We investigated the speech processing and production of 2-year-old children acquiring isiXhosa in South Africa. Two children (2 years, 5 months; 2 years, 8 months) are presented as single cases. Speech input processing, stored phonological knowledge and speech output are described, based on data from auditory discrimination, naming, and repetition tasks. Both children were approximating adult levels of accuracy in their speech output, although naming was constrained by vocabulary. Performance across tasks was variable: One child showed a relative strength with repetition, and experienced most difficulties with auditory discrimination. The other performed equally well in naming and repetition, and obtained 100% for her auditory task. There is limited data regarding typical development of isiXhosa, and the focus has mainly been on speech production. This exploratory study describes typical development of isiXhosa using a variety of tasks understood within a psycholinguistic framework. We describe some ways in which speech and language therapists can devise and carry out assessment with children in situations where few formal assessments exist, and also detail the challenges of such work.

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This article reflects upon the practice-led research project The Other Side of Me. It asks how to translate the life story of a young Aboriginal man born in Australia’s Northern Territory – adopted by an English family and raised in a remote hamlet in Cornwall, United Kingdom – into a narrative that engages with experiences of indigeneity in the contemporary world. At the project’s core is a collection of approximately 30 letters and poems that are crucially concerned with the trauma he suffered as a transracial adoptee – the conflicts of an individual coming to terms with two very different cultures. Telling his story raises issues of cultural appropriation. We propose here that adapting his story into dance offers one way to negotiate the challenges of cultural appropriation. Importantly, this process of adaptation is iterative, creating space for multiple voices and bodies to retell and reinterpret a story of personal trauma that sits at the limits of linguistic expression.

In A Room of One’s Own (1929) Virginia Woolf asserts: “Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size”. (34) The use of the mirror is key to Woolf’s arguments about the position of women in general and in particular that of women writers. Complicating Woolf’s view less than a century later, I examine how black women function as looking-glasses in a dual way: as blacks, we shared the past (and now share the current) fate of black people reflecting the “darker” side of white people, as many whites projected onto blacks the unacknowledgeable traits of their own nature. The mirror is also key then to the way in which racial oppression has been analysed in literature. My paper offers an account, by way of selected examples from the history of our literature, of indicating how the mirror has been essential to how black British women are viewed and reflected back. I suggest that the misshapen image in the looking glass created by white people and also black men, allows them to see an inflated reflection of themselves, to assume false feelings of superiority, and to perpetuate oppression against us. I focus on Mary Prince, Mary Seacole, Una Marson, Joan Riley and Helen Oeyemi–authors whose work either anticipates or relates to Woolf’s notion of mirroring, by seeking ways to addressor overcome the situation in which we are placed. The texts explored not only trace the development of the tradition of our writing - the shift from being represented to representing ourselves– but also present a range of cultural and political views and identify three recurring themes: firstly, the denigration in our portrayal; secondly, the assumed superiority white people and black men adopt over us; and thirdly our resistance in remonstrating against such treatment and exposure.