Land and Sea Acts: Performances in and out of Photography on the South African Coast.
This paper presents a temporal and spatial 'sojourn' through a single photograph taken by Daniel Morolong in the 1960s on the beachside in East London, a port city located in the Eastern Cape. It depicts six subjects who re-enact the sixteenth-century Italian 'Neptune fountains', which included myth...
| Publicado en: | Wasafiri Vol. 36; no. 2; pp. 50 - 58 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=150408706&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 150408706 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02690055 TI4 jtl: Wasafiri issn: 02690055 maglogo: Y pubinfo: dt: Jun2021 vid: 36 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 150408706 10.1080/02690055.2021.1879487 ppf: 50 ppct: 8 formats: tig: atl: Land and Sea Acts: Performances in and out of Photography on the South African Coast. aug: au: Mnyaka, Phindezwa su: Morolong, Daniel 20th century photography sug: subj: Morolong, Daniel 20th century photography keyword: apartheid Daniel Morolong East London Neptune fountain photography satyr-play ab: This paper presents a temporal and spatial 'sojourn' through a single photograph taken by Daniel Morolong in the 1960s on the beachside in East London, a port city located in the Eastern Cape. It depicts six subjects who re-enact the sixteenth-century Italian 'Neptune fountains', which included mythological figures such as the god of water, water nymphs, and satyrs. The figure of the satyr on the fountains alluded to the theatre genre of the satyr-play in antiquity, which often took place by the seashore. One of its key motifs was the satyrs' quest to navigate unfamiliar surroundings they encountered far from home. Morolong's photograph is a part of a series that were used by their subjects to make claims for belonging in the context of apartheid-era forced removals from the city. This essay considers how the photograph is a performance in a quest to return home precisely through the subjects' invocation of satyrs, and, in turn, it reflects on how the photograph as a technological medium that is marked by water in both literal and figurative ways, is too a 'satyrical' object. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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