Critical Arts, Volume 34, Issue 3, June 2020 is now available online on Taylor & Francis Online.

Peter Abrahams

This new issue contains the following articles: 
Articles  Peter Abrahams 100: Milestones in Literature, Media and Political Commentary
Hopeton S. Dunn & Rupert Lewis 
Pages: 1-8 | DOI: 10.1080/02560046.2020.1779767
Peter Abrahams of South Africa: Learning to Read (in) the Global 1930s
Jason Frydman 
Pages: 9-22 | DOI: 10.1080/02560046.2020.1729217
Crossing Boundaries in Fact and in Fiction
Rupert Lewis & Maureen Warner-Lewis 
Pages: 23-29 | DOI: 10.1080/02560046.2020.1726425
Peter Abrahams and the Bandung Era: Afro-Asian Routes of Connection
Nesrine Chahine 
Pages: 30-40 | DOI: 10.1080/02560046.2020.1751224

Review Article 
Peter Abrahams Close Up: A Profile from Letters in his Archived Collection
Hopeton S. Dunn 
Pages: 41-53 | DOI: 10.1080/02560046.2020.1755329

Article 
Daphne Elizabeth Abrahams
Maxine Walters 
Pages: 54-56 | DOI: 10.1080/02560046.2020.1713837

Review Article 
Encountering Peter Abrahams: Reflections after a Visit to “Coyaba”
Elinor Sisulu 
Pages: 57-60 | DOI: 10.1080/02560046.2020.1733036

Book Review 
Reflections on revival in theatre, film and the creative economy by Dickson Mwansa, Lusaka Sotrane, 2019, 177 pp., Paperback US$10.00, ISBN 978-9-98270-890-6
Elastus Mambwe 
Pages: 61-62 | DOI: 10.1080/02560046.2020.1712446

About Critical Arts

From its inception, Critical Arts  examined the relationship between texts and contexts, cultural formations and popular forms of expression, mainly in the Third World, but after the 1994 transition in South Africa  Critical Arts repositioned itself in the South-North  and  East-West nexus focusing on developing transdisciplinary epistemologies. Critical Arts ‘ authors are Africans debating Africa with the rest; and the rest debating Africa and the South and with each other.

Editor-in-Chief

Keyan G Tomaselli

keyant@uj.ac.za

Editorial coordinator

David Nothling

criticalarts@ukzn.ac.za

Article submission:

https://mc.manuscriptcentral.com/rcrc

CFP: African Journal of Rhetoric (AJR) Call for Papers: SPECIAL EDITION on the Black Panther Movie Africa, Afro-futurism and Wakanda Imaginings AJR Volume 16

The death of Chadwick Boseman evoked emotions across the global African community as evidenced on social media and new channels. Most Africans imagined him as T’Challa, an African royalty. T’Challa, a young man, succeeds his father, but must deal with his father’s mistake. T’Chaka’s spirit asserts: ‘That is the truth I chose to omit.’ But this is the predicament of African nation states’ leadership: choosing to omit fundamental truths that subsequent generations would have to deal with. Sometimes they win, but most times, they lose. But myth has always been a method of reflexivity for any nation. From its classical origins, the theatre has always been a channel of rhetorical exchange and application of propositional rhetoric and conflictual dialogue to litigate moral and operational failings of leaders and nation states. To paraphrase Femi Osofisan, it is a site where the past confronts the present and the real present confronts itself. Most commentaries on the Black Panther movie suggest that Africa saw in the movie, what the continent would have become, had the leaders managed appropriately the vast resources with which Africa is endowed. Paradise lost? Can it ever be regained? 

This project seeks original ruminations on the state of Africa’s politics and economic management strategies based on Wakanda imaginings. Can Africa reverse that current trends of state fragilization and economic mismanagement practices? How can Africa’s political systems better engage its youths in political processes? Can Africa’s youth really turn the current tide for the betterment of the African peoples? Vision 2063, how possible? What is the role of the African diaspora in the making of a better and greater Africa? Again, in the words of T’Chaka, ‘You are a good man. . . with a good heart, T’Challa. It is hard for a good man to be King.’ Are good hearted Africans in leadership positions today? Can they lead African states out of this economic quagmire? What is the place of virtue ethics in Africa’s 21st century politics? What is the role of oral tradition/storytelling in present-day Africa’s socio-political imaginings?

Suggested sub-themes are the following: 

·         Chadwick Boseman: Tribute (s)

·         The Black Panther Movie and the African Literary Imagination 

·         Orality, Storytelling and 21st century African Politics

·         The African Epic and Oral Tradition

·         Reception, Adaptation, and the Re-appropriation of African Mythology

·         Leadership and succession struggle in the Black Panther

·         Tribal Conflicts, Mercenaryism and Warlordism in Africa

·         Managing Africa’s resources: Challenge to Leadership 

·         Role of Virtue Ethics in Africa’s 21st Century Politics

·         Youth and Leadership development in Africa

·         Gender and the Rhetoric of Science and Technology in Africa

·         Africa’s cultural Heritage and artifacts in western Museums 

·         African Art: The rhetoric of restitution

·         Imagining Africa’s Leadership in World Politics

·         Writing Africa in Children’s Literature

·         Imagining a New Africa: Prospects and challenges

·         Africa’s security: instability and the involvement of External Actors

·         Capitalism and African ancestral sites: The desecration question

·         An African Superhero: Marvel Comic and the invention of an African Myth

·         Performing Africa: Masks and the African Identity

Abstract: 250 words. Submission date: October 30, 2020

Paper: 6000 words. Submission date: April 30, 2021

Publication Date: December 2022

Email: aar.southafrica@gmail.com

CC’: ige.segun@gmail.com

AJR URL: https://www.afrhet.org/publications

African Studies Association Women’s Caucus 2020 Aidoo-Snyder Book Prize Application For Creative Work 

SUBMISSIONS DEADLINE EXTENDED TO OCTOBER 15 

The Aidoo-Snyder book prize is awarded by the Women’s Caucus of the African Studies Association for an outstanding book that prioritizes African women’s experiences. Named in honor of Ama Ata Aidoo, the celebrated Ghanaian novelist and short story writer, and Margaret Snyder the founding Director of UNIFEM, this $500 prize seeks to acknowledge the excellence of contemporary scholarship being produced by women about African women. In alternate years, the prize is awarded for the best scholarly book, or for the best creative work.

The 2020 Aidoo-Snyder scholarly book prize will be given for the best original creative work written by a woman (or women) that prioritizes African women’s experience. To this end, the committee invites nominations from publishers or authors. Books should be submitted based on publication date rather than copyright date. Self-published books are not eligible, and entries may only be submitted for consideration once. The prize is open to authors who have published books in English and English translation in the two years preceding the award year. The books must significantly deal with Africa (including Cape Verde, and the Islands off the West Coast of Africa; Madagascar; and the Indian Ocean Islands of the East African Coast).

To nominate a publication, please send one electronic copy of the publication to asawomensc@gmail.com accompanied by the form. All nominations must be emailed on or before October 15, 2020. The winner will be notified in early November. For more information on the book prize, please visit https://www.asawomenscaucus.com/

*All award recipients are required to be current WC members.



Join the online Book Launch and discussion of Glenda Daniels’ new book

Power & Loss in South African Journalism: News in the age of social media

Without a strong independent media and in-depth investigative journalism, South Africa’s democracy is in grave danger. The media’s long-held position as the fourth estate of political life is buffeted by market forces and contested by social media, while the digital networks struggle to manage hate speech and misinformation. All of these pressures have been accelerated by Covid-19, as seen by the tsunami of job losses amongst journalists. Is the decline of the media in South Africa irreversible?

When: Tuesday 22 September at 16:00 Zoom Link

Please register for this Zoom event in advance of the meeting. Speakers: Mahlatse Mahlase (EyeWitness News) will discuss with author Glenda Daniels. Moderator is Kate Skinner (director of SANEF). Bios: Glenda Daniels is an associate professor in the Department of Media Studies at the University of the Witwatersrand, Johannesburg. She is a media-freedom activist and journalist and author of Power & Loss in South African journalism (Wits University Press:2020)

Mahlatse Mahlase is Editor-in-Chief for EyeWitness News and Secretary General of the South African National Editors’ Forum (SANEF).

Extended: Indication of Interest Group Involvement in 2020

Dear SACOMM Community,

As indicated in a previous email, our annual conference will not go ahead as planned this year, due to the COVID-19 virus and restrictions around it. We do want to make sure, however, that we stay connected within the greater SACOMM community, and especially in our smaller interest groups. Part of that is having an up-to-date list of members who want to form part of these respective groups. Please fill out the form, accessible from this link:

https://forms.gle/CsGtk8433jALEHw17

It will allow you to select those groups that align to your interest (research, teaching or otherwise). Interest group convenors will use the information provided to communicate with their members and schedule activities. Not to worry, however, you will still receive general information via our Listserv as always.

We ask that you please complete the form by the 24th of July (Extended to 01.08.2020) so as to allow our interest group convenors to start communicating with interested parties from August onwards.

Call for ABSTRACTS

for 2021 AGENDA Journal – BEIJING + 25


Contributors are invited to submit manuscripts on the above topic from the point of view either of researchers or activists. Abstracts and contributions must be written in English and in a style accessible to a wide audience. Please submit abstracts to Lou Haysom : louhaysom@mweb.co.za or admin@agenda.org.za.

GUEST EDITORS: Editors: Amanda Gouws (SARChI Chair in Gender Politics) and Diana Hojlund Madsen (Nordic Africa Institute, Uppsala, Sweden)

No later than 27 August 2020

Regards

Agenda Feminist Media

Suite E302 – Diakonia Centre

20 Diakonia Avenue

Durban, 4001

“Empowering Women for Gender Equity”

Tel: +27(0)31 – 3047001 – Cell:083 427 5737

Fax: +27(0)31 – 3047018

e-mail: admin@agenda.org.za

Website: www.agenda.org.za

Webinar: ‘Journalists, scientists, whistle-blowers, governments: who are the truth tellers?’

Highway Africa and The School of Journalism and Media Studies at Rhodes University invite you to attend a free webinar entitled ‘Journalists, scientists, whistle-blowers, governments: who are the truth tellers?’ which will take place on 5 August 2020, 12:00 – 13:30. The panelists are Telda Mawarire (Internews), Mia Malan (Bhekisisa), Laeed Zaghlami (Algiers University) and Mandi Smallhorne-Kraft (South African Science Journalists Association). Please see the blurb below for more information and to register please visit our website http://www.highwayafrica.ru.ac.za/.

Seminar & Book Launch

University of Johannesburg School of Communication

in collaboration with the Johannesburg Institute for Advanced Studies (JIAS)

DATE Friday, 17 July
TIME 16:00 -18:00
VENUE Zoom / Virtual

TITLE

Media Studies: Critical African and Decolonial Approaches (Oxford University Press, 2019)

SPEAKERS:
Sarah Chiumbu (University of Johannesburg) Mehita Iqani (University of the Witwatersrand)

RESPONDENT:
Tanja Bosch (University of Cape Town)
RSVP to receive the Zoom link and password

Call for Book Chapters

by Sara Hanaburgh

The History of Sub-Saharan African Literatures on Film

Cinematic adaptations of sub-Saharan African literatures draw from a wide range of genres from West African folktales to Zulu legends, from Hausa popular literature to graphic novels, war narratives or Afro Bubblegum art. Departing from the notion that, like literature and cinema, cinematic adaptations are influenced by historical moments and political, social and economic transitions, The History of Sub-Saharan African Literatures on Film seeks chapter proposals that examine adaptations of African literatures–in their multilingual and multicultural contexts–in order to provide a comprehensive volume that spans linguistic regions and will serve as a resource to specialists and non-specialists alike. The volume aims to be a sort of adaptation archive and thus strongly urges chapter proposals that focus on Afrophone and Europhone countries throughout the sub-Saharan region. Moreover, if we consider adaptation as “réécriture” (re-writing) (Tcheuyap 2005), our study of multiple rewritings across time and space seeks to contribute to a rewriting or a rethinking of history, a reformulation of theories and even a rethinking or new direction for adaptation studies. 

In individual chapters, the historical, political, social and/or economic contexts should frame discussions about, for instance, aesthetic choices in adaptation, what adaptation might bring to the discussion, or the choice itself of what to adapt to the screen and which screen, who chooses to adapt and why. Authors might focus on the aspect of storytelling through montage, framing, setting or on filmmaking as language, other language choices in films, music in adaptations, readership and viewership, and whether or how adaptation approaches have changed in response to or as a result of a particular historical moment or event. Contributors may choose to take up additional questions, such as: How have authorial approaches, storytelling techniques and media changed throughout the region’s cinematic history? How do storytellers deploy narrative techniques, approach narrative units and structures, and how do narrative styles merge or differ with regard to the choice of medium? What do filmmakers’ narrative choices bring to adaptation and what do those choices tell us about adaptation? Further, if African filmmaking has relied on the discourses and theoretical positioning in African literatures, how has the medium of film articulated those discourses and theories and expanded upon them? Altered them? How much has adaptation played a role in this process? Interdisciplinary approaches are encouraged, including from the fields of postcolonial theory, cultural studies, literary theory, translation theory, queer theory.  

Chapters should situate adaptation within a particular historical, political, social or economic moment or time period, such as:

– First generation African filmmaking and adaptation, the Algiers Charter (1969) and political and aesthetic aims of African cinema, including the adaptation of myths, folktales, legends, plays, short stories and novels

– Adaptation, revolutions and revolutionary aesthetics and techniques; national identity and politics

– Popular media – popular theatre, market literature, video production; adaptation and Nollywood, Kannywood, Ghallywood, and in video production in Côte d’Ivoire, Burkina Faso, Gabon, Cameroon, Tanzania

– Adaptations of war narratives, child soldier narratives

-Adaptations and African screen media in the 21st century, modes of production, distribution, or of viewing

– Film languages, local and international actors, professional and non-professional actors, co-productions, global collaborations

Please submit a 250-300 word abstract with your name, title and affiliation to the editor, Dr. Sara Hanaburgh hanaburs@stjohns.edu by September 1, 2019. Include “Call for Book Chapters” in email subject. Accepted abstracts will be notified by September 20. Submission of full chapters (5,000-8,000 words) by February 20, 2020. 

This book is under contract with Bloomsbury as part of the growing series, The History of World Literatures on Film, eds. Greg Semenza and Robert Hasenfratz.

Sara Hanaburgh, Ph. D

Assistant Professor of French

Department of Languages and Literatures

Faculty Mentor, International House

St. John’s University (Queens, NY)

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CFP: MTLS Special Issue on Harry Garuba (1958-2020)

by Natasha Himmelman

Maple Tree Literary SupplementMTLS

Call for Submission: Special Issue on Harry Garuba (1958-2020) 

Deadline extended to 30 September 2020

After the generation of Wole Soyinka, Chinua Achebe and John Bekederemo-Clark, Harry Garuba, as a world-renowned scholar and poet in Ibadan where he also led the Thursday group of poets, was at the bridgehead of a new wave of Nigerian Literary culture and scholarship since the 1980s till his passing in February 2020. For over 30 years, he sponsored, mentored, taught, supported and befriended that new generation. Always self-effacing, he never took or sought credit for his intellectual and moral generosity, a palpable example of which was the 1987 poetry anthology, Voices from the Fringe, which he organized and edited. This work is a formal introduction of the third generation of Nigerian writers to the literary world. In the area of scholarship Garuba’s quiet but powerful intelligence and erudite influence is widespread. His academic essays are landmarks of rigorous postcolonial enquiry within a global school culture. Garuba inspired and straddled the scholarly, writerly and social worlds of a visionary generation of intellectuals. The Maple Tree Literary Supplement (MTLS), calls for submissions from Garuba’s colleagues, friends and acquaintances in the scholarly and creative world –  especially the ‘Thursday Group of poets’ – about his life and work in the form of poetry, essays – scholarly and otherwise – anecdotes or even prose fiction. These submissions will be published in MTLS and later collected into an anthology in the future.

Submissions should be sent online through MTLS submissions form at https://www.mtls.ca/issue24/submissions/ or emailed to managingeditor@mtls.ca>. The submission deadline has been extended to 30  September  2020.

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AUDRE LORDE – THE BERLIN YEARS 1984 TO 1992 Recommended by Films for the Feminist Classroom

by Roselly Torres

“The film works through the following question: what can we learn from our connected differences? It thus implores spectators to complicate difference and challenge the ways in which neoliberal multiculturalism has flattened, and often sought to tame, Lorde’s radical teachings.”

Naimah Petigny, Films for the Feminist Classroom

SYNOPSIS: AUDRE LORDE – THE BERLIN YEARS 1984 TO 1992 explores a little-known chapter of the writer’s prolific life, a period in which she helped ignite the Afro-German Movement and made lasting contributions to the German political and cultural scene before and after the fall of the Berlin Wall and the German reunification.

Lorde mentored and encouraged Black German women to write and publish as a way of asserting their identities, rights and culture in a society that isolated and silenced them, while challenging white German women to acknowledge their white privilege. As Lorde wrote in her book Our Dead Behind Us: Poems, “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.”

Special features include footage of Audre Lorde in Berlin, Audre reading her poems, Audre on her work, deleted scenes, trailer, interview with filmmaker Dagmar Schultz and English, Spanish, German and French subtitles.

AUDRE LORDE – THE BERLIN YEARS 1984 TO 1992, winner of the Audience Award for Best Documentary at the Barcelona G&L Film Festival, contains previously unreleased audiovisual material from director Dagmar Schultz’s personal archive, showing Lorde on and off stage. With testimony from Lorde’s colleagues, students and friends, this film documents Lorde’s lasting legacy in Germany.

How to Order

DVD: https://twn.org/catalog/pages/cpage.aspx?rec=1323&card=price

Rental: https://goo.gl/forms/QOtoJrxSrNU6ImS42

Telephone: 1 (212) 947-9277 x10 (credit card)

Email: twn@twn.org (purchase order)

Fax: 1 (212) 594-6417 (purchase order)

Mail: Third World Newsreel, 545 8th Avenue, 10th Floor, New York, NY 10018

Roselly Torres

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Recommended by Films for the Feminist Classroom – AGAINST THE GRAIN 

by Roselly Torres

“Resisting a chronological representation of testosterone’s effect on the body, this film allows students to think through the disjunctures between medical and spiritual/affective approaches to transition. This film sets up a number of questions related to the medicalization of trans experience, the relationships between women and transmen in political organizing, and the differing perspectives on trans embodiment across different cultures/epistemes/cosmologies.”

C. Riley Snorton, Films for the Feminist Classroom

To break the mold of past documentaries about gender transformation, AGAINST THE GRAIN goes beyond the usual gender binary and linear racial focus. This short documentary follows the story of OluSeyi, a cultural organizer, artist, healer, and Queer Nigerian whose spirit is transcending gender. OluSeyi’s journey includes hormone replacement therapy (testosterone) and an understanding of identity as gender non-conforming.

Seyi Adebanjo & Betty Yu

2011, 6 minutes, English

View clip: https://vimeo.com/143194631

Higher Education Institutions

DVD w/Digital File (3-year license)

K-12, Public Libraries & Select Groups

DVD

How to Order

Online: https://twn.org/catalog/pages/cpage.aspx?rec=1494&card=price (credit card)

Telephone: 1 (212) 947-9277 x10 (credit card)

Email: twn@twn.org (purchase order)

Fax: 1 (212) 594-6417 (purchase order)


Roselly Torres

Mail: Third World Newsreel, 545 8th Avenue, 10th Floor, New York, NY 10018

CFP: Alphaville – Journal of Film and Screen Media

Members of the ASPERA Research sub-committee invite submissions of full length (6000 word) research articles and short (2000 word) teaching focused articles for a special issue of Alphaville that poses the question: what further measures can give rise to increased diversity both on screen and behind the camera?

In recent years, individuals and groups from inside and outside of academia have called for greater diversity on screen, resulting in campaigns such as #MeToo, #TimesUp, and # OscarsSoWhite. In particular, the gender imbalance that exists on screen and behind the camera has been a particular point of focus. 2015 figures from Australian national funding body, Screen Australia, revealed a gender imbalance in mainstream filmmaking, with women accounting for only 32% of producers, 23% of writers and 16% of directors. Later that same year, Screen Australia announced their five-point, $5 million plan for Gender Matters, a suite of initiatives aimed at addressing this imbalance within the Australian screen industry. With comparable gender disparity figures also evident outside of Australia, similar initiatives have been implemented in other territories, such as the Swedish Film Institute’s FiftyFifty by 2020 initiative (2012), the British Film Institute’s Three Ticks initiative (2015) and the Irish Film Board’s suite of measures in 2017.

The issue of gender imbalance on/off screen has recently been explored further by Screen Australia, with recent research by Caris Bizzaca (2019) posing the question, ‘where does gender disparity in the Australian screen industry start?’ Bizzaca’s research involved the collection and analysis of data from four Australian film schools, which found that there are significant gender discrepancies within specific degree courses.

Other recent research has explored the gender imbalances of Australian key creative teams (Verhoeven, 2016), the gendered nature of media industries more broadly (see Media Industries volume 6, issue 1, 2019; Feminist Media Studies volume 18, issue 3, 2018) and the specifics of diversity on screen in feature film form (see New York Film Academy, 2017; Verhoeven, 2018).

Further to the research cited above, the research sub-committee of the Australian Screen Production Education & Research Association (ASPERA) proposes a special issue of Alphaville that looks forward, posing the question: what further measures can give rise to increased diversity both on screen and behind the camera? To this end, we invite full length articles (6000 words) that explore the challenges associated with fostering diversity on and off screen, and that make suggestions for new approaches in the screen production classroom, on set and in regards to the screen industries more broadly. In addition to work addressing gender imbalances, we welcome an exploration of intersectionality, recognising the complex ways in which the effects of varying forms of discrimination intersect, converge or overlap.

Subjects of research may include:

  • Studies and/or evaluations of funding body initiatives aimed to increase diversity
  • Case studies from the screen industries – e.g- film productions and/or screenplays which have demonstrated a commitment to increased diversity on screen
  • Gendered diversity on screen- a consideration of intersectional factors such as ethnicity, disability, age or class
  • Case studies from educational settings – how to improve diversity on/off screen in student work
  • Empirical studies of educational practices regarding screen diversity
  • Practice-based approaches to pedagogies of diversity in/out of the classroom

We also invite short articles that explore teaching methods for a dossier on classroom practices designed to foster diversity (2000 words).

It is hoped that the special issue will present research that suggests a way forward for practitioners, educators and members of the broader screen industries from all over the globe.

Please note that both the full-length articles and the shorter articles on teaching methods will be peer-reviewed.

In the first instance, please send a 200-word abstract and a 100-word biography to

rsc@aspera.org.au by Monday 14 September 2020.

These abstracts will be reviewed by the editors, and responses will be issued by December 2020. Drafts of full papers will be due in June 2021, with amendments to follow. Publication of the Special Issue will occur in late 2022.