to personal testimony is seminal to how we revise and re-fashion our private self-identities and continuously re-formulate our commonage political positions in the Us, thus according Khan's memoir a degree of educative power.

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Affiliate 9 in Ties That Bind: Race and Politics of Friendship in Due south Africa. Shannon Walsh, Jon Soske, Eds.

In South Africa, information technology is not uncommon to hear families say that their domestic worker is a 'friend of the family' or even 'like family unit'. While some employers strive to pay their 'domestics' a fairer wage, involve themselves in financing their labourers' healthcare costs and funding children's educations, about domestics are paid the minimal accepted daily rate of R100. The obvious socio-economic power imbalances between the 'madams' and 'maids' of South Africa limit claims purporting to incorporate labourers into family unit structures. Yet, despite this, the language used to draw voluntary social contracts that determine the bonds of friendship, and the less voluntary – but obligatory –
social contracts between family members is invoked in order to frame this unequal relationship. Jayawardane's affiliate in Ties That Bind: Race and Politics of Friendship in South Africa analyses how artists and photographers in contemporary South Africa try to question glib attempts at eliding such ability imbalances and fears of the other in domestic landscapes. Specifically, Jayawardane focuses on examples of relationships between 'madams' and 'maids' in photography past Ernest Cole, Omar Badsha, Gisèle Wulfsohn, and George Hallett, and in Zanele Muholi'due south recent piece of work that draws attention to possible interracial, 'queer' desire betwixt domestic workers and the madams for whom they work. The value of this approach – using photography as an entry bespeak for analysing the Southward African establishment of domestic labour – is significant, precisely because the dynamics of these relationships remain largely out of view and relatively unexamined in scholarly research. Each artist'southward piece of work works equally an intervention into that silence. Through their photographic projects, the photographers – and we, the audience – become critical witnesses to the oppressive nature of how the apartheid system continues to part. The chapter takes into consideration the extent to which domestic workers signify in the Due south African landscape; it considers the intimacy of the relationship between domestic workers, domestic employers and their corresponding families, and how this type of labour, and the labourers who carry it out are – historically, and in the present – securely inscribed with social meanings. The encounter betwixt madams and maids – created, supported, and maintained by colonial and apartheid structures – provides rich material for analysing how unbearable social relations are made normative and adequate.

PaperRank:

"African Mobilities: This Is Non a Refugee Camp Exhibition." Exhibition Catalogue. , 2018

This article explores the ways in which less fashionable, less mobile immigrants– agronomical an... more This article explores the means in which less stylish, less mobile immigrants– agricultural and service sector workers, the undocumented, the refuge and asylum seekers – create bulwarks of support in lodge to solidify their footing in the well-nigh transient moments of their lives. Specifically, I address the ways in which second- and tertiary-generation children of those less mobile immigrants reference and resignify erstwhile – almost obsolete – technologies, as well every bit embarrassingly kitschy 'Africa' ephemera that their parents brought with them in an attempt to refashion our ownplaces in the earth. These diasporic, 'semi-politan' generations anneal erstwhile technologies – through which their parents transported and archived fragments of home – with digital technologies. They reframe and reutilise this ephemera – evidence of loss, longing and lack of mobility – in order to redefine, rewrite, and resound selfhoods. In detail, I focus on the means in which the mixtape, containing popular music, recordings of performed (or oral) verse, and sermons by honey imams and preachers, became pathways along which subsequent generations relocate selfhood, and how thesounds that older generations carried with them infiltrate the ways new generations situate themselves in the world.

PaperRank:

What does it mean for artists to work within a earth that is undeniably altered and perhaps irre... more What does it mean for artists to piece of work within a world that is undeniably altered and possibly irreversibly damaged by human activity? What does it mean for artists, and their visual practices, to see the Anthropocene, without simply creating aesthetically arresting works that draw attention to the creative person and normalise devastating problems? Can art and aesthetics – often a exercise of the aristocracy – properly address the fact that the Anthropocene era will result more damage on the daily, lived experiences of the poor, the marginalised, and disenfranchised, partnering and including their political presence? These are questions that conceptual artist Vibha Galhotra attempts to address in her exhibition, (IN)SANITY IN THE Age OF REASON. One cannot walk in to Galhotra'southward exhibition expecting "prettiness" to meditate the troubling realities that she addresses. Like other artists whose work recognises that we accept, irreversibly, "entered the 'Anthropocene' – a new geologic era marked past the impact of human being action on the earth" – her work besides engages in a variety of modes, "ranging from critique to practical demonstrations and shading into other current tendencies similar social practice, relational aesthetics, environmental activism and systems theory."

PaperRank:

"Difficulty" is the alibi that we nigh oft use for not attempting to learn someone'southward name. That... more "Difficulty" is the alibi that we most often use for non attempting to learn someone'due south name. That refusal to fifty-fifty endeavor to pronounce the "other" is, of course, a one-way privilege. When we are asked to flatten out our names, we are being asked to compact and reduce the rich layers of context that are imbedded in us. We are beingness asked to brand ourselves simpler, more digestible for those who don't want to deal with complexity or deviation. It means we are seen as something that remains so "other" that we remain "unpronounceable". But pronouncing a name – or choosing not to – is indicative of whether people are willing to be respectful of our integrity in other ways. It speaks miles about whether they want to develop a relationship with us, and our work, rather than reshape us into easy to consume commodities.

PaperRank:

Southward African performance artist Lerato Shadi's meticulous acts of production and erasure mirror ... more South African performance artist Lerato Shadi'due south meticulous acts of product and erasure mirror the ways in which she attempts to reconcile the separation she feels from what is on the historical record—all that is valorised in official athenaeum, university classrooms, and holdings of museums—from that of her lived experience. Her performances highlight the violence of past erasures and continuing reminders that one does non belong. Shadi's piece of work attempts to call our attention to the hypocrisies of empire, and the violent erasures required to maintain its superior status. Is information technology possible, on frontlines of conquest --where the descendants of empire are fifty-fifty more invested in shoring up the myth of their superiority -- can Black subjectivity affirm its presence? For artists who live on the coalface of historical erasure, their creative practice becomes an obligation: to write, to record, archive what happens when i's history and the record of ane's people'due south existence is being erased. Shadi captures her coercion to record, assiduously writing on the walls, despite the hand that volition inevitably come to erase her efforts. In performatively erasing her own valiant attempts, she performs the means in which imperial machinery is driven to erase the history of civilisations information technology believes it vanquished. She likewise hints at the more insidious forgetting that happens within any culture under set on—the loss of cultural retentiveness in the face of the pressures of mean solar day-to-day survival.

PaperRank:

One thousand. Neelika Jayawardane profiles Aida Muluneh, examining how the longing for her mother's Ethiopia... more Chiliad. Neelika Jayawardane profiles Aida Muluneh, examining how the longing for her mother'due south Ethiopia, and the want to complicate a century of misrepresentation, led the artist to repatriate and explore present-mean solar day nostalgia and promise in her native state.

PaperRank:

The initial observations that reached the American public nigh the Diallo-DSK rape case, equally it w... more The initial observations that reached the American public nigh the Diallo-DSK rape case, as it was orchestrated by the popular media, was one that represented the polar opposites of global political and gender categories. American readers identified with Diallo'southward initial story, as long as it remained an affair that personified the established, hands identifiable dialectical oppositions of race, class, and gender. All the same, when it was revealed that Diallo may have had "agency" unavailable to the classic victim – in fashioning her finances and immigration narrative – her credibility as a victim of rape was questioned. This essay explores the relationship between narratives, power, the ability of each actor to deploy their agency, and the manner in which credibility is questioned when a victim practice whatever limited power is available to her.

Keywords
Narrative; Agency; Sexual Assault; Nafissatou Diallo; Dominique Strauss-Kahn (DSK)

PaperRank:

This chapter examines the relevance of memoir in uncovering silences surrounding the long-lasting... more This chapter examines the relevance of memoir in uncovering silences surrounding the long-lasting consequences of the Global State of war on Terror. I argue that 'scandalizing' post-9/11 memoirs similar Mahvish Rukhsana Khan's My Guantánamo Diary: The Detainees and the Stories They Told Me question popular mythologies of terror surrounding the detainees. Khan's narrative counters state discourses partly due to the significance given to personal testimony in the American social consciousness—memoirs are regarded as revelation and "truth-telling" devices, and as legitimized means of challenging hidden inequalities and violence. The significance we confer to personal testimony is seminal to how we revise and re-fashion our private self-identities and continuously re-formulate our collective political positions in the Us, thus according Khan'due south memoir a caste of educative power.

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Video: July, 2015, at The Market Photo Workshop

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Ties that Bind is an intriguing and long overdue volume about race and friendship. Information technology marks a time ... more Ties that Bind is an intriguing and long overdue book about race and friendship. Information technology marks a time worldwide when virtual friendships are fast becoming the norm. And yet, after reading the chapters, ane is left with a clearer sense of what it takes – or might take in the future – to actually exist friends across race.
Sarah Nuttall is author of Entanglement: Literary and Cultural Reflections on Post-apartheid

What does friendship have to do with racial departure, settler colonialism and post-apartheid Due south Africa? While histories of apartheid and colonialism in Due south Africa have often focused on the ideologies of segregation and white supremacy, Ties that Bind explores how the intimacies of friendship create vital spaces for practices of power and resistance. Combining interviews, history, poetry, visual arts, memoir and academic essay, the collection keeps alive the promise of friendship and its possibilities while investigating how affective relations are essential to the social reproduction of ability. From the intimacy of personal relationships to the organising ideology of liberal colonial governance, the contributors explore the intersection of race and friendship from a kaleidoscope of viewpoints and scales. Insisting on a timeline that originates in settler colonialism, Ties that Demark uncovers the implication of anti-Black within nonracialism, and powerfully challenges a simple reading of the Mandela moment and the rainbow nation. In the wake of countrywide student protests calling for decolonization of the university, and reignited debates around racial inequality, this timely volume insists that the history of South African politics has always already been about friendship.

Written in an accessible and engaging style, Ties that Bind volition involvement a wide audience of scholars, students, and activists, as well as general readers curious about contemporary South African debates around race and intimacy.

http://witspress.co.za/catalogue/ties-that-bind/

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rocheobtainted.blogspot.com

Source: https://oswego.academia.edu/NeelikaJayawardane

2018 Creative Capital Andy Warhol Foundation Arts Writers Grant

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