Decolonial aesthetics of Blackness in contemporary art challenge and redefine traditional narratives, offering a profound critique of historical and ongoing injustices. This approach emphasizes the reclamation and celebration of Black cultural identities through innovative artistic expressions that resist colonialist frameworks and oppressive stereotypes. By emphasizing the experiences and perspectives of Black artists, decolonial aesthetics challenge the power structures presented in art history and highlight the significance of autonomy, representation, and authenticity. To advance this dialogue, it is crucial to support and engage with Black artists and their work, ensuring that their voices are amplified, and their contributions are recognized within art discourse. Decolonial Aesthetics of Blackness in Contemporary Art focuses on the generative audio and visual inscription of blackness as an offering of life and beauty in contemporary art. It discusses the concept of blackness related to modernity, decolonial aesthetics, and ontology of black life and beauty. This book covers topics such as decolonization, visual art, and sociology, and is a useful resource for art historians, visual artists, sociologists, academicians, scientists, and researchers.

In 2016, South African film audiences were mesmerised by the film Noem My Skollie, which was written by – and based on the life of – John W. Fredericks. In this book Fredericks tells the full story on which the film was based. Growing up in a dusty township on the Cape Flats, Fredericks formed a gang with his friends, and at the age of seventeen he was arrested for robbery and sentenced to two years in Pollsmoor prison. A number gangs vied to initiate him into their ranks, but he resisted their advances, offering instead to help them push their time by telling stories. And so he became the prison ‘cinema’, drawing on his storytelling abilities and cementing his ambition to become a writer. Life after prison became a nightmare when he was arrested for a murder he hadn’t committed, his childhood friends were sentenced to die on the gallows, and a gang boss tried to kill him. Slowly he turned his life around, getting a job and building a family, but society kept judging him as a gangster. Struggling to deal with his past, he turned to storytelling again, and painstakingly learnt the art of scriptwriting. The result was Noem My Skollie, which was watched by almost 90 000 people and won numerous awards. Written in a powerful and authentic voice, Skollie is a gripping memoir of life on the Cape Flats, of prison and gangs, and of one man’s struggle to survive all this by telling stories.

A panoramic look at South Africa in the 1950s, this spirited tale explores the people, music, and hardships common to areas such as District Six, Durban, and Sophiatown. Based on the life of musician Shunna Pillay, the story focuses on what it feels like to yearn for freedom amid governmental and societal constraints.

Salena, the elder of two Cape sisters, is light-skinned and demure, an easy one to marry off to a husband of her parents’ choosing. Zuhra is dark and wilful, refusing tradition and leaving the country in pursuit of her own destiny. 'The shoots of their lives grow apart and interlace again. Salena finds herself in a repressed marriage much like her mother’s. Zuhra comes to suspect grim undercurrents to both their lives, which she expresses by retelling familiar fairytales, often hilariously, in a Muslim framework. 'But this is not a fairytale. The dark forest is real, and so are its secrets.

"The photographs in this book were made by Trevor Appleson in his portable studio between 2000-2004 in and around Cape Town, on beaches, in car-parks, shanty towns and shipyards."--book cover.

South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers (1916) through to Mapantsula (1988) and films produced post apartheid, including Drum (2004), Tsotsi (2005) and Zulu Love Letter (2004). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema’s role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state’s film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.

Watching and ‘ticking’ butterflies is a rewarding hobby and one that is gaining popularity in South Africa. This handy pocket guide details more than 250 of the region’s 670 species, from the tiniest blues and coppers to enormous swallowtails and emperors. The most commonly encountered butterflies are included, but there are also a few elusive ‘specials’, for those who enjoy a challenge. The book offers • Concise text describing the habits, favoured habitat and early life stages of each butterfly (egg, larva and pupa) • Details of seasonal and other variations • Similar-looking species and status information • Full-colour photographs and distribution maps • Colour-coded calendar bars, showing at a glance when a particular butterfly is most abundant. This handy little guide should prove invaluable to beginners and more experienced butterfly enthusiasts alike.

The South African novel of identity that "deserves a wide audience on a par with Nadine Gordimer."

Revolving around a group of students who are caught up in South Africa's political uprising in 1976, this novel focuses on the parallels drawn between apartheid and experiences in Stalinist Greece. It is a moving story of bravery, betrayal, and unrequited love in which the despair and danger of the characters' lives mirror each other. An inspired study in moral uncertainty, it reveals the conflicting nature of political and sexual choices and their unforeseen consequences.