Hostname: page-component-77c89778f8-swr86 Total loading time: 0 Render date: 2024-07-16T16:28:02.962Z Has data issue: false hasContentIssue false

Mammon, Magic, Mimicry, and Meaning in Public Postapartheid Johannesburg

Published online by Cambridge University Press:  23 October 2020

Extract

Twenty-five kilometers west of my Suburban Johannesburg apartment lies maropeng, the cradle of humankind World Heritage Site. Recently, twelve years since South Africa's first nonracial democratic elections, Mrs. Ples and the Taung Child, two of the paleoanthropological world's oldest skulls, were jointly exhibited. Considered to be the originators of all humanity, they are the global signifier of humanity shared. They are also foundational in forging a postapartheid united South African nationhood and in underpinning President Thabo Mbeki's continent-wide African Renaissance movement. Maropeng's proximity to Johannesburg, in its day “the model apartheid city” (Czeglédy 23), renders additionally acute past policies of racial segregation that shaped the city and, until the demise of apartheid, robbed me and my fellow citizens of the capacity to shape or interpret a shared experience of the city.

Type
Correspondents at large JOHANNESBURG
Copyright
Copyright © Modern Language Association of America, 2007

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Barron, Chris. “A Mining Boss Who Refuses to Hedge Her Bets.” Sunday Times Business Times 14 May 2006: 8.Google Scholar
Bleek, W. H. I., and Lloyd, L. C. Specimens of Bushman Folklore. 1911. Cape Town: Struik, 1968.Google Scholar
Botha, R. F.Speech by Mr RF Botha, Minister of Minerals and Energy Affairs, Budget Vote, National Assembly, 31 May 1996.” South African Government Information. 22 June 2004. 7 Feb. 2007 <http://www.info.gov.za/speeches/1996/960819_14396.htm>..>Google Scholar
Braude, Claudia. “The Archbishop, the Private Detective, and the Angel of History: The Production of South African Public Memory and the Truth and Reconciliation Commission.” Current Writing 8.2 (1996): 3965.Google Scholar
Czeglédy, André. “Villas of the Highveld: A Cultural Perspective on Johannesburg and Its ‘Northern Suburbs.‘Emerging Johannesburg: Perspectives on the Postapartheid City. Ed. Tomlinson, Richard, Beauregard, Robert A., Bremmer, Lindsay, and Mangcu, Xolela. New York: Routledge, 2003. 2142.Google Scholar
Greig, Robert. “Plagiarism Has Become an Unhealthy Cultural Obsession.” Sunday Independent 2 Apr. 2006: 11.Google Scholar
Krog, Antjie. Country of My Skull. Johannesburg: Random, 1998.Google Scholar
Krog, Antjie., ed. The Stars Say “Tsau”: /Xam Poetry of Diä!kwain, Kweiten-ta-//ken, A!kúnta, /Han≠kass'o and//Kabbo. Roggebaai: Kwela, 2004.Google Scholar
Laurence, Madeline. “Picasso: Impressions of Africa.” Madeline and Martin 1932.Google Scholar
Laurence, Madeline, and Martin, Marilyn, eds. Picasso and Africa. Cape Town: Bell-Roberts, 2006.Google Scholar
Mbembe, Achille. “Aesthetics of Superfluity.” Public Culture 16 (2004): 373405.CrossRefGoogle Scholar
Memela, Sandile. “Unmasking Picasso and Finding Africa Beneath.” City Press 18 Feb. 2006. <http://news24.com/City_Press/Columnists/0,,186-1695_1884031,00.html>. “Polemic: Picasso and Africa.” Art South Africa 4.4 (2006): 3040.Google Scholar
Sergeant, Barry. Brett Kebble: The Inside Story. Cape Town: Zebra, 2006.Google Scholar
Siebrits, Warren, and Ractliffe, Jo. Jo Ractliffe—Selected Colour Works 1999–2005. Johannesburg: Warren Siebrits Modern and Contemporary Art, 2005. N. pag.Google Scholar
Stephen, Watson. “Annals of Plagiarism: Antjie Krog and the Bleek and Lloyd Collection.” New Contrast 33.2 (2005): 4861.Google Scholar
Stephen, Watson. Return of the Moon: Versions from the /Xam. Cape Town: Carrefour, 1991.Google Scholar
Whose Truth?” Panel discussion. Faultlines Conference. Capetown. 5 July 1996.Google Scholar