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oapen-20.500.12657-76689
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oapen-20.500.12657-766892023-12-06T12:26:31Z Chapter ‘Is it possible to represent her freshly without reproducing sexist and racist appropriation?’ Kisubi Mbasalaki, Phoebe Sarah Bartmann politics of representation South Africa bic Book Industry Communication::A The arts::AB The arts: general issues::ABA Theory of art bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFF Social issues & processes::JFFJ Social discrimination & inequality When black South African artist Willie Bester, whose art persistently criticizes the colonial and totalitarian history of his country, created a sculpture of Sarah Bartmann (or Saartjie Bartmann) out of recycled material, one wouldn’t have imagined so many ruptures from this work. Buikema (2007) clinically unpacks the first rupture at the University of Cape Town by deploying politics of representation as presence and symbolic. And she questions: Is it possible to represent Sarah Bartmann freshly without reproducing sexist and racist appropriations? In this article, I unpick Buikema’s article while putting it into conversation with further ruptures that took place at UCT between 2015-2018 after the student protests calling for decolonisation of the university. I argue that it is through such critical engagements and discomforts that transformation towards dignifying and humanizing of Sarah Bartmann occurs; and by extension, epistemic justice. 2023-10-12T13:14:04Z 2023-10-12T13:14:04Z 2023 chapter ONIX_20231012_9789048560110_15 9789048560110 9789048560127 https://library.oapen.org/handle/20.500.12657/76689 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 10_5117_9789048560110_kisubi.pdf Amsterdam University Press Transities in kunst, cultuur en politiek = Transitions in Art, Culture, and Politics 10.5117/9789048560110_kisubi 10.5117/9789048560110_kisubi dd3d1a33-0ac2-4cfe-a101-355ae1bd857a 95ba63c0-4a4a-4684-a56c-73ba347aa51b b586072e-2e5d-469f-8332-217c0beb5b08 4d864437-7722-4c66-b80f-140a98d4bca9 9789048560110 9789048560127 5 Amsterdam [...] [...] open access
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OAPEN
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DSpace
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English
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When black South African artist Willie Bester, whose art persistently criticizes the colonial and totalitarian history of his country, created a sculpture of Sarah Bartmann (or Saartjie Bartmann) out of recycled material, one wouldn’t have imagined so many ruptures from this work. Buikema (2007) clinically unpacks the first rupture at the University of Cape Town by deploying politics of representation as presence and symbolic. And she questions: Is it possible to represent Sarah Bartmann freshly without reproducing sexist and racist appropriations? In this article, I unpick Buikema’s article while putting it into conversation with further ruptures that took place at UCT between 2015-2018 after the student protests calling for decolonisation of the university. I argue that it is through such critical engagements and discomforts that transformation towards dignifying and humanizing of Sarah Bartmann occurs; and by extension, epistemic justice.
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10_5117_9789048560110_kisubi.pdf
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10_5117_9789048560110_kisubi.pdf
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10_5117_9789048560110_kisubi.pdf
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10_5117_9789048560110_kisubi.pdf
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| title_fullStr |
10_5117_9789048560110_kisubi.pdf
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10_5117_9789048560110_kisubi.pdf
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10_5117_9789048560110_kisubi.pdf
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| publisher |
Amsterdam University Press
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| publishDate |
2023
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| _version_ |
1799945239007330304
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