Sifiso yalo biography of christopher
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Introduction
Abstract
This chapter locates the memorialisation of some aspects of the liberation struggle in South Africa in the context of a complex political landscape. Through this chapter, we explore the vast body of heritage and memory culture in South Africa taking the view that South Africa has since 1994 experienced a memory boom. However, this memory boom is not completely disconnected to the pre-colonial past that had its ways of managing memories through ancestor worship, and other media such as architecture, medicine, sculpture, paintings hieroglyphics/alphabet, written text, religion, beliefs, music, myths, legends, fables, nursery rhymes, izibongo, izinganekwane, proverbs, drama, dance and above all language. The chapter proceeds to look at the influence of memorialisation in other parts of Africa and the world recognising how tourism in particular shapes and influences the making of public histories in different parts of the world.
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Authors and Affiliations
University of South Africa, Pretoria, South Africa
Ali Khangela Hlongwane
University of the Witwatersrand, Johannesburg, South Africa
Ali Khangela Hlongwane
University of South Africa, Pretoria, South Africa
Sifiso Mxoli
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What’s So Funny
Cartoonist Andy Mason recently published a history of the art form in South Africa. What’s So Funny? Under the skin of South African Cartooning is the only book of its kind that traces the origins and development of cartooning in South Africa, and its political place in the socio-political context. We send him some questions.
Where did the idea for a history of cartooning come from?
Well it actually rose out of my masters’ research that I did at the University of Kwazulu-Natal about 10 years ago. As cartoonist myself, I was interested in looking at the impact that cartooning had had on the South African struggle — whether in fact we could say that cartooning and comics had had any impact at all on the transition to democracy. I came to the conclusion that it had, albeit a modest one. And then from there I became more and more interested in particular in looking at the icons and stereotypes that cartoonists used in the South African context to describe the different actors in the political scenario.
I tried to define when South African cartooning started, I started to do research through the 50s and the liberal cartooning of the mid-century period, and then I went back to look at the antecedents to that, and eventually I went all the way back t
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