ผู้เขียน: Brenda Schmahmann

How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, sta …

Since South Africa’s transition to democracy, many universities have acquired new works of art that convey messages about the advantages of cultural diversity, and engage critically with histories of …

"Compelling case studies demonstrate how African workshops have long mediated collective expression and individual imagination." -Allen F. Roberts, University of California, Los Angeles The …

Shortly after the giant bronze statue of Cecil John Rhodes came down at the University of Cape Town, student protestors called for the decolonisation of universities. It was a word hardly heard in So …

Emerging in the late nineteenth century and gaining currency in the 1930s and 1940s, Afrikaner nationalist fervour underpinned the establishment of white Afrikaner political and cultural domination d …

Shortly after the giant bronze statue of Cecil John Rhodes came down at the University of Cape Town, student protestors called for the decolonisation of universities. It was a word hardly heard in So …

Emerging in the late nineteenth century and gaining currency in the 1930s and 1940s, Afrikaner nationalist fervour underpinned the establishment of white Afrikaner political and cultural domination d …

Since South Africa’s transition to democracy, many universities have acquired new works of art that convey messages about the advantages of cultural diversity, and engage critically with histories of …