No abstract

This article focuses on sonic elements in performative interventions by three South African artists: Donna Kukama's, Chapter F: The Free School for Art and All 'Fings Necessary (Until Fees fall) (2016), Lerato Shadi's Matsogo (2013) and Mbali Khoza's What difference does it make who is speaking? (2014). By observing the details of each artist's use of voice and its 'situatedness' (Goniwe; Mohotowa Thaluki), I have positioned the works within the discipline of sound studies. Beyond the sites chosen for the interventions, their 'situatedness' refers to the cultural aspects informing them, including language specificity and the diachronical re-actualitsations of struggle-songs, traditional tales and newspaper journalism. The locations are a hole or negative space in the pavement on Johannesburg's Beyers Naudé Square, a discarded newspaper page showing the foreign index, and Makhanda Eastern Star Museum. I refer here to sound, time and matter as 'fingerprint' (Cassin; Dolar), arguing for each one's right to be heard according to his/her personal means of expression, and that 'accentedness' (Coetzee) and situatedness should not lead to the assumption of the existence of an impenetrable 'epistemic barrier' (Maharaj). The triad combining use of language (individuated speech), bodily voice, and the time-factor involved allows for a sonic fingerprint to evolve.

Au-delà des archives. Traduire aujourd'hui l'image photographique au Sud du c...

Three coincidences entitle us to establish a precarious link between these two books read in tandem. The photographs they address come from an identical geographical region, the countries of southern Africa. What is at issue here is a contemporary re-reading of archival images, developed in two catalogues of exhibitions initially held in New York in 2012. That is where the similarities end.

Une recherche sur les médias documentaires issus du contexte sud-africain, interrogés dans une perspective historique et politique, était très attendue, pour ne pas dire qu'il était urgent que ce livre soit écrit. En l'accolant à la question des « affective images », Marietta Kesting saisit par ce texte deux préoccupations phares actuelles et les interroge l'une au prisme de l'autre. 2 Les contributions analysant le retour de l'affect parmi les théories des médias s'accumulent depuis le début des années 1990. Nombreux sont les auteurs, comme Marietta Kesting, qui reconnaissent l'utilisation initiale du concept par Gilles Deleuze et Felix Guattari 6 . Kesting reconnait également la contribution de Brian Massumi et son travail de théorisation de l'affect dans le contexte des médias virtuels 7 . Elle ajoute à ce Kesting Marietta. -Affective Images, Post-apartheid Documentary Perspectives Cahiers d'études africaines, 230 | 2018