In the wake of colonial fragmentation and genocide, Indigenous ‘Khoisan resurgence’ movements in South Africa have mobilised subversive forms of authenticity, including heteroglossic and inventive translanguaging from fragments of Khoekhoegowab. In our analysis of video ethnographic texts produced in collaboration with the Gamtkwa Khoisan Council (GKC) in Hankey, the birthplace of Sarah Baartman, we explore how memory, language politics, and environmental activism are interwoven in acts of linguistic citizenship that constitute the ‘rememorying’ of a history that has remained persistently obscured. (...) We argue that rememorying advances a politics of reminding which counters the Rainbow Nation’s institutionalised politics of forgetting, as well as anthropological accounts that consider Indigenous activist invocations of history as merely ‘therapeutic’. Through an engagement with the memory activism of the GKC, we identify how reconstructing word-histories, reliving historical traumas, retelling histories of sites of memory, seeing oneself mirrored in one’s ancestors, and the nexus of land, memory, and time form the basis for shared meaning-making, bringing impetus, focus, and intergenerational continuity to struggles for environmental and land justice. (shrink)

This a contribution to the cultural semiotics of African cultural encounters seen through the eyes of Swedish naturalists at the end of the eighteenth century. European travellers faced severe problems in understanding the alien African cultures they encountered; they even had difficulty understanding the other culture as a culture. They were not just other cultures that they could relate to, but often something completely different, belonging to the natural history of the human species. The Khoikhoi and other groups were believed (...) by Europeans to be, from their perspective, the most distant culture. The Linnaean disciple Anders Sparrman and others, however, tried to transcend this cultural gap, and used their cognitive resources, such as empathy and intersubjectivity, in order to understand the alien culture they encountered.The aim of this paper is to unearth the cultural semiosis of African encounters and the intersubjective challenges that human interactions provoke. These encounters not only changed the view the travellers had of the Other, but also changed themselves and their self-perception. The encounter between the Ego and the Other is, however, not static, something predestined by the differences in their cultures, but dynamic, changing according to individual encounters and the actual intersubjective interplay that transform and change the perception of the Other. There are in particular four meaning-making processes and challenges within cultural encounters that are in focus: recognizing cultural complexity; invoking intersubjectivity; determining similarities and dissimilarities; and identifying the Other as a mirror of oneself.The triad of cultures – Ego, Alter, and Alius – can be understood as gradual and changing aspects depending on the actual situation of the encounter and the personal perspectives, interpretations, and behaviour of the thinking subjects involved. Using concrete examples from Southern and Western Africa in the 1770s and 1780s, this study aims to explore this dynamic semiosis. One of the conclusions is that the relation between the Ego and the Alter/Alius is not something only predetermined by the cultures involved and their ideologies, but also depends on the individual thinking subjects and how they use their specific cognitive and semiotic resources, not least their intersubjective abilities, within specific temporal and spatial contexts. (shrink)

In this paper I focus on recent artworks by South African artist Nandipha Mntambo. I read these for the ways in which the discourse of species works within and against the humanist sacrificial economy of the subject that Jacques Derrida calls “carno-phallogocentric”. Drawing on Derrida's “metonymy of ‘eating well,'” Achille Mbembe's analysis of colonial violence, and Julia Kristeva's theory of abjection, I argue that these works inscribe and disturb a speciesist, sexual, and racial politics of animalization, and do so by (...) figuring a transgressive animality that stalks the “origins” of “the human” and troubles its carnivorous and colonial relations of “eating the other.” The works render ambiguous the humanist border that separates “man” from what he calls “the animal” and thicken the singular division between edible and inedible bodies, and literal and figurative eating. I suggest that this figures what Haraway might call an “eccentric subject”, one that not only holds open the possibility of a nonanthropocentrism but, as Haraway would say, “nourishes indigestion” at the heart of “carno-phallogocentric” power. But this is risky practice, as a recent controversy about reading Mntambo's work shows. (shrink)

This article examines the growing body of commemorative feminist work on intersectionality – the myriad journals and books that have marked intersectionality’s twentieth anniversary and celebrated the analytic’s field-defining status and cross-disciplinary circulation. I argue that this commemorative scholarship is marked by its own genre conventions, including the emergence of originalism, an investment in returning to the ‘inaugural’ intersectional texts – namely Crenshaw’s two articles (1989, 1991) – and assessing later feminist work on intersectionality by its fidelity to those texts. (...) The article reveals that intersectional originalism is its own practice of re-reading and re-interpretation that has its own complex temporal and racial politics, and which is animated by a desire to rescue intersectionality from critique in a moment in which identity politics are increasingly suspect. (shrink)

When Jesus meets the Samaritan Woman at Jacob’s well in John 4, it is a meeting between two colonial subjects in the Roman Empire. In this encounter we find the Samaritan Woman as a triply marginalised body, a woman subject to multiple, intersecting forms of oppression within her patriarchal context. Identified as a Samaritan Woman, Jewish rabbis regarded her as unclean, impure, and being menstruous from birth. It can also be deduced that she is an outcast in her own society (...) because she comes to draw from the well at noon, the hottest part of the day when people did not usually fetch water. This Samaritan Woman is nameless, landless and powerless in an imperial, colonial and patriarchal context. The poem of Diana Ferrus, I’ve come to take you home, in memory of Sarah Baartman, highlights how Baartman was dehumanised and treated as a sexual object by European colonisers. Through a postcolonial reading of John 4, I consider the intersections between the Samaritan Woman and the early life of Sara Baartman in their respective colonial contexts and invite the reader, as the poem invites Baartman, to come home to Africa and resist Western European imperial and colonial patterns and tendencies.Contribution: This article has interdisciplinary implications. This is an interdisciplinary study in the sense that it offers a biblical interpretation of John 4 that is informed by the life of Sara Baartman that has been uncovered through anthropology, history and sociology. It is also integrating the field of postcolonial biblical hermeneutics with the theory of intersectionality. (shrink)

I assess representations of black women's derrieres, which are often depicted as grotesque, despite attempts by some black women artists to create a black feminist aesthetic that recognizes the black female body as beautiful and desirable. Utilizing a black feminist disability theory, I revisit the history of the Hottentot Venus, which contributed to the shaping of this representational trope, and I identify a recurring struggle among these artists to recover the “unmirrored” black female body.