A single image taken from a high-rise building in inner-city Johannesburg uncovers layers of history—from its premise and promise of gold to its current improvisations. It reveals the city as carcass and as crucible, where informal agents and processes spearhead its rapid reshaping and transformation. In Wake Up, This Is Joburg, writer Tanya Zack and photographer Mark Lewis offer a stunning portrait of Johannesburg and personal stories of some of the city’s ordinary, odd, and outrageous residents. Their photos and essays take readers into meat markets where butchers chop cow heads; the eclectic home of an outsider artist that features turrets and full of manikins; long-abandoned gold pits beneath the city, where people continue to mine informally; and lively markets, taxi depots, and residential high-rises. Sharing people’s private and work lives and the extraordinary spaces of the metropolis, Zack and Lewis show that Johannesburg’s urban transformation occurs not in a series of dramatic, wide-scale changes but in the everyday lives, actions, and dreams of individuals.

An interdisciplinary account of the life of Johannesburg, South Africa's "global south city" Anxious Joburg focuses on Johannesburg, the largest and wealthiest city in South Africa, as a case study for the contemporary global South city. Global South cities are often characterised as sites of contradiction and difference that produce a range of feelings around anxiety. This is often imagined in terms of the global North’s anxieties about the South: migration, crime, terrorism, disease and environmental crisis. Anxious Joburg invites readers to consider an intimate perspective of living inside such a city. How does it feel to live in the metropolis of Johannesburg: what are the conditions, intersections, affects and experiences that mark the contemporary urban? Scholars, visual artists and storytellers, all look at unexamined aspects of Johannesburg life. From peripheral settlements to the inner city to the affluent northern suburbs, from precarious migrants and domestic workers to upwardly mobile young women and fearful elites, Anxious Joburg presents an absorbing engagement with this frustrating, dangerous, seductive city. It offers a rigorous, critical approach to Johannesburg revealing the way in which anxiety is a vital structuring principle of contemporary life. The approach is strongly interdisciplinary, with contributions from media studies, anthropology, religious studies, urban geography, migration studies and psychology. It will appeal to students and teachers, as well as to academic researchers concerned with Johannesburg, South Africa, cities and the global South. The mix of approaches will also draw a non-academic audience.

A tour of the family home of the Bhikhas who have been making hats at their Mabro Hats millinery and factory in downtown Joburg since the 1930s.

With the spread of capitalism - a socio-economic system that produces both wealth and poverty simultaneously - the spatial dynamics of the "global(izing)" city are creating more division between social classes, not less. This means that in the 21st-century, large cities around the world exhibit intensifying spatial inequality taking the form of a wealthy, privileged urban core ringed by a periphery of lower-income denizens far removed from the city’s resources and amenities. This trend toward swelling socio-spatial division is especially pronounced in cities purporting to be "global", or in the case of Johannesburg, South Africa’s financial capital, a "world-class African city." Ironically, Johannesburg’s historical legacy of immense spatial inequality thanks to apartheid is the direction in which most "global(izing)" cities such as New York, Cairo, London, Shanghai, New Delhi, Jakarta, Lagos, Berlin, and São Paulo are headed. The globalization of neoliberal urban policy has made the city less welcoming, liveable, accessible and friendly for lower-income city residents. This book asks if Johannesburg can unstitch its complex urban fabric to create a city with more democratic public transport, affordable housing in desirable locations and safe, socially and racially integrated public spaces. These pithy, solidly researched, accessibly written essays are instructive for all those who are interested in questions of spatial justice, urban development, history and planning and the general goal of making cities more livable and accessible for urban dwellers of all income levels.

China and Africa have long shared a history of allegiance and contact points through global political forces from the time of colonialism and the Cold War. With China’s rise as the new superpower, its presence in Africa has expanded, leading to significant economic, geopolitical and cultural shifts. While issues such as trade, aid and development have received much attention, Chinese and African encounters through the lens of the visual arts and material culture is a neglected field. Visualising China in Southern Africa: Biography, Circulation, Transgression is a ground-breaking volume that addresses this deficit through engaging with the work of contemporary African and Chinese artists while analysing broader material production that prefigures the current relationship. The essays are wide-ranging in their analysis of ceramics, photography, painting, etching, sculpture, film, performance, postcards, stamps, installations, political posters, cartoons and architecture. Visualising China in Southern Africa confines its focus to southern Africa, yet even within this region, the context is complex. Ethnicity and nationalism, the lingering influence of Cold War allegiances and colonial configurations all continue to play a role. The various visual cultures discussed in this volume emphasise the commonality of these categories, but also point towards other shared histories that transcend the nation-state category. The collection includes scholarly chapters, photo essays, interviews, and artists’ personal accounts, organised around four themes: material flows, orientations and transgressions, spatial imaginaries, and biographies. The artists, photographers, filmmakers, curators and collectors in this volume include: Stary Mwaba, Hua Jiming, Anawana Haloba, Gerald Machona, Nobukho Nqaba, Marcus Neustetter, Brett Murray, Diane Victor, William Kentridge, Kristin NG-Yang, Kok Nam, Mark Lewis, the Chinese Camera Club of South Africa, Wu Jing, Henion Han and Shengkai Wu.

Thirteen true stories about xenophobia and belonging in Johannesburg Generations of people from across Africa, Europe and Asia have turned metal from the depths of the earth into Africa’s wealthiest, most dynamic and most diverse urban centre, a mega-city where post-apartheid South Africa is being made. Yet for newcomers as well as locals, the golden possibilities of Gauteng are tinged with dangers and difficulties. Chichi is a hairdresser from Nigeria who left for South Africa after a love affair went bad. Azam arrived from Pakistan with a modest wad of cash and a dream. Estiphanos trekked the continent escaping political persecution in Ethiopia, only to become the target of the May 2008 xenophobic attacks. Nombuyiselo is the mother of 14-year-old Simphiwe Mahori, shot dead in 2015 by a Somalian shopkeeper in Snake Park, sparking a further wave of anti-foreigner violence. After fighting white oppression for decades, Ntombi has turned her anger towards African foreigners, who, she says are taking jobs away from South Africans and fuelling crime. Papi, a freedom fighter and activist in Katlehong, now dedicates his life to teaching the youth in his community that tolerance is the only way forward. These are some of the thirteen stories that make up this collection. They are the stories of South Africans, some Gauteng-born, others from neighbouring provinces, striving to realise the promises of democracy. They are also the stories of newcomers, from neighbouring countries and from as far afield as Pakistan and Rwanda, seeking a secure future in those very promises. The narratives, collected by researchers, journalists and writers, reflect the many facets of South Africa’s post-apartheid decades. Taken together they give voice to the emotions and relations emanating from a paradoxical place of outrage and hope, violence and solidarity. They speak of intersections between people and their pasts, and of how, in the making of selves and the other they are also shaping South Africa. Underlying these accounts is a nostalgia for an imagined future that can never be realised. These are stories of forever seeking a place called ‘home’.

iGol EGoliya sociopolitical reading of Johannesburg/iGoli drawing on its famous, and not so famed people, places, plants and pronouncements. Featuring the city's well known and lesser known histories, presents, and words, the medium used is poetry: for its unique ability to tap into the emotional, the subconscious, the unsaid, that underlie many of the city's motivations. While not shying from violence and divisions, iGoli is presented as a meeting place: a place of original, transnational subnational, and primordial origins Building on Salimah Valiani's poetry collection, 29 leads to love; 2022 Winner of the International Book Award for Contemporary Poetry fragments of the larger love found in Jozi pepper the collection. These love fragments, and iterations of inimba (empathy, loosely translated from isiXhosa), are dffered aleads to building unity. Via thenes of migration, multiplicity. ecology, and love, and a range of lived experiences of inequality Igoli EGoli offers a pathbreaking means to reconsider and, transform the world city iGoli, and quite possibly, other cities too.

From 2005 to 2009, the heir to one of South Africa’s blue-blood families, Barry Tannenbaum, methodically constructed the largest-ever con in South African history. The Grand Scam exposes details about the brazen greed of the scammers, a bank that facilitated the shady dealings rather than alerting the authorities, and the naivety of business people who should have known better. It goes far beyond the original news stories, containing original research and material that, for the first time, answers the central question of why. Barry Tannenbaum, the grandson of the founder of one of the country’s biggest pharmaceutical firms, Adcock Ingram, offered investors stratospheric returns of more than 200 per cent a year by investing in the components used to make AIDS drugs. It was nothing more than a lie, which suckered the country’s business elite, including the former CEO of Pick n Pay, the one-time head of the Johannesburg Stock Exchange and the ex-boss of OK Bazaars. After the bubble popped in June 2009, finance minister Pravin Gordhan announced that hundreds of investors in South Africa, Australia and Europe had ploughed more than R12.5 billion into Tannenbaum’s scheme, based on the empty promise of immense riches. Dwarfing the Brett Kebble rip-off, Fidentia and the Krion pyramid scheme, it proved to be the most embarrassing financial disaster in the country’s history, and it exposed holes in a banking and financial system billed as one of the safest in the world. For Tannenbaum’s victims, the nightmare continued after the scheme collapsed, as liquidators, tax officials and criminal investigators demanded their pound of flesh. But Tannenbaum, now at large on Australia’s Gold Coast, continues to live as if nothing happened, working for an Australian insurance company. The question that hasn’t been answered until now is, how did Tannenbaum swindle so many people with such ease? And, more crucially, why did he do it? Through extensive interviews with his family, friends and numerous ‘investors’, this book provides the startling answers to those questions. For the first time, the real motivation that fuelled South Africa’s Bernie Madoff is laid bare.

Black Man! Are You Stupid is a clarion call to Black people globally to rise up, unite and focus on building community and generational wealth. Using the world’s most unequal economy as a case study, Sakhile Sibiya, challenges the 1,5 plus billion Black people to turn the tide by building a black economy that will propel the majority into authority. The book challenges the endemic self-hate, gullibility, consumerism, mediocrity and love for convenience typical of most Black communities globally. The author also seeks to heal the wounds that colonialism, slavery, apartheid and Black self-hate have inflicted upon the Black man’s psyche.