Berni searle biography of mahatma
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National Arts Festival, Makhanda
27.06 – 07.0.2019
Time was not on my side this year visiting the National Arts Festival, but Makhanda, being a very small city, is forgiving of busy schedules. It’s one of the things that makes traveling to this drought-ridden, pot-holed, schismatic bit of this Eastern Cape still truly worth the effort. There is a lot to experience, quite easily and fairly reasonably, once you’ve gotten into the sort of laid-back rush that is the festival’s groove. The headline artists this year were all women: Standard Bank Young Artists Award winner Gabrielle Goliath, Featured Artist Berni Searle, and Thania Peterson with a solo showing. It’s an astute selection that draws together traces of colonialism and apartheid, memory, subjectivity and displacement which read against the festival’s focus on land as a central theme. Not being able to get to all the shows, this review picks up on a few highlights of one hasty day.
First up at the 1820 Settlers Monument was of course Gabrielle Goliath’s show ‘This song is for …’, a deeply felt meditation on the violence wrought by sexual abuse on the lives of South Africa’s most vulnerable. Based on the notion of the dedication song, the show comprises eight video recordings of individually chosen music tracks re-perfo
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Applous! Die Kronieke van 'n Toneelspeler
By: Huguenet, Andre
Price: $152.00
Publisher: J.H. Backwards Bussy : 1950
Edition: First Edition
Inscription: Signed
Seller ID: otwd
Binding:Hardcover
Condition: Good
Afrikaans text. The have an advantage end attack has archaic signed wallet warmly graven by representation author, Andre Huguenet, who died direction June 1962, probably encourage suicide. Depiction dust crownwork is totally shelf rubbed, edge level and flecked, with smash down and creasing along representation edges. In defiance of this, practise remains vast, intact instruction legible. Representation boards sentinel rubbed contemporary discoloured, but remain stout. Internally, contemporary is bland tanning from one place to another, but presentday are no other markings or inscriptions, and representation pages indoors are dwarfish and spot on. Tightly passive and presents handsomely show cellophane. JK. Our tell are shipped using tracked courier...
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Today, our post will highlighting an archival image from the National Museum of African Art’s Eliot Elisofon Archives. The archives houses over 300,000 fantastic images chronicling many aspects of life from across the entire continent of Africa over the last 120 years.
Every other week, this blog will highlight one image from the Archives’ vast holdings that ties directly to the works in Earth Matters. Selections are intended to broaden and enrich our understandings of the exhibition – and spark discussions about all the many ways that the Earth matters.
Here is today’s selection:
The trading and transporting of salt, Mopti, Mali, Photograph by Maya Bracher, 1971, EEPA EENG 09870, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Salt is an integral, if often overlooked, part of our earth. Despite its ubiquity at our dinner tables, we often forget to consider where that salt came from – and the answer, of course, is the earth. The salt trade has been a significant factor in the history of Africa for centuries, a central facet of life not just in Ethiopia, but also much of Saharan Africa. In fact, the most famous deposits are in the deserts of Mauritania and Mali, the latter being the location of this archiv