Social Media & the Self

Social Media & the Self is a free, web-only reader centered on the
online performance of identity and curated with university courses in 
mind. The collection includes public domain excerpts, openly licensed
research articles, and popular pieces reprinted with permission:

The collection will be updated with new material at least twice a year, 
for three years. Social Media & the Sel* is the first volume in’s Open Reader Series. The series publishes 
media-themed open readers—collections of works available on the open 
web, selected and ordered with university courses in mind: is a nonprofit, scholar-led publisher of open access 
books and journals in the media studies fields:

Internal: Call for Nominations for SACOMM Executive Committee

Nominations are invited for the Interest Group Convenors/Executive Committee for:
Media studies and journalism stream;
Screen studies stream;
Corporate communication stream;
Communication Studies stream;
Communications advocacy and activism stream;
Communication education and curriculum development stream; and the 
Emerging scholars stream
Nominations should be sent to the SACOMM Secretary, Annelize Vermeulen – by Wednesday, 01 September 2021 using the Executive Committee Nomination Form which can be downloaded here:

Please watch the website for updates on #SACOMM2021 Online and how you can participate or get involved.



The research entity Social Transformation is initiating applications for a post-doctoral fellowship in the field of corporate communication.


  • A doctoral degree in communication (or related field), obtained within five years before the appointment as a post-doctoral fellow
  • The applicant should be younger than 45 years
  • It would be excepted from the candidate to be situated at the Mahikeng campus and actively contribute to the research environment on the campus.

Focus of the fellowship

The successful candidate should have a research record and interests in the areas of corporate communication and / or community development, sustainability development, corporate social responsibility, media studies and small and medium scale enterprises (SMEs).

Preference may be given to a candidate whom have conducted research and have published in reputable journals in the field. As a growing scholar, more emphasis of the scholarly work may be based in South Africa.  The suitable candidate should have good communication and writing skills, be a team player and be able to  work under pressure without constant supervision.

The application

The following documents should accompany the application.

 Completed application form (see below)

Curriculum vitae

Certified copy of Doctoral degree or proof of passing the degree if you have not yet graduated

Certified copy of ID (or passport in the case of foreign applicants)

A motivation indicating you are going to contribute to research within the field of corporate communication.

Above-mentioned documents should prof Prof. Lynnette Fourie, Research Director:  Social Transformation by 10 August 2021.  Applications can be sent to

Application forms available at:




Title and Full Names:

Date of Birth (younger than 45):

ID/Passport Number:  




Dependents (partner, children):

Current Address:  

E-Mail Address:

Tel No:

Current address in South Africa (if applicable):


Institution currently attached to: 

Address of institution:

Date of obtaining doctoral degree: 

Field of Study: 

Institution which awarded doctoral degree (attach copy of certificate):

DURATION (Expected period of support from the Post-Doctoral Programme):

Start date:                                              End date:

UJ Arts & Culture seeks to appoint a Curator

UJ Arts & Culture, a division of the Faculty of Art, Design & Architecture (FADA), produces and presents world-class student and professional arts programmes aligned to the UJ vision of an international university, anchored in Africa, dynamically shaping the future. A robust range of arts platforms are offered on all four UJ campuses for students, staff, alumni, and the general public, to experience and engage with emerging and established Pan-African and international artists drawn from the full spectrum of the arts.

Job Specification:

UJ Arts & Culture seeks to appoint a Curator who will be responsible for driving the strategic vision of the UJ Art Gallery and the Moving Cube online platform by actively curating exhibitions and projects that are relevant to current debates in visual arts and culture and that might relate directly to aspects of theoretical undergraduate courses as well as conferences, live performances, panel discussions, op-ed pieces and scholarly articles. The Curator will collaborate with and programme highly skilled and experienced local and international curators and artists and will be responsible for maintaining and developing local and international partnerships and sponsorships. Additionally, the Curator is responsible for the management of the UJ Art Gallery facility, equipment and the UJ Art Collection.


• Drive UJ Art Gallery strategy as developed in collaboration with the FADA Exhibitions Advisory Committee;

• Design, plan and implement an annual programme in collaboration with the FADA Exhibitions Advisory Committee;

• Manage, maintain and develop relationships with local and international curators and artists;

• Manage, maintain and develop local and international partnerships and sponsorships;

• Facility and equipment management for the UJ Art Gallery;

• Line management of permanent and temporary gallery staff;

• Collaborate with the division’s marketing team regarding PR, publicity and marketing;

• Liaise with the division’s technical team regarding physical and virtual events;

• Liaise with the University’s legal department regarding a range of matters;

• Liaise with Protection Services regarding events and/or security;

• Collaborate with the Head of division and Financial Manager regarding budgeting

Minimum requirements

• Master’s degree in relevant field/s

• Track record of relevant experience

• Financial literacy and experience

• Computer literacy and experience

• People management experience

Competencies and Behavioural Attributes:

• Creativity and innovation

• Project management skills

• Systematic detail-oriented and organised

• Problem-solving skills

• Interpersonal skills

• Energetic and goal-oriented


The ideal candidate will have a strong local and international network, have a proven track record demonstrating the ability to design, plan and implement innovative and dynamic programmes and nurture a space that allows for cutting edge, provocative and stimulating cultural exchange. The individual will be actively engaged with contemporary local and international visual art, and current theoretical debates.


Enquiries regarding remuneration and benefits: Ms Helen Chemaly (011) 559-4555 (HR Business Partner)



Your application, comprising of a detailed Curriculum Vitae as well as the names and full contact details (including telephone numbers and e-mail addresses) of at least three traceable and credible referees must be uploaded before or on the closing date of the advertised post. Please also attach the following: a copy of your highest academic qualification, proof of registration with professional bodies you might belong to and if applying for an academic position, a list of accredited research output and/ or a portfolio of your creative output.

Enquiries (UJ e-recruitment Portal)

If you have general enquiries regarding the advertised post, please send an e-mail with the subject line being the reference number of the post to

If you require technical support/assistance on the UJ e-recruitment website, please contact our service provider PNET on the following contact details: 0861 227337/010 140 3099 or email

Candidates may be subjected to appropriate psychometric testing and other selection instruments.

In conjunction to merit on the basis of qualifications, experience and proven achievements the University of Johannesburg is committed to providing equal employment opportunities for persons with disabilities and those individuals from the historically disadvantaged groups. As necessitated by operational requirements the University reserves the right not to make an appointment to positions advertised. If you have not received a response from the University within 8 weeks of the closing date, you should assume that your application has been unsuccessful.

About the University of Johannesburg

The University of Johannesburg (UJ) is a vibrant and cosmopolitan university, anchored in Africa and driven by a powerful strategy focused on attaining global excellence and stature (GES). With an emphasis on independent thinking, sustainable development and strategic partnerships, UJ is an international university of choice. The University is guided by the Vice-Chancellor’s vision of “Positioning UJ in the Fourth Industrial Revolution (4IR) in the context of the changing social, political and economic fortunes of Africa”.

Wits Journalism seeks a director

Applications are now invited for the following vacancy:

Wits Centre for Journalism – School of Literature, Languages & Media

Department Description

Wits Journalism has established itself as a leader in professionally- orientated journalism teaching, research and public engagement, with activities that include post-graduate teaching for both aspirant and working journalists; research; hosting conferences, grant and award schemes; support for investigative, community and other journalism as well as media innovators. Programmes include the Wits Justice Project, the Africa-China Reporting Project; the Wits Radio Academy; the Citizen Justice Network and Jamlab. The centre’s vision for further growth includes plans to grow
• academic research,
• its footprint on the rest of the continent and
• a focus on digital media and innovation

Brief Description

The newly established Wits Centre for Journalism is looking to appoint a Director to take overall responsibility for implementing its strategy and vision. This means taking responsibility for building the centre’s academic project, as well as overseeing the programme and administrative work to ensure the continued relevance and leadership of the centre, previously the Department of Journalism, in the fast-changing media and journalism environment. The director answers to the Head of the School of Literature, Language and Media. We are looking for an individual with both academic and professional stature who is able to share and develop the vision for the centre and lead a diverse, active team. The appointment will be for an initial 5-year period that may be renewed.

The director will:

• Develop and implement the Wits Centre for Journalism’s strategic vision, ensuring it is innovative and responsive to a rapidly evolving academic and professional environment;
• Lead the academic project, overseeing the centre’s teaching offerings and research activities;

• Guide the development of the centre’s programmatic work, working with the Head of Programmes;
• Engage in teaching, research and advocacy in the field of journalism;
• Represent the centre in a range of public and other contexts and maintain sound relationships with a range of stakeholders;

• Lead and direct fundraising efforts and ensure good donor relationships; • Provide financial oversight, working with university structures to ensure sound practices, accountability and compliance with university policy, working with the Head of Operations;

• Manage the centre’s staff, both full-time and part-time, working with the Head of Operations and section co-ordinators.

JOURNALISM AND MEDIA STUDIES PROGRAMME, UNIVERSITY OF THE WITWATERSRAND, JOHANNESBURG P Bag X3, Wits 2050, Tel: 011 717 4028, Fax 011-717 4081, Email:, Physical Address: 10th Floor, University Corner, cnr Jorissen & Bertha Streets, Braamfontein

• Applicants should hold a PhD, and have a record of peer-reviewed research work commensurate with the seniority of the position (preferred) or be able to show equivalent professional output and publication. The formal academic rank for the individual who is eventually selected for the position shall be determined by the university in accordance with its rules and policies;
• A strong professional profile and significant experience, including at least 5 years in practical journalism and experience at senior newsroom levels;
• S/he must show a track record of leadership and innovation and the ability to develop and implement the centre’s vision;
• The successful applicant will have an excellent understanding of the unfolding media and journalism environment;
• Applicants should have teaching experience;
• S/he must have managerial competence. Experience in raising funds and managing donor relationships, the ability to represent the centre in multiple forums and experience in developing networks, collaborations and partnerships;
• Flexibility, adaptability, people skills, organised, attention to detail, enthusiasm, ability to innovate.

Enquiries Only: Professor Dan Ojwang (e-mail:


Submit a letter of motivation, a detailed CV and the names and contact details of three referees (including e-mail addresses). Applicants must clearly specify on the application form at what level they wish to be appointed.

Internal employees are invited to apply directly on Oracle by following the path: iWits Self Service application Apply for a job

External applicants are invited to apply by registering a profile on the Wits ‘irecruitment’ platform located at and submitting the application.

*The University is committed to employment equity. Preference may be given to appointable applicants from the under-represented designated groups in terms of the relevant employment equity plans and policies of the University. Designated groups as defined in the Employment Equity Act 55 of 1998, as amended, means black people, women and people with disabilities.

WITS Employment Equity Policy: university/footer/about-wits/transformation-office/documents/Policy%20- %20Employment%20Equity.pdf

Closing Date: 13th August 2021

Call for papers: Post-doctoral recruitment

Critical Arts is a peer-reviewed journal publishing 6 issues a year. Three of the six numbers are reserved for general issues and single submissions. Three are allocated to theme issues.

In collaboration with the National Institute of Humanities and Social Sciences (NIHSS), Critical Artscalls for submissions from post-doctoral researchers. Qualifying articles will be published in a double issue scheduled for late 2022 or early 2023.  Conducted under the management of a skilled supervising editor, Critical Arts will offer on-the-job publication training, and is intended to introduce new scholars to the international scholarly publishing environment.  

One outcome will be practice-led learning by up to 20 emergent South African university-based post-doctoral authors for the double issue, embracing the entire publishing value chain, from submission to promotion, delivering articles to international readerships.

Critical Arts encourages conceptual freshness, textured writing, and experiential analysis, which draws readers into its articles, narrative themes and theoretical explorations.  

Critical Arts encourages articles that influence the ways in which disciplines think about themselves. Our niche includes critical dialogues generated within the South-North and East-West relationships, with special reference to Africa. 

Critical Arts includes amongst its authors original articles by Nobel Laureates J. M. Coetzee and Nadine Gordimer.  Also published have been  Stuart Hall, Ntongela Masilela, Leora Farber, Stacy Vorster, Handel Kashope Wright, Nhamo Mhiripiri, Jeff Sehume, Nicky Falkoff, Francis Lukhele and many others from the African diaspora, and it has included graduate students as authors and as editorial coordinators. Critical Arts is subscribed to by over 13 000 university and other libraries in South Africa, Africa, the USA and Europe via Routledge and UNISA Press, and partners also with National Inquiry Scholarly Services, Makhanda. 

Submission Guidelines:

Submissions should be made online via ScholarOne Manuscripts at Submissions should be original works not simultaneously submitted elsewhere, between 5000 to 7000 words in length. Referencing should be done according to the Chicago Manual of Style.     


Proposals/Abstracts: 300-500 words, by 10 September 2021.

An editorial committee will assess the proposals received, and make an initial selection.

Authors whose proposals are approved will be contacted by:  30 September 2021

Qualifying authors will have up to 6 months to write their papers, but many post-doctoral authors may already have articles resulting from work in progress that could be submitted earlier.

We will require proof that authors are currently registered (or recently completed) as post-doctoral students/fellows, located only at South African public universities during the years 2020-2022.

The peer review process can take anything between a few weeks and a few months, depending on the availability of reviewers, but we will work with a list of rotating post-doctoral supervisors, in conjunction with the editorial board where possible to speed up the process.

The articles accepted for publication must have been completed and approved by the journal within the year that the project is scheduled, starting 1 August 2021.  Publication will occur towards the end of 2022. Authors who miss the year schedule can re-submit to a later number, in which case article processing charges will apply. The project’s budget will sponsor the article processing charges of authors included in the special issue.

Qualifying authors will be invited to participate in training workshops run by the journal, involving the publisher, Taylor & Francis and other partners, on aspects of publishing and article promotion (i.e., science communication).  These will extend to short articles for The Conversation (summarising article content), and the ANFASA Magazine (discussing writing processes), amongst others.

Potential authors are encouraged to access Critical Arts articles via their institutional libraries to familiarise themselves on the journal.

Further information can be obtained from the supervising editor Dr Julie Grant) at: or editorial coordinator at:

The project leader is Prof Keyan G Tomaselli, co-editor, University of Johannesburg.

Dates to remember:

August  2021: Call for papers circulated

Sept 10, 2021: Abstract submission

Selection of 20 Abstracts for full paper invitation: 30 Sept

Full paper submission: 15 March or sooner.  Submissions will be processed as and when they are submitted.  There is no need for authors to wait for the deadline.

April 30, 2022: First round of peer review completed.

June 1: 2022: Revision deadline

July 1, 2022: Submission of accepted papers for copyediting, production and queuing.

October 22, 2022: publication of double issue (up to 20 papers)

Murder in Paris: a four year journey for director/ producer Enver Samuel

A misty spring morning in Paris, 29 March 1988. Exiled resident of Athlone, Cape Town Dulcie September had just visited the post office to collect mail for the ANC office in France, where she served as a Chief Representative of the African National Congress. She would have been completely unaware, as she pressed the lift button to the fourth floor, that an assassin was lurking in the shadows. 5 shots …

At her funeral ANC President Oliver Tambo stated: “The African National Congress make this solemn vow: that these murderers, who today arrogantly strut the globe, will be brought to justice, it might not be tomorrow, it might not be next year, but they will be brought to justice”.

It has been 33 long years since Dulcie’s assassination and there has been no justice for her and her family. This documentary finally gives her a voice and we are hoping it will be the catalyst to bring her name back into public discourse and play a role in reopening an inquest into her untimely death.

MurderinParis also unveils a number of complex issues that deal with the nature of liberation struggles, the moral and political questions and critically the gaps and silences in the telling of the story of the fight against apartheid. Through the telling of the story of this courageous and remarkable person, we are reminded in a powerful way of the immense sacrifices that people like Dulcie September and many others made to liberate us. Her personal and political integrity, her principled position, her moral courage and her vision for a better South Africa stands as a strong reminder of how central these values are even today as we confront the agenda item: “unfinished business” of the past and the present. And on that growing list, the unresolved issues and unanswered questions that swirl around the murder of Dulcie September, must be writ large.

Dulcie September’s niece Nicola Arendse, upon viewing the documentary, was moved to say – “I saw my aunt talking for the first time – hearing her voice and seeing her “alive” in the video clips. That was very special, a poignant moment for me. I saw my aunt as a person who did what she did thoroughly and completely, till the task was done well. She asked questions and challenged those who needed to be challenged, even if it was to produce better work standards. The documentary speaks to her as a freedom fighter and as a person with her own unique character”.

About Enver Samuel: 

Enver is an award-winning filmmaker involved in televisoin production since 1994. He  has a passion for telling the stories of unsung heroes and heroines of the South African struggle against apartheid.

“My foremost goal as the producer/ director of Murder in Paris is to ensure that the documentary has not just been made for a broadcast date and then is forgotten. It will also have an active social impact campaign, supported by the Nelson Mandela Foundation, designed for it to ensure maximum exposure at schools and community halls at grassroots level throughout the country – we look forward to sharing the film with you and your communities!”

Proposed book title: Converged Radio, Youth and Urbanity in Africa: Emerging trends and perspectives.

Editors: Stanley Tsarwe and Sarah Chiumbu

Proposed publisher: Palgrave Macmillan

Even though at some point radio was regarded as the poor ‘cousin’ of the then newer ICTs (Myers 2008) in the 1990s, there is evidence that radio is now being brought back into the media technologies family and is increasingly converging with contemporary digital media technologies such as the mobile telephony and the internet (Willems 2013; Chiumbu 2014; Tsarwe 2018). In Africa, the early 2000s witnessed an almost universal trend towards the market liberalisation of the media, massive internet rollout and increased push towards digitisation. Given Africa’s youth-dominated demographic profile and a rapid urban sprawl that is not only attractive to youth but also enables rapid internet rollout and connectivity, young people are driving the production and consumption of urban radio. At the same time, advertisers continue to search for ways of monetising these dividends.

The convergence of digital media and urban radio are shaping, and are in turn shaped by, youth who are the most significant force behind digital cultures in urban Africa. Arguably, youth are also an attractive constituency targeted by urban commercial radio, internet radio streaming, podcast radio and campus radio. In the context of these developments, the central question is: what has changed since the liberalisation and the increased use of digital media gadgets in the production, distribution and consumption of radio and how, if any, have these developments set new trends in African radio?

The proposed book accepts chapters backed by empirical data and based on African case studies examining contemporary processes and practices arising from the convergence between urban radio and digital media technologies and how young people are part of these developments. Chapters must be underpinned by theoretical debates about the role of radio in African public spheres.

Critical voices of the ‘digital turn’ in mass media – including radio – are of the view that a meaningful critique of the technological affordances to the radio institution must critically engage with the complex questions of the dialectical relationship between technology, structure, and agency especially given the seductive myth of the so-called new media (Moyo 2013). Others are of the view that that to understand how converged radio works and the practices arising thereof; there is a need to situate these practices within a broader corporate logic in which participation is not merely about adding more voices but also feeds into radio stations’ commercial strategies of increasing revenue and accessing personal data of listeners through SMS and social media (Willem 2013: 223). Indeed, there is emerging research interest seeking to understand the realities at the core of the convergence of radio, mobile telephony and the internet, and a book-long project such as this one could provide empirical insights into the processes and practices shaping converged radio in the continent.

Young people are also a target market for developers of wearable devices such as AM/FM headphones and portable radio sets to listen to audio content while ‘on the ‘go’. Modern smartphones come equipped with their own radio apps, which uses the same antenna used by the phone to connect to the mobile network, while Apple Music and Spotify provide a one place shop to manage and listen to music from all over the world. Young people stand on street corners listening to the radio through digital devices such as mobile phone headphones, and these practices may be seen as part and parcel of youth identity formation. Youth also contribute to daytime talk radio, in which commercial radio allows them to send audio voice notes and Whatsapp messages to interactive radio studios. Use of these mobile-phone-based platforms by urban commercial radio ensures that youthful audiences are kept hooked on to radio – and, by implication, are hooked on to advertisers. At the same time, they enjoy the convenience of doing so on the go. The key technical driver of the move to mobile radio is the smartphone, combined with headphones and inbuilt apps, which enable people to listen to audio conveniently.

Another exciting development is the still nascent field of radio podcasting in Africa. Podcasting is the practice of using the internet to make digital audio recordings downloadable to a personal device such as a computer or mobile device for easy listening. The 2019 Reuters Digital News Report[1] showed preliminary evidence that in South Africa and Kenya, around 40 percent of the more educated, urban samples use podcasts. Indeed, podcasts are disproportionately consumed by people under the age of 35. However, these figures are much higher in Europe and North America. We have little knowledge of the everyday practices and experiences of podcasting in Africa. Albeit accessibility challenges, podcasting promises to be a lucrative niche in African radio given the enduring challenges of media diversity on the continent as well as the prospects for increased content options.

The book will consist of chapters arranged under four themes, as outlined below:

Structure, Agency and Power: Production and Reception of converged radio

  • Digital media technologies and audience-producer interactions through voice calls, WhatsApp voice notes and mobile chats etc
  • Digital media technologies and increased audience participation: the complicated relationship between growing audience statistics and the commercial imperatives
  • Digital media technologies and audience power in the co-production of radio content through voice calls, voice notes and mobile chats
  • Digital media technologies and the reception of radio: mobiles phones and the internet
  • Emerging converged newsroom practices during radio production
  • Emerging news sourcing and news production practices
  • Internet radio, live radio streaming and podcasting

Agents of change: Civic engagement and political participation

  • Youth, urban commercial radio and music: the dumbing down of critical dialogues and tabloidisation of the public sphere
  • Underground music, censored music and their emergence in urban street cultures
  • Self-recording, podcasting and resistance music
  • Cultural, political and social resistance: Working class youth and music in urban taxis
  • Online subversive radio and youth voices

Identity, Belonging and Cultural Expressions

  • Radio as self-expression: youth and mobile wearable devices, headphones, AM/FM headphones and portable radio sets
  • Mobile phones and applications, e.g. Apple Music and Spotify
  • Youth, connectivity, urban mobility and urban radio
  • Music radio: Pop, hip hop and urban contemporaries
  • Youth, digital technologies and campus radio
  • Car radio music technologies in transition: Compact Discs (CDs), Bluetooth, and external storage devices such as memory stick
  • Urban street lingo and its appropriation by advertisers on urban commercial radio.
  • Counter-hegemony and formation of urban street cultures

Commercial Imperatives

  • Urban commercial radio and internet live streaming, digital marketing and advertising
  • Radio celebrity cultures and the commercial logic
  • Advertising voice-overs and technological disruption
  • Smaller newsrooms and disk jockey table
  • DJs, turntables, mixers, dancers, and the urban environment

Abstracts should not be more than 300 words

Important Dates

  • Deadline for submission of abstracts: 15 June 2021
  • Author notification of acceptance of abstract: 30 June 2020
  • Author first draft chapter submission: September 2021
  • Submission of the first draft to the publisher: January 2022

Prospective chapter contributors to send abstracts to Stanley Tsarwe on and Sarah Chiumbu on

Please note that all submissions will be peer-reviewed. Abstracts to clearly state the aim and objectives of the study as well as the theoretical and methodological approaches to be used in the study.


Secondhand Cultures in Unsettled Times

Online Symposium hosted by the School of Media, Journalism and Culture,
Cardiff University, 15-16 June 2021. Tuesday 15 June & Wednesday 16 June 
2-9pm GMT, online.

Secondhand cultures and practices, from reselling sites to charity shops 
and thrift stores to waste picking, have expanded and transformed over 
recent decades, with profound social, political, and environmental 
implications. This Symposium brings together scholars and practitioners 
from around the world to explore secondhand cultures in unsettled times. 
Please join us for a lively line-up of research panels, hands-on 
workshops, practitioner & educator talks, short films, book talks, and 
plenty of opportunities for participants to connect and share ideas.

With keynote talks from:

Professor Angela McRobbie, Goldsmiths, University of London

Professor Avril Maddrell, University of Reading

And presentations from

Professor Rebecca Earley, Centre for Circular Design, UAL

Professor Lucy Norris, UCL – among others!

Booktalks with:

Tansy Hoskins, /Stitched Up: The Anti-capitalist Book of Fashion/, 2014

Rachel Lifter, /Fashioning Indie: Popular Fashion, Music and Gender/, 2018

15 June speakers include: Dr Natalie L. Mann; Dr George Campbell
Gosling; Dr Cheryl Roberts; Dr. Aulia Rahmawati; Brigitte Stockton; Dr 
Elaine Igoe, Susan Noble, Lara Torres and Jennifer Cunningham; Claire 
Wellesley-Smith; Jon Stobart and Sara Pennell; Lorna Flutter; Dr 
Jennifer Le Zotte; Violet Broadhead; Siobhan Kelly; Gesche Huebner; Dr 
Jennifer Lynn Ayres; Maya Wassell Smith; Vita Kurland; Dr Triona Fitton; 
Petra Seitz, Nia Thandapani and Gregor Wittrick

16 June speakers include:*Prof Mark Joseph O’Connell; Dr Gesche
Huebner; Kyra G. Streck and Kelly L. Reddy-Best; Debarati Sarkar; Dr 
Alida Payson; Brenda Mondragón and Diana Morales; Elena Johansen; Dr 
Lucy Wishart; Ceylan Akbas and Eva Souchet; Lindsay Parker; Rhiannon 
Craft; Dr Annebella Pollen; Rose Sinclair; Naomi Dunstan; Helen 
O’Sullivan; Prof Becky Earley and the CharioCity team

Vintage scholars, sellers & developers: Dr Liz Tregenza; A.
Cleopatra, Vêtement Vintage; Liisa Jokinen, Gem, a vintage search app; 
and Pilar Garibay, Bodega No. 3

Workshops/talks with:

Wendy Ward, author and practitioner; Dhamar Romo Chavez of FABSCRAP,
NYC; Hannah Carter of *Love Not Landfill* and *ReLondon*; Liz Ricketts
and The OR Foundation; Dismantle Magazine; the Centre for Circular

& Dr Amy Twigger Holroyd w/ Fashion Futures; Kat Roberts w/ Fabric Scrap 
Twine; Dr Jules Findley w/ Mending, secondhand and the tacit

Organised by Dr Alida Payson, Cardiff University, Dr Jennifer Lynn 
Ayres, NYU, and Dr Triona Fitton, University of Kent, and Kamila Buczek, 
Cardiff University

The event is free, but please register here: